1 Photograph (lantern slide, black-and-white, 3.25 in. x 4in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Miscellaneous Billboards and Signage (Summit, New Jersey)
United States of America -- New Jersey -- Union -- Summit
Date:
[between 1914 and 1949?]
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.
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.
Background and biographical information consists of Nesbitt's resume, an artist/designer statement, list of clients and accomplishments of Nesbitt Associates, Ltd., press releases, articles, and photographs of the designer.,The materials in this collection document Nesbitt's work from 1951 through 1984.
The records of the office of public relations cover the years 1955-1963 and include press releases and clippings describing some Nesbitt's products, his theories on consumer motivation, and the results of his surveys, as well as correspondence with members of the press. General office correspondence is boxed separately.
Color slides, color and black & white transparencies, and black & white photographs of most of Nesbitt's designs for packaging from 1951-1981 are included. Oversized materials include books jackets and booklets designed by Nesbitt, as well as some renderings for packaging designs done in color.
Three samples of fitted presentation boxes designed by Nesbitt are included, as well as a prototype for a design award for Parsons School of Design in New York, and two "Multiplication" cubes commissioned by the Museum of Modern Art in New York.
Arrangement:
This collection has been reboxed in archivally-sound containers, but the materials have only been partially processed and arranged. Record groups include: 1) Backgound and Biographical Information; 2) Records of the Public Relations Office, 1955-1963; 3) Correspondence; 4) Slides, Transparencies, and Photographs; 5) Oversized Materials; and 6) Samples.
Biographical / Historical:
Packaging, industrial, and graphic designer. Born in New York City, August 10, 1920. Nesbitt was a student of sculptor Chaim Gross and studied art at many New York institutions including: Art Students League; New York University; Columbia University; Pratt Institute of Art; and the New School.
He served in the U.S. Army from 1942 to 1945 where he worked as a cartographer and as the head of the visual aid section in a military intelligence training center. In 1945, he joined the staff of Harper's Bazaar magazine where he was an illustrator assisting art director Alexey Brodovich. In 1946, Nesbitt was hired by the industrial design studio of Raymond Loewy as a handletterer and packaging designer.
He worked with Lippincott Industrial Design from 1948 to 1951. Nesbitt opened his own design studio, Nesbitt Associates, Ltd. in 1951. The firm specialized in package design, trademarks, and corporate identities. Some of his most recognizable designs were for the label for Campbell's Soup and the Florists' Telegraph Delivery (F.T.D.) Winged Mercury 'Interflora' figure, still used today. Nesbitt's other clients included: Franco American; Revlon; Ballantine Beer; Borden; Champion spark plugs; Kodak; Philip Morris cigarettes; Schick razors; and Archway cookies. In addition, Nesbitt developed the "Karry Kit" for Ballantine Beer which came to be widely used and known as the six pack.
Nesbitt was known for his revealing studies and surveys of the buying needs and preferences of the "average American housewife" and consumers in general. His opinions on what he referred to as "underpackaging" were widely publicized in professional magazines and journals. In 1984, Nesbitt retired from the design field and went to California to resume his career as a sculptor until his death in 1993.
Related Materials:
Materials in the Archives Center
NMAH.AC.0367 Campbell Soup Advertising Oral History and Documentation Project
NMAH.AC.0552 Caroline R. Jones Papers
NMAH.AC.0060 Warshaw Collection of Business Americana
Collection donated by the designer's wife, Mrs. Saul Nesbitt, in 1994.
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.
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.
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping 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:
Temperance contains material documenting perspectives on alcohol use and regulation as well as the impact of various temperance movements on society and the government. The collection covers the issues related to these movements through multiple eras and social lenses, and addresses both pro and anti-temperance perspectives though there is significantly more material that supports the temperance and prohibition movements.
Materials represent a sampling of newsclippings, realia (ribbons, fans, and pendants), artwork in various mediums, and educational resources. No extensive records of any particular group or region exist, and no particular depth is present for any singular subtopic. The subject of temperance often overlaps with news and developments about the women's suffrage movement, elections, and wars.
While newsclippings are divided into specific subject categories, there may be significant overlap between regional issues and files pertaining to legislation and elections due to newsclippings frequently addressing multiple issues.
Arrangement:
Temperance is arranged in four subseries.
Perspectives
Organizations
Regional Issues
Political Parties
Individuals
Genre
Cigarette and Tobacco Documentation
Event Documentation
Images, Writings, and Music
Realia
Serial Publications
Subject
Medicinal Uses
Temperance and Government
Temperance and Religion
Temperance and Society
Temperance and War
Oversize
Miscellaneous
Related Materials:
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:
Temperance 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.
Warshaw Collection of Business Americana Subject Categories: Temperance, 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).
Papers documenting inventor Earl S. Tupper, his inventions, Tupperware and the Tupper Company.
Scope and Contents:
The collection documents the life of inventor Earl S. Tupper through correspondence, notes, photographs, drawings and sound recordings.
Arrangement:
The collection is organized into five series.
Series 1: Personal Papers, 1910-1989
Series 2: Early Business Papers and Scientific Notes, 1930-1965
Series 3: Tupper Corporation/Tupperware Business, 1908-1983
Series 4: Neil Osterweill Oral Histories and Research Notes, 1926-1989
Subseries 4.1: Research Files, 1926-1989
Subseries 4.2: Original Masters, 1987-1989
Subseries 4.3:Research Copies, 1987-1989
Subseries 4.4:Research Copies, 1987-1989
Subseries 4.5: Preservation Copies, undated
Series 5: Center for Advertising History, Oral History Interviews, 1992
Subseries 5.1: Original Masters, 1992
Subseries 5.2: Research Copies, 1992
Subseries 5.3: Research Copies, 1992
Subseries 5.4: Preservation Copies, 1992
Subseries 5.5: Abstracts and Transcripts, 1992, 2003
Biographical / Historical:
Earl Silas Tupper was born in 1907, to a New Hampshire farming family of modest means. During his youth and boyhood in New England, his mother Lulu Clark Tupper, took in laundry and ran a boarding house, while his father, Earnest Leslie operated a small family farm. Earnest Tupper loved to tinker, developing labor-saving devices for the farm and family greenhouses; one of his devices, a frame to facilitate the cleaning of chickens, was granted a patent. It is from his father that Earl Tupper is said to have developed a love for invention. Even as a boy, Tupper showed an enterprising and entrepreneurial spirit. At the age of 10, Earl discovered he could move more of the family's produce by selling door-to-door, bringing the product directly to the customer.
After high school graduation in 1925, Tupper continued to work in the family greenhouses in Shirley Massachusetts for two years. Tupper was an ambitious young man, though, and he was determined to earn his first million by the time he was thirty. During the twenties, he set out on a number of different paths, including work as a mail clerk and on a railroad labor crew. In 1928, he took a course in tree surgery, with the idea of setting up his own tree surgery and landscaping business. He continued to help out with the family business, and got married in 1931. Through the early thirties, the landscaping and nursery business continued to grow and thrive, despite the Depression, enabling Tupper to pursue some of his ideas and inventions. His scientific notebooks for this period reflect the diversity of his interests. Even after Tupper Tree Doctors was forced into bankruptcy in 1936