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Former owner:

Bartram, John  Search this

Eastwick, Andrew  Search this

Gardener:

Meehan, Thomas  Search this

Architect:

Sloan, Samuel  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Bartram's Garden (Philadelphia, Pennsylvania)

Philadelphia (Pa.)

United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia

Scope and Contents:

The folder includes a worksheet; brochures; biographical sketch of John Bartram; newspaper, journal, and magazine articles; and Bartram Broadside (Winter 1994-1995).

General:

The Bartram gardens were the first real botanic gardens developed in America. In 1728, John Bartram bought land at Gray's Ferry for a botanical garden. The borders are laid out in squares and rectangles, but not in a formal manner. Andrew M. Eastwick purchased the property in 1850 in order to protect the site from destruction from industrial sprawl. After Andrew Eastwick's death, the garden was neglected until Thomas Meehan, Eastwick's gardener, persuaded the City of Philadelphia to buy the site for a park in 1891. In 1893, John Bartram's descendants formed an Association to preserve the garden. Historic buildings on the property include a house, stable, sheds, barn, icehouse, seed house, and stone cider mill. A restoration project began in 1981. In 1982-1988, an adjacent industrial tract was reclaimed to function as a 15-acre meadow. Highlights of the garden include a vegetable garden, River's Edge Trail, Bartram oak, and flower gardens. The garden is open to the public.

Persons associated with the garden include: John Bartram (former owner, 1727); Bartram descendants (former owners, ?-1850); Andrew Eastwick (former owner, 1850-1891); Thomas Meehan (gardener, ca. 1850s); Samuel Sloan (architect of barn, which burned in 1896); John Bartram Association (administration, 1893-present); Fairmount Park Commission (administration); and City of Philadelphia (owner, 1891-present).

Related Materials:

Bartram's Garden related holdings consist of 1 folder (2 glass lantern slides, 2 35 mm. slides, and 1 photoprint)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Pennsylvania -- Philadelphia  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File PA001

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb63c242e83-de36-4791-82a0-2856e87aee92

EDAN-URL:

ead_component:sova-aag-gca-ref16497

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 77, Folder 1

Type:

Archival materials

Date:

undated

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 10: Gay and Lesbian Community Center of Baltimore (GLCCB) / 10.2: Office Files

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85a1ea27d-f585-48f2-affa-d7cbefd5b015

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref1123

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 115, Folder 1

Type:

Archival materials

Date:

1990-2012, undated

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 20: Pride at Work

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82e2e04a6-0e93-4833-8461-d7e91ad6f830

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref1571

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 170, Folder 6

Type:

Archival materials

Date:

1970

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 4: Advertising, Business, and Publications / 4.5: Publications

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep885c8260d-2e0e-4c19-8c04-ead62448b383

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2939

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 43, Folder 5

Type:

Archival materials

Date:

2012

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 3: Community Life / 3.6: HIV and AIDS, Ephemera and Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8175bc8cf-965b-488c-9c44-6ef4748b3d87

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref420

Names:

SALGA [South Asian Lesbian and Gay Association]  Search this

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 5.5" x 4.2".)

Container:

Box 34

Type:

Archival materials

Fliers (printed matter)

Broadsides

Scope and Contents:

Black text on yellow paper. Advises participants what to wear, including saris, salwar kameez, and dupattas.

Local Numbers:

AC1146-0000068.tif (AC Scan No.)

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Saris  Search this

Clothing and dress  Search this

LGBT  Search this

Gay pride celebrations  Search this

Parades -- New York  Search this

Genre/Form:

Fliers (printed matter)

Broadsides

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 2: Agencies, Associations, and Organizations / SALGA, flyers, advertisements

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e0c2a8db-23ec-4584-bc96-d4c15280f287

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2766

Extent:

1 Volume (76 drawings)

2 Drawings (visual works)

2 Letters

Culture:

Tsitsistas/Suhtai (Cheyenne)  Search this

Type:

Collection descriptions

Archival materials

Volumes

Drawings (visual works)

Letters

Works of art

Ledger drawings

Place:

Fort Reno (Okla.)

North America

Date:

circa 1880-1890

1962

Scope and Contents:

The collection consists of one (1) ledger book, now disbound, containing seventy-six (76) drawings by Cheyenne artists, two (2) additional drawings, and two (2) letters.

The ledger book contains drawings of scenes of warfare, courting, camps, and geometric figures. Many of the drawings have identifying captions in an unknown hand. Some of the drawings have been identified as having been created by a different, most likely non-native, artist. Two additional drawings were received with the ledger book: a drawing on sheet from a small ruled tablet, now torn in two, and a broadside sheet, now torn in two, with site plan and perspective drawing of the trading post of N. W. Evans and Co., Fort Reno, Indian Territory. The collection also includes letters regarding the purchase of the collection from Mr. Dorsey Griffith.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Local Numbers:

NAA MS 4653

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Works of art

Ledger drawings

Citation:

MS 4653 Book of drawings by anonymous Cheyenne artists and related drawings and letters, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4653

See more items in:

MS 4653 Book of drawings by anonymous Cheyenne artists and related drawings and letters

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw39e0bd24d-5631-4121-9876-6628d60065d5

EDAN-URL:

ead_collection:sova-naa-ms4653

Object Name:

Print

Other Terms:

Print; Letter Press

ID Number:

GA.13245.02 [dup1]

Catalog number:

GA.13236.02

See more items in:

Work and Industry: Graphic Arts

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a5-d789-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_794272

Creator:

Henderson, Horace, 1904-1988  Search this

Lewis, Barbara  Search this

Lewis, Barry  Search this

Henderson, Fletcher, 1897-1952  Search this

Extent:

22.5 Cubic feet (82 boxes)

Type:

Collection descriptions

Archival materials

Audiocassettes

Audiotapes

Manuscripts

Parts (musical)

Photographs

Date:

1930s-1980s

Scope and Contents:

The Fletcher and Horace Henderson Collection contains original scores and band books, loose sheet music, both original and published, from both Fletcher and Horace's libraries, playlists, lyrics, photographs, personal papers and correspondences, newspaper clippings, jazz publications, an oral history manuscript of an interview with Horace, audio tapes, and other personal memorabilia documenting the lives and careers of the two brothers as pianists, band leaders, and arrangers. The majority of the material dates from the mid 1920s to the early 1980s.

Series 1: Fletcher and Horace Henderson's Music ca. 1930s - 1980s Boxes 1-68. Original band books and scores, lyrics, playlists, loose music, and published music either arranged or used by Fletcher or Horace Henderson during their careers as pianists, band leaders, and arrangers. The series is organized into six subseries: Subseries 1A: Horace's Band Books, Subseries 1B: Loose Music, Subseries 1C: Original Scores, Subseries 1D: Lyrics, Suberies 1E: Playlists, and Suberies 1F: Published Music.

Suberies 1A, ca. 1940s -1980s, boxes 1-21. Horace Henderson Band Books. Each Band Book stands on its own, and is identified by the musician who used it or the location where the music was performed. Some performers include Gail Brochman, Eddie Calhoun, and George Reed. Many of the band books were used for performances at the Trianon Ballroom in Chicago.

Subseries 1B, ca. 1930s - 1980s, boxes 22-58. Music in boxes 22-54 comes from Horace Henderson's band library, and boxes 55-58 from Fletcher Henderson's band library. The music consists of full scores, piano scores, and parts arranged or used by Horace or Fletcher Henderson. Arranged alphabetically by title; FS - Full Score, PS - Piano Score, and P - Parts. * Indicates an overlap between loose music, and music known to have been performed at the Trianon Ballroom in Chicago. **Indicates an overlap between Horace and Fletcher's Libraries. The music is arranged alphabetically by music title.

Subseries 1C, ca. 1930s - 1940s, boxes 59-60. Original scores arranged by Fletcher Henderson, many for Benny Goodman and other bandleaders, including AHoneysuckle Rose@, AKing Porter's Stomp@, and AStealin' Apples@. There is also a complete band book written and arranged by Fletcher. Arranged alphabetically by title.

Subseries 1D, ca. 1940s - 1980s, box 61. Original lyrics used in performances by Horace Henderson's bands. Arranged alphabetically by title where identified.

Subseries 1E, ca. 1940s - 1980s, boxes 62-63. Playlists compiled in preparation for performances by Horace Henderson's orchestras, listing titles played at various performances. Un-arranged.

Subseries 1F, ca. 1920s-1980s, boxes 64-68. Published sheet music and books for piano/vocal parts. Includes art music, method books, popular music, fake books, and music book covers. Folders are arranged by type of publication, and the music is arranged alphabetically by title within each folder.

Series 2: Photographs, ca. 1920s - 1980s Boxes 69-70. Photographs documenting the lives of both Fletcher and Horace Henderson's personal lives and careers. Photographs are arranged by category including Fletcher Henderson Candids with Friends, Horace Henderson Candids, Performance Marquees, and both brothers with their orchestra. Some unique pictures include portraits of Mr. and Mrs. Henderson (Fletcher and Horace's parents), candids of Fletcher with Benny Goodman, and Horace with Lena Horne.

Series 3: Personal Papers and Correspondences, ca. 1920s - 1980s Boxes 71-78. Programs and broadsides, newspaper articles, letters, essays, publications, and other personal documents tracing the lives of Horace and Fletcher, as well as some personal items of their parents. The series is divided into six subseries: Subseries 3A: Programs and Broadsides, Subseries 3B: Newspaper Articles and Clippings, Subseries 3C: Personal Papers and Correspondences, Subseries 3D: Miscellaneous Publishings, Subseries 3E: Transcript of an Oral History Interview, and Subseries 3F: Henderson Family Scrapbook.

Subseries 3A, ca 1930s - 1980s Boxes 71-72. Contains broadsides and ad clippings promoting both Horace and Fletcher's performances, along with programs for various jazz festivals. There are also three sets of Las Vegas Programs, advertising the weekly happenings during the years Horace was performing there, mainly at the Riviera Hotel and Casino (1959-1961). These include; Ken's Spotlight Las Vegas, Fabulous Las Vegas Magazine, On The Go, and other miscellaneous circulations. Arranged by category (Fletcher's broadsides, Horace's broadsides, Programs), and by date within each set of publications or programs.

Subseries 3B, ca. 1950s - 1980s, Boxes 73 & 78. Contains newspapers, articles, and clippings, ranging from 1951 to 1986, documenting the lives of Fletcher, Horace, and some of their contemporaries (ie: Duke Ellington) through the eyes of the media. Arranged by categories; reference to Fletcher, Horace, or Miscellaneous. Box 73 contains the oversized articles.

Subseries 3C, ca. 1920s-1980s, Box 74. Contains letters, contracts, and other personal documents of Fletcher, Horace, and their parents. Also contains a copied photo collection of Horace, a manuscript of AHorace Henderson Presents his Interpretation of Jazz@, and an essay (author unknown) about Fletcher's influence on jazz.

Subseries 3D, ca. 1960s - 1980s, Box 75. Contains miscellaneous publishings collected from the various locations Horace lived and worked. Includes weekly circulations from Denver and the surrounding area where Horace lived from the mid sixties until his death, along with various music magazines that he subscribed to (ADownbeat@, AInternational Musician@). Arranged by date within each category.

Subseries 3E, ca. 1975, box 76. Contains the original transcript of the Oral History Interview of Horace Henderson, for the Smithsonian Institution, performed by Tom MacCluskey on April 9-12, 1975.

Subseries 3F, box 77. Contains a Henderson Family Scrapbook which includes photographs of Fletcher's and Horace's father and mother, and various newspaper clippings commending the careers of Mr. Henderson, Horace, and Fletcher. The scrapbook's original order has been maintained.

Series 4: Audio Tape Recordings ca.1970s - 1980s Boxes 79-80. Contains a collection of recordings of live performances of Horace's orchestra in various Denver area locations such as the Esquire Supper Club and the Petroleum Club. Also includes a sample tape, a brief Atest@ recording by Horace and Angel, a radio tribute to Horace, and a few miscellaneous mix tapes. The tapes are arranged by date when available. Box 79 contains the original copies, and box 80 contains the duplicates.

Arrangement:

The collection is arranged into four series.

Series 1: Horace and Fletcher Henderson's Music, 1954-1955

Series 2: Photographs, 1942-1977

Series 3: Horace and Fletcher Henderson's Personal Papers, 1937-1987

Series 4: Horace Henderson Audio Tapes, 1978-1983, undated

Biographical / Historical:

Fletcher Hamilton Henderson, Jr. (a.k.a. Smack) was born on December 18, 1897 in Cuthbert, Georgia. He was born into a middle class black family, and as a child studied European art music with his mother, a piano teacher. His sister later became the head of the music department at the Tuskeegee Institute in Alabama, and his younger brother, Horace, would eventually follow in his footsteps as a jazz musician, arranger, and band leader. Horace W. Henderson (a.k.a. Little Smack) was born on November 22, 1904. He also studied piano with his mother and sister, and like his brother, began formal music training as a teenager. Fletcher Henderson attended Atlanta University where he earned a degree in chemistry and math in 1919.

In 1920, Fletcher Henderson moved to New York City to find a job as a chemist. Because employment in this field was hard to come by, especially for African Americans, he began working as a song demonstrator for the Pace Hardy Music Company. Shortly after Fletcher Henderson's arrival Harry Pace founded Pace Phonograph Corporation to produce records on the Black Swan label in 1921. Fletcher joined Pace's music team and was responsible for contracting and leading a jazz bands to accompany the label's singers.

In 1924, Fletcher's orchestra, under the direction of Don Redman, began to perform at Club Alabam (sic) on New York City's Broadway Avenue. That same year he and the band was offered a job performing at the Roseland Ballroom, where the band remained for ten years and gained national fame. His band was no different than the hundreds of dance bands, springing up across the country in response to the growing demand for social dance music, such as Count Basie's Orchestra, King Oliver and his Dixie Syncopators, and McKinney's Cotton Pickers. Don Redman left the Fletcher Henderson Orchestra in 1927 to direct McKinney's Cotton Pickers. However the music collaboration of Redman and Henderson had by then established what would become the "standard" big band arrangement for several decades, specifically the dynamic interplay between the brass and reed sections of the orchestra that included interspersed solos made famous by such esteemed soloists of the band as Louis Armstrong and Coleman Hawkins. Some of the band's most notable recordings made between 1924 and 1925 include Copenhagen and Sugarfoot Stomp.

By this time Horace Henderson had formed his own college jazz band in 1924, The Wilberforce Collegians, after transferring from Atlanta University to Wilberforce University to pursue a music degree. His older brother sent him arrangements and piano parts used by the Fletcher Henderson Orchestra for performances by the Collegians. Later that year Horace Henderson left the university to travel and perform with his band in New York City. His newly formed band included such notable musicians as Benny Carter and Ben Webster. While in New York he also began playing as a guest musician in his brother's band and learning from such legends of jazz as Coleman Hawkins, Buster Bailey, Louis Armstrong, and Don Redman that were working for the Fletcher Henderson Orchestra. During a Smithsonian Institution sponsored oral history interview with Tom MacCluskey, Horace recalled late night jam sessions at Hawkins' (Hawk) apartment where they would play through pieces from "Fletch's" library and analyze each individual's performance. We would "stop and discuss what had transpired during that session, you know, that particular tune. And man, that was a lesson...It was a session that was actually to help everybody, so that they would try things out and take another tune, and use these particular little points that Hawk would tell 'em.'"

Until the 1930s, the Fletcher Henderson Orchestra was the principal model for big jazz bands. However, his management of the band and its finances led to frequent band break-ups. In 1934, severe financial problems forced Fletcher to sell some of his best arrangements to Benny Goodman. Horace Henderson and others suggested Goodman's rapid rise in popularity among swing bands for white audiences was largely due to Fletcher Henderson's innovative band arrangements. Fletcher Henderson continued to lead bands until 1939 when he joined Goodman's orchestra as a full time staff arranger. In 1941 he returned to band leading and arranging, but suffered a severe stroke in 1950. Fletcher was partially paralyzed from the stroke, and died on December 29, 1952.

Horace, also, formed many bands throughout the 1930s and 40s, and became a sideman for leaders such as Don Redman (1931-33) and, most notably, his brother. He was a pianist and arranger for Fletch's band intermittently between 1931 and 1947. During this time, Horace spent a lot of time in Chicago with Fletcher's band at the Grand Terrace, and formed his own band at Swingland. Horace also worked as a freelance arranger for Benny Goodman, Charlie Barnet, and Earl Hines3. From November 1942 through August 1943, Horace was the leader of the 732nd Military Police Band in Joliet, Illinois. The position was first offered to Louis Armstrong, who turned it down and recommended Horace for the position. After leaving the army, he played with Fletcher's band for two years. Horace began writing for Charlie Barnet in 1944, where he first came across Lena Horne. During a job at the Paramount, Charlie had Called Horace to say that his vocalist had laryngitis, and he needed a new singer. Horace went to the Apollo in Harlem in search of some talent, and they sent him to the Regent where he could find Lena Horne. She joined Charlie's show the next day, and from there went on to fame. Horace joined her for an extended tour as a pianist and arranger, and later worked with Billie Holiday3.

Horace moved to Denver with his wife, Angel, in the late 1960s. The Horace Henderson Combo performed at many nightclubs and resorts in the Denver area, including Estes Park, the Broadmoor Hotel, and the Petroleum Club. He began playing the organ in 1970 because the clubs didn't want to pay for four or five piece bands, and with an organ to replace the piano, a bass player was no longer necessary3. Horace continued to lead bands in the Denver area until his death on August 29, 1988.

Although both brothers had a major impact on the future of jazz, Horace is often thought of merely as a shadow to his more celebrated brother. Fletcher Henderson's career as a pianist, bandleader, and arranger is one of the most important in jazz history. Bands of leaders such as Count Basie, Charlie Barnet, Tommy and Jimmy Dorsey, and Benny Goodman all played arrangements, which were either written or influenced by Fletcher Henderson. Fletcher constantly surrounded himself with the most talented musicians of his era, and patterned the basic formula, which were imitated throughout the big band era. However, at least thirty of Fletcher's arrangements, many for Benny Goodman, are accredited as Horace's work. His arrangement Hot and Anxious was based on the traditional riff that later became the basis for Glenn Miller's In the Mood. Christopher Columbus is the most notable example of Horace's potent piano style, which is often noted to be stronger than his brother's. Although the brothers had differences, Horace insists that they did not involve music. Fletcher's style and success had a huge influence on Horace's career, and he was incredibly grateful for all his brother taught him. In an interview in April of 1975, he was quoted as saying, "I idolize his way of thinking because he was successful. You don't fight success, you join it." 3

Sources

1. Biographical information derived from The New Grove Dictionary of Jazz, edited by Barry Kernfeld (New York: Macmillan Press Ltd, 1988). 2. The Pace Phonograph corporation was the first African-American-owned recording company in the United States. Historical information derived from The Greenwood Encyclopedia of Black Music; Biographical Dictionary of Afro-American and African Musicians, by Eileen Southern (USA: Greenwood Press, 1982).

3. Interview with Horace Henderson, April 2-12, 1975, Smithsonian Institution, Washington, DC.

Provenance:

The Fletcher and Horace Henderson collection was acquired by the museum in December of 2001, donated by Barbara and Barry Lewis.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Music -- 20th century -- United States  Search this

Genre/Form:

Audiocassettes

Audiotapes

Manuscripts -- Music -- 20th century

Parts (musical)

Photographs -- 20th century

Citation:

Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0797

See more items in:

Fletcher and Horace Henderson Music and Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b519292b-04b8-413a-a057-0c9c19f26b75

EDAN-URL:

ead_collection:sova-nmah-ac-0797

Creator:

Kent, Rockwell, 1882-1971  Search this

Names:

American Artists' Congress  Search this

Artists League of America  Search this

Artists' Union (New York, N.Y.)  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

International Workers Order  Search this

Macbeth Gallery  Search this

National Farmers' Union (U.S.)  Search this

National Maritime Union of America  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

Boyesen, Bayard  Search this

Chamberlain, J. E.  Search this

Chase, William Merritt, 1849-1916  Search this

Cleland, T. M. (Thomas Maitland), 1880-1964  Search this

Daniel, Charles, 1878-1971  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Fitzgerald, James, 1899-1971  Search this

Freuchen, Peter, 1886-1957  Search this

Gellert, Hugo, 1892-1985  Search this

Gottlieb, Harry, 1895-  Search this

Hartley, Marsden, 1877-1943  Search this

Hays, Lee, 1914-1981  Search this

Henri, Robert, 1865-1929  Search this

Jones, Dan Burne  Search this

Keller, Charles, 1914-2006  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Nearing, Helen  Search this

Nearing, Scott, 1883-1983  Search this

Pach, Walter, 1883-1958  Search this

Phillips, Duncan, 1886-1966  Search this

Rasmussen, Knud, 1879-1933  Search this

Reeves, Ruth, 1892-1966  Search this

Robeson, Paul, 1898-1976  Search this

Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this

Ruggles, Carl, 1876-1971  Search this

Seeger, Pete, 1919-2014  Search this

Stefansson, Vilhjalmur, 1879-1962  Search this

Untermeyer, Louis, 1885-1977  Search this

Wildenstein, Felix, 1883-1952  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

88 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Sketches

Business records

Photographs

Drawings

Date:

circa 1840-1993

bulk 1935-1961

Summary:

The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Scope and Content Note:

The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.

Arrangement:

The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)

Biographical Note:

Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

Provenance:

In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.

Restrictions:

The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State)  Search this

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

Art, Modern -- 20th century -- United States -- Political aspects  Search this

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

World War, 1939-1945 -- Art and the war  Search this

Function:

Labor unions

Genre/Form:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kentrock

See more items in:

Rockwell Kent papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a

EDAN-URL:

ead_collection:sova-aaa-kentrock

Collection Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H.  Search this

Container:

Box 3, Folder 66

Type:

Archival materials

Date:

1971

Scope and Contents:

Oversized magazine article housed in box 22, folder 2

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

See more items in:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art / Series 2: Artist Files / General

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fe7b7680-7d55-40a4-8552-1c1f61f493cb

EDAN-URL:

ead_component:sova-aaa-finccoll-ref201

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box SUPP 26, Folder 1

Type:

Archival materials

Date:

1855-1915

Scope and Contents:

Marketing material covers both ridership and maintenance of railroad equipment and systems. These materials are comprised of trade cards, timetables, pocket maps, location guides, clipped advertisements, broadsides, promotional publications, plus parts and product brochures.

Series Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Series Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Series Citation:

Warshaw Collection of Business Americana Subject Categories: Railroads, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Railroads

Warshaw Collection of Business Americana Subject Categories: Railroads / 5: General Files

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep806237809-22d0-4b1f-96f6-1aac21881f80

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-railroads-ref21

Collection Creator:

Wheeling and Lake Erie Railway  Search this

Container:

Box 4

Type:

Archival materials

Negatives

Date:

3-1927

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Wheeling and Lake Erie Railway Photographs, Archives Center, National Museum of American History.

See more items in:

Wheeling and Lake Erie Railway Photographs

Wheeling and Lake Erie Railway Photographs / Series 1: Negatives / Norwalk, Huron County, Ohio, Toledo Division Milepost 65.3

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep808eeab3b-69e5-413b-b95a-519dce454974

EDAN-URL:

ead_component:sova-nmah-ac-1075-ref1117

Collection Creator:

Wheeling and Lake Erie Railway  Search this

Container:

Box 2

Type:

Archival materials

Negatives

Date:

11-1931

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Wheeling and Lake Erie Railway Photographs, Archives Center, National Museum of American History.

See more items in:

Wheeling and Lake Erie Railway Photographs

Wheeling and Lake Erie Railway Photographs / Series 1: Negatives / Cleveland, Cuyahoga County, Ohio, Cleveland Division, Milepost 0.00

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c1f97533-87ca-4695-9ea3-9435e5dbd8e4

EDAN-URL:

ead_component:sova-nmah-ac-1075-ref718

Collection Creator:

Wheeling and Lake Erie Railway  Search this

Container:

Box 2

Type:

Archival materials

Negatives

Date:

11-1931

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Wheeling and Lake Erie Railway Photographs, Archives Center, National Museum of American History.

See more items in:

Wheeling and Lake Erie Railway Photographs

Wheeling and Lake Erie Railway Photographs / Series 1: Negatives / Cleveland, Cuyahoga County, Ohio, Cleveland Division, Milepost 0.00

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep891cd8d4f-7115-4882-b1e9-cdc59c0fe86d

EDAN-URL:

ead_component:sova-nmah-ac-1075-ref739

Collection Creator:

Wheeling and Lake Erie Railway  Search this

Container:

Box 2

Type:

Archival materials

Negatives

Date:

1937

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Wheeling and Lake Erie Railway Photographs, Archives Center, National Museum of American History.

See more items in:

Wheeling and Lake Erie Railway Photographs

Wheeling and Lake Erie Railway Photographs / Series 1: Negatives / Conesville, Coshocton County, Ohio, Cleveland Division Milepost 121.0

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep873b78d6a-d789-4e9f-bc36-a2d74a4a6cd5

EDAN-URL:

ead_component:sova-nmah-ac-1075-ref797

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

11.35 Cubic feet (consisting of 20 boxes, 8 folder, 30 oversize folders, 17 map case folders, 3 flat boxes (partial), plus digital images of some collection material.)

Type:

Collection descriptions

Archival materials

Ephemera

Business ephemera

Date:

1750-1965

undated

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Tobacco Trade and Industry forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

This subject category, "Tobacco Trade and Industry," consists of materials related to the tobacco trade and industry. This subject category provides an extensive record of the late nineteenth to mid-twentieth century tobacco industry with materials for consumers, traders, and distributors. It forms part of the Warshaw Collection of Business Americana: Collection Division I: Business Ephemera and Division II: Oversize Materials.

Series 1, Tobacco and Tobacco Related Product Ephemera, 1781-1965, undated, is the largest portion of the tobacco related materials. This series is arranged alphabetically by manufacturer and distributor name. The materials consist of advertising cards, scraps, trade catalogs, price lists, pamphlets, labels, correspondence on letterhead stationery, bills, receipts, illustrations from periodicals, printed advertisements, periodicals, newspaper clippings, broadsides, shipping documents, handbills, premiums, promotional items, announcements, and business cards. The majority of materials are from the late nineteenth to the early twentieth- century and were created primarily for consumers, traders and distributors. Most of the materials are from the East Coast and there is a large amount of undated material. Ethnic imagery and images of women and children are prominently featured in this series. The location of the company is given when known.

Series 2, Patents and Trademarks, 1875-1904, is arranged alphabetically by patent and trademark applicants. With illustrations and descriptions, many patent and trademark documents come from East Coast patent offices during the 1870s. While this series is limited in scope, it provides numerous examples of the patenting of tobacco brand names and other related products. Additionally, it contains many images of minorities, women, and a variety of ethnic imagery.

Series 3, Bills of Lading, 1833-1925, is arranged alphabetically by location with foreign locations comprising one folder. The materials date from the late nineteenth century, and the majority is from the port of Philadelphia, Pennsylvania. This series not only tells a great deal about shipping and importing, but it also provides detailed information about the parties, countries, and people involved in the process of shipping tobacco around the world. Although the collection is somewhat varied, the majority of the bills of lading have date stamps, detailed port information, and information about the imported tobacco itself. Other locations include Maryland, New York, Cuba, and foreign locales.

Series 4, Lithographs, undated, is a series of labels for packages and products arranged alphabetically. It is a great resource for the study of early American advertising. Although most of the product labels are undated, they are probably of the late nineteenth to early twentieth- century. The majority of companies were based in New York, New York.

Series 5, Ephemera and Photographs, 1750-1957, undated, is arranged and organized by type of material. This series is comprised of general images, cigar store Indian images, auction lists, packing for tobacco products, and advertising cards, and contains a wealth of documentation of the American tobacco market. One of the best resources of this series is its collection of cigar bands. There are two photographs within this series, one depicting the exterior of a tobacco shop and another photograph of ladies working with shade grown tobacco, most likely in Connecticut. This series contains a copy of the Burr McIntosh photograph, "Leaves of Desire".

Series 6, Publications, 1742-1962, undated, consist of articles, books, pamphlets, magazines, and periodicals. One of the most useful portions of this series is the anti-tobacco related publications. The series contains tobacco-related articles. In addition to a few articles about tobacco companies, there are publications that contemplate the issues behind smoking. This series also contains tobacco related clippings from magazines and periodicals. Directories are also included in this series. The sheer variety of the material is vast, including essays from The Farm Quarterly and United States government documents. Tobacco is the only unifying factor. Researchers may be interested in La Santa Yerba, a late nineteenth-century book containing verses and other reflections on the tobacco plant itself.

Brand Name Index:

The following is a list of brand names for various tobacco products and related names that appear on this list is a compilation of those found on materials in the vertical document boxes. It is not a complete list of all the brand names for tobacco. The list is intended to assist researchers locate desired materials when only the brand name is known.

Brand Name -- Manufacturer/Dealer

Adonis -- Waldorf-Astoria Sugar Company

A. Hussey -- Leaf Tobacco Company

All Red Scrap -- Spaulding & Merrick

Alligator -- Pierre Lorillard

Almighty Dollar -- Roig & Langsdorf, LTD.

American Eagle -- Barker, K.C. & Company

Anglo-Egyptian -- Anderson, John & Company

Ante Fine (Cut) -- Pierre Lorillard

Apollo Egyptian -- Crescent Tobacco Company

Ateshian Bagdad -- Ateshian Company

Bagdad -- Pierre Lorillard

Bag Pipe -- Pierre Lorillard

Banner -- Banner Company

Banner -- American Tobacco Company

Bay State -- Brewer, Clarks & Sons

Bee -- Pierre Lorillard

Beech-Nut -- Pierre Lorillard

Belle of Turkey -- Pierre Lorillard

Between the Acts -- Pierre Lorillard

Between the Acts -- Thomas Hall Company

Bibber Cigarettes -- American Tobacco Company

Bijou -- S. Busnitz & Company

Birdseye -- British-American Company

Birdseye -- Akhbar Shah

B & L -- S. Busnitz & Company

Black Bird -- Baumann-Ashley Company

Black Joe Dark Plug -- American Tobacco Company

Black & Tan -- Pierre Lorillard

Black & Tan -- Annen Tobacco Company

Blended Stock -- American Tobacco Company

Blot -- Pierre Lorillard

Blue Peter -- Blue Peter Company

Bock y Ca -- Benson & Hedges

Boot Jack -- John Finzer

Boss Bite -- Pierre Lorillard

Brand M -- S. Monday & Son

Briar -- Spaulding & Merrick

Bright Sweet Emerald -- Pierre Lorillard

Briggs -- Pierre Lorillard

Brotherhood -- Pierre Lorillard

Buffalo Head -- Bland Tobacco Company

Bull Durham -- American Tobacco Company Smoking Tobacco

Bull's Eye -- Pierre Lorillard

Bull's Eye -- Peerless (Kimball)

Buzz Long -- Pierre Lorillard

Cabana -- Brewer, Clark & Sons

Cabanas -- Benson & Hedges

Cabarga -- Brewer, Clark & Sons

Cameo -- W. Duke & Son

Canada -- American Tobacco Company

Canoe -- Spence

Cap Sheaf -- Pierre Lorillard

Capadura -- R.C. Brown & Company

Capadura De La Reina -- R.C. Brown & Company

Capadura Olivette -- R.C. Brown & Company

Capadura Patience -- R.C. Brown & Company

Capital -- G.W. Gail

Captive -- Pierre Lorillard

Catlin's Twin Sisters -- American Tobacco Company

Cavendish -- Pierre Lorillard

Century -- Peter Lorillard

Challenge -- Pierre Lorillard

Chesterfield -- Ligget & Myers

Circassian Girls -- Pierre Lorillard

Clay, Henry -- Benson & Hedges

Climax -- Peter Lorillard

Clipper -- American Tobacco Company

Coca -- Drummond

Comet -- Pierre Lorillard

Common Sense -- American Tobacco Company

Conchas -- Brewer, Clark & Sons

Consols -- Consolidated Co.

Continental Cubes -- Continental Tobacco Company

Cools -- Brown & Williams Company

Cork (Number 1) -- Benson & Hedges

Cork Tip #2 -- Benson & Hedges

Cornucopia -- American Tobacco Company

Corona -- Brewer, Clark & Sons

Crown -- Benson & Hedges

Cute -- Merchants Cigar Factory

Dainties -- Allen & Ginter

Dainties -- American Tobacco Company

Defiance -- D. Hirsch

Derby -- Felener, F.W. Company

Diamond -- Allen & Ellis

Dixie -- Dixie Allen & Ginter

Dogtail -- Peter Lorillard

Drawing Room -- Pierre Lorillard

Dubec -- Allen & Ginter

Dubec -- American Tobacco Company

Duke of Durham -- American Tobacco Company

Duke's Best -- American Tobacco Company

Duke's Cameo -- American Tobacco Company

Duke's Mixture -- American Tobacco Company

Eagle Principe -- Brewer, Clark & Sons

Egyptian -- Pierre Lorillard

Egyptian Deities -- American Tobacco Company

Egyptian Dreams -- Rappaport

Egyptian Luxury -- American Tobacco Company

Egyptian Temple Lorillard, Peter -- Pierre Lorillard

Egyptian Straights -- American Tobacco Company

El Muezzin #1 -- Benson & Hedges

El Muezzin #2 -- Benson & Hedges

Embassy -- Pierre Lorillard

Emerald -- Pierre Lorillard

Etc., Etc. -- Brewer, Clark & Sons

Eureka -- Peter Lorillard

Excelsior -- American Tobacco Company

Extra Eagle -- B. Leidersdorf & Company

Excelsior #1 -- American Tobacco Company

Extra Mild #3 -- Benson & Hedges

Extra Mild Mild #4 -- Benson & Hedges

Fair Play -- American Tobacco Company

Favorite -- Cameron & Cameron

Felgner's Mohawk -- American Tobacco Company

Fine Brother -- Finzer, John

Flagman -- American Tobacco Company

Fontica -- Brewer, Clark & Sons

Forget-Me-Not -- Pierre Lorillard

Fortunato Bianco -- American Tobacco Company

Fragrant Vanity Fair -- American Tobacco Company

Friends -- Pierre Lorillard

Full Dress -- American Tobacco Company

Gaiety -- Bland Tobacco Co.

Gail & Ax's Navy -- American Tobacco Co.

Genuine Durham -- Blackwell, W.T. & Co.

Globe -- McGraw, Walker

Gold Extra Fine #1 -- Benson & Hedges

Gold #2 -- Benson & Hedges

Gold Rope -- Wilson & McNally

Golden Back -- Pioneer Tobacco Co.

Golden Bell -- Pierre Lorillard

Golden Bright -- Pierre Lorillard

Golden Culprit -- Peter Lorillard

Golden Light -- American Tobacco Co.

Golden Light -- Kimball & Co.

[Golden S?] -- [Unknown]

Golden Thread -- American Tobacco Co.

Good Luck -- Cotterill & Fenner Co.

Good Luck -- Drummond

Good Smoke -- Pierre Lorillard

Gondola -- Pierre Lorillard

Greek Slave -- Commonwealth Tobacco Co.

Green Turtle -- Pierre Lorillard

Greenback -- American Tobacco Co.

Greenback -- Marburg Brothers

Grizzly -- Pierre Lorillard

Gypsy Queen -- Goodwin

Happy Thought -- Pierre Lorillard

Happy Thought -- Wilson McNally

Hard A Port -- Thompson & C. Moors

Hard Plan -- H.M. Ferguson

Hard Tack -- American Tobacco Co.

Havana Consul Penete -- Pierre Lorillard

Havana Mixture -- Allen & Ginter

Havana Segar -- Waldorf-Astoria Segar Co.

Havannah -- Amber & Co.

Hazel Nut -- John J. Bagley

Helma -- Pierre Lorillard

Helmar Turkish -- American Tobacco Company

His Majesty's -- Benson & Hedges

Hoffman House Magnum -- Pierre Lorillard

Honest -- American Tobacco Co.

Honey Dew -- John Anderson & Co.

Horse Shoe -- Cotterill & Fenner

Horse Shoe -- Drummond

Hoyt's Medium -- American Tobacco Co

Hunki-Dori -- Chapin Stuart & Co.

Hunter -- H.M. Ferguson

Ideal -- Pierre Lorillard

Imperial Cavendish -- Allen & Ginter

Imperialette -- S. Monday

Imported -- Benson & Hedges

Improved Shorts -- Pierre Lorillard

India House -- Pierre Lorillard

Indian -- Amber & Company

Ivanhoe -- American Tobacco Co.

I. X.L. -- American Tobacco Co.

Jack & Jill -- American Tobacco Co.

Jack Rose -- Pierre Lorillard

John Dew -- Kaufmann, A.G

Jolly Tar -- Continental Tobacco Co.

Just Suits -- Pierre Lorillard

Kaiser (Gold Tip) -- A.B.C. Importation Co.

Karam -- Aslan Brothers

Kensington -- Brucker & Boghein

Kismen -- Strater Brothers

Kool -- Kool Brown & Williamson Co.

La Corona (Plain) -- A.B.C. Importation Co.

La Corona -- Benson & Hedges

La Flor de Cuba -- Benson & Hedges

La Marquise -- American Tobacco Co.

La Rosa -- Clark Brewer & Sons

Latest English -- American Tobacco & Sons

Leather Stocking -- C. Bickel

Level Head -- Pierre Lorillard

Libertad -- Clark Brewer & Sons

Lime Kiln Club -- Bagley & Company

Little Drummer -- Drummond

Little Joker -- American Tobacco Co.

Little Joker -- G.W. Gail

Little Rhody -- Pierre Lorillard

Little Sparks -- F.W. Felener

London Life -- American Tobacco Co.

Londres -- Clark Brewer & Sons

Long Cut -- W. & Son Duke

Lorillard's Stripped -- Pierre Lorillard

Louisiana Perique -- Allen & Ginter

Lucky Strike -- American Tobacco Co.

Lucky Strike -- R.A. Petterson

Luscious Luxury -- Pierre Lorillard

Luxury -- American Tobacco Co.

Lyceum -- Duke & Son

Mail Pouch -- Block Brothers

Manilla -- Amber & Company

Matinee -- Oliver & Robinson

Match -- Bland Tobacco Co.

Mecca -- American Tobacco Co.

Mechanic's Delight -- Pierre Lorillard

Melachrino -- L. Melachrino

Mellowleaf -- Commonwealth Tobacco Co.

Melrose -- British-American Co.

Melrose -- Marburg Brothers

Mercedes (Gold Tip) -- A.B.C. Importation Co.

Mexican -- Amber & Co.

Mild Number 2 -- Pierre Lorillard

Miner's Stript -- Pierre Lorillard

Mogul Egyptian -- American Tobacco Co.

Moon Spot -- Van Slyke & Horton

Mule Ear -- Wellman & Dwire Co.

Murad -- American Tobacco Co.

Myrtle Navy -- American Tobacco Co.

Napoleons -- Allen & Ginter

Navy -- G.W. Gail

Nebo -- Pierre Lorillard

Neptune -- Adams, J.L.

Neptune -- Buchanan & Lyalls

New Cross Bar -- Drummond

Nigger Head -- American Tobacco Co.

Night Watch -- Banner Co.

Night Watch -- American Tobacco Co.

Number 1 -- Benson & Hedges

Number 1 -- Pierre Lorillard

Old Egypt -- Pierre Lorillard

Old English -- American Tobacco Co.

Old Fashion -- American Tobacco Co.

Old Gold -- American Tobacco Co.

Old Gold -- British American Co.

Old Gold -- Kimball & Co.

Old Gold -- Pierre Lorillard

Old Guebeck -- Benson & Hedges

Old Guebeck Gold -- Benson & Hedges

Old Honesty -- American Tobacco Co.

Old Honesty -- John Finzer

Old Judge -- British-American Co.

Old Judge -- Kimball & Co.

Old Judge -- Goodwin Co.

Old Judge -- Allen & Ginter

Old Nut -- Pierre Lorillard

Old Rip -- British-American Co.

Old Rip -- Allen & Ginter

Old Sledge -- Edel

Old Tom -- Pierre Lorillard

Old Virginia Cheroots -- American Tobacco Co.

Old Virginia Cheroots -- Whitlock Co.

Olympia -- Gail, G.W.

Omar Turkish -- American Tobacco Co.

Omega Kentucky -- Pierre Lorillard

Opera -- Kerbs, Werthim & Schiffer

Opera Puff -- Allen & Ginter

Oronoko -- Pierre Lorillard

Our Country's Pride -- Collins Cigar Co.

Our game -- Alex Cameron

Our Little Beauties -- Allen & Ginter

Our Pet Nave -- Goddard Co.

Owl -- Straitron & Storm

Pall Mall -- American Tobacco Co.

Panetelas -- S. Monday & Son

Parliament -- Benson & Hedges

Parole -- Pierre Lorillard

Pastime -- John Finzer Co.

Pearl -- Pierre Lorillard

Peerless -- Kimball & Co.

Pedro -- American Tobacco Co.

Pedro Murias -- Benson & Hedges

Perfection -- Allen & Ginter

Perfection Mixture -- Pierre Lorillard

Perique Mixture -- Allen & Ginter

Pet -- Allen & Ginter

Peter Schuyler -- Van Slyke & Horton

Pink -- Pierre Lorillard

Pioneer Crown -- Allen & Ellis

Piper Heidsieck -- American Tobacco Co.

Pippin -- Banner Company

Pippins -- H. Traisser & Co.

Plain Light -- Pierre Lorillard

Planet -- Buchannan & Lyalls

Polar Bear -- Pierre Lorillard

Preferred Stock -- American Tobacco Co.

Prince Albert -- R.J. Reynolds

Princess Charlotte -- A.B.C. Importation Co.

Pure Virginia -- Pierre Lorillard

Purity -- Cameron & Cameron

Quality Puffs -- S. Monday & Sons

Queen of the Seas -- Alex Cameron & Co.

Raleigh -- Brown & Williamson Co.

Red Cross -- Pierre Lorillard

Regalia -- Clark Brewer & Sons

Richmond Cavendish -- Allen & Ginter

Richmond Gem Mild -- Allen & Ginter

Richmond Gem Mixture -- Allen & Ginter

Richmond Mixture #1 -- Allen & Ginter

Richmond Mixture #2 -- Allen & Ginter

Richmond Straight -- Allen & Ginter

Richmond Straight #1 -- Allen & Ginter

Right Bower -- Allen & Ginter

Ripple Navy -- Pierre Lorillard

Robert Burns -- Straiton & Storm

Rose Leaf -- Pierre Lorillard

Royal Bengals -- Pierre Lorillard

Royal Bengals -- Pierre Lorillard

Russian #1 -- Benson & Hedges

Russian Gold -- Benson & Hedges

Russian Gold #3 -- Benson & Hedges

Russian Mouthpiece #1 -- Benson & Hedges

Russian Mouthpiece #1 -- Benson & Hedges

Russian Mouthpiece #3 -- Benson & Hedges

Rustic -- George Bell

Sailor's Delight -- Pierre Lorillard

Sailor's Pride -- Bland Tobacco Co.

Satins -- American Tobacco Co.

Seal of North Carolina -- American Tobacco Co.

Seal Skin -- Commonwealth Tobacco

Sensation -- Peter Lorillard

Siesta -- Pierre Lorillard

Silk -- Strasser Co.

Si Peu Que Rein -- Benson & Hedges

Snow Flake -- American Tobacco Co.

Solace -- John Anderson & Co.

Something Good -- James Butler Co.

Sovereign -- Butler & Butler

Spanish Puffs -- American Tobacco Co.

Spear Head -- American Tobacco Co.

Special -- American Tobacco Co.

Special Favours -- American Tobacco Co.

Splendid -- Pierre Lorillard

Sport -- H.M. Lockrow

Sporting Extra -- American Tobacco Co.

Spot Cash -- H.P. Brewster

Stag -- Pierre Lorillard

St. Ledger -- Pierre Lorillard

Straw #1 -- Benson & Hedges

Straw Extra Mild #4 -- Benson & Hedges

Straw Tip #2 -- Pierre Lorillard

Stripped -- Pierre Lorillard

Sub-Rosa -- Pierre Lorillard

Sunny South -- Allen & Ginter

Sunnyside -- American Tobacco Co.

Suwanee River -- Van Slyke & Co.

Sweet Banner -- American Tobacco Co.

Sweet Caporal -- American Tobacco Co.

Sweet Caporal -- Kinny Co.

Sweet Conqueror -- Pierre Lorillard

Sweet Golden Seal -- Buchner & Co.

Sweet Lavender -- American Tobacco Co.

Sweet Maple -- Bland Tobacco Co.

Tareyton -- American Tobacco Co.

Ten Minute -- Marburg Brothers

Three Black Cows -- Pierre Lorillard

Three Kings -- William S. Kimball Co.

Tiger -- Pierre Lorillard

Tin Tag -- Pierre Lorillard

Toko -- Bland Tobacco Co.

Tolstoi -- American Tobacco Co.

Troy -- American Tobacco Co.

Tuberose -- Pierre Lorillard

Turkey Red -- Pierre Lorillard

Turkish Cross Cut -- American Tobacco Co.

Turkish Mixture -- Allen & Ginter

Tuxedo -- American Tobacco Co.

Uncle Sam -- Nall & Williams

Union Leader -- Pierre Lorillard

Upper Cut -- L. Miller & Son

Vafiadis -- Ligget & Myers

Van Bibber -- American Tobacco Co.

Vanity Fair -- Kimballs

Velvet -- Ligget & Myers

Venable's Cockade -- S.W. Venable Tobacco Co.

Veteran -- American Tobacco Co.

Victory -- Buchner & Co.

Victory -- American Tobacco Co.

Villar y Villar -- Benson & Hedges

Virginia Brights -- Allen & Ginter

Virginia Brights -- American Tobacco Co.

Virginia Cheroots -- Pierre Lorillard

Virginia's Choice -- [Unknown]

Virginia Leaf -- John Cornish Co.

Wandering Jew -- Clark Brewer & Sons

Welcome -- Goodwin

West Virginia Mail Pouch -- Block Brothers Co.

Wings -- Brown & Williamson Co.

Winner -- H.M. Ferguson

White Puff -- Pierre Lorillard

Wild Rose Chipped -- Pierre Lorillard

XX Navy Clipping -- Pierre Lorillard

Yacht Club -- Pierre Lorillard

Yasoa -- S. Monday & Son

Yellow Jacket -- Pierre Lorillard

Yellow Kid -- National Tobacco Co.

Zira -- Pierre Lorillard

Zoo Zoo -- Wilson & McNally Co.

Zubelda -- Pierre Lorillard

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Tobacco Trade and Industry is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Genre/Form:

Ephemera

Business ephemera

Citation:

Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Tobacco

See more items in:

Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8aa758c12-720c-4606-8406-fb057828e1ae

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-tobacco

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

1 Cubic foot (consisting of 2 boxes, 2 folders, 3 oversize folders.)

Type:

Collection descriptions

Archival materials

Ephemera

Business ephemera

Date:

circa 1795-1965

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Physical Culture forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

This subject category- Physical Culture consists of material related to the various aspects of physical culture. The materials contain information about physical culture and instructions for readers on how to improve their bodies. Numerous images show how to perform exercises and images of healthy and unhealthy bodies. This category contains information not only on the philosophy of physical culture but numerous items that illustrate the start of America's obsession with weight and body image and the commercialization of physical health.

Publications, Informational and Instructive consists of books, periodicals, and broadsides that were published to inform the public about physical culture, to direct readers in how to follow some aspect of physical culture, or both. Though a portion of these items are related to specific exercise equipment or regiments, publications for the purpose of marketing an item or service are located in series two. The majority of items in this series were published in New York, between 1890 and 1920; however there are also items from as early as 1854 and one item from 1940 as well as items from London, Philadelphia, Boston, and Battle Creek, Michigan. Publications are in alphabetical order by author.

The subject most represented in this series is exercise with many items providing information on how to perform proper exercises through both written description and images. The instructions are often different for men and women and many involve the use of various types of exercise equipment. Other topics covered include nerves, breathing, massage, and many other tenants of physical culture. Two volumes, The Body Beautiful and The Top Link, have instructions for properly performing everyday tasks such as sitting, standing, and breathing. Two volumes, Health Culture and the Sanitary Woolen System and The Influence of Dress in Producing the Physical Decadence of American Women, focus on dress and its affect on the body, specifically the dangers of corsets and artificial fibers. Manuel for Physical Measurements gives directions on how to measure the size and strength of various mussels. Training in Theory and Practice is a general text providing information and instruction on almost all areas connected to physical culture. The latest publication, The Fifty Years in Business Magazine from 1940, contains an article about Bernarr Macfadden.

Advertisements is divided into four categories depending on what the advertisement is attempting to sell: exercise equipment, classes at physical culture institutions and schools, instruction in physical culture through books or by mail, and lectures on physical culture. The items are mostly broadsides, letters, or pamphlets and the majority are illustrated, many in color. Most items are from the 1890s and early 1900s with a large number from New York including all the physical culture schools. Within each sub series the items are in alphabetical order by the company advertised.

Advertisements exists for numerous exercise machines, including many that are similar to machines seen today and some that are less familiar. Two machines, the Albany Normalizing School's Niles Normalizing Machine and the Sanitarium Equipment Company's Battle Creek Health Builder, use electricity to vibrate a belt placed against the body. Other contraptions included The Cartilage Company's Cartilage Treatment which increases height, the Greenhut-Siegel Copper Company's Professor Charles Munter's Nulife, a garment that improves the wear's posture, and a vibrator from Shelton Electric Company.

Instruction is offered in massage, hydrotherapy, Swedish movements, and facial beauty culture, as well as general physical exercise and education. In addition the advertisements from Macfadden Publications, Inc. and Physical Culture Publishing Company both include opportunities to become involved with the company itself, by purchasing stock or becoming a sales associate. The proposed benefits from the equipment and instructions cover a large range of topics including health, self respect, increased lifespan, youthfulness and for women a more attractive face and larger bust.

General Information includes an article from 1795 on the health benefits of massage as well as other newspaper articles about physical culture. Images of various types depict the ideal male and female body. Items are arranged by type, image or article, then by date.

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Physical Culture is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Genre/Form:

Ephemera

Business ephemera

Citation:

Warshaw Collection of Business Americana Subject Categories: Physical Culture, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Physical

See more items in:

Warshaw Collection of Business Americana Subject Categories: Physical Culture

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8d2cd0dc2-d864-4e56-86f8-527ae93b9386

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-physical

Collection Creator:

Henderson, Horace, 1904-1988  Search this

Lewis, Barbara  Search this

Lewis, Barry  Search this

Henderson, Fletcher, 1897-1952  Search this

Container:

Box 73, Folder 1

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History

See more items in:

Fletcher and Horace Henderson Music and Photographs

Fletcher and Horace Henderson Music and Photographs / Series 3: Horace and Fletcher Henderson's Personal Papers / 3.1: Programs and Advertisements

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e069ccd7-da11-4e9e-a524-2eb3236b61b4

EDAN-URL:

ead_component:sova-nmah-ac-0797-ref3220

Collection Creator:

Henderson, Horace, 1904-1988  Search this

Lewis, Barbara  Search this

Lewis, Barry  Search this

Henderson, Fletcher, 1897-1952  Search this

Container:

Box 73, Folder 2

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History

See more items in:

Fletcher and Horace Henderson Music and Photographs

Fletcher and Horace Henderson Music and Photographs / Series 3: Horace and Fletcher Henderson's Personal Papers / 3.1: Programs and Advertisements

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep801c00037-f8da-4e00-968a-0fb78106ad13

EDAN-URL:

ead_component:sova-nmah-ac-0797-ref3221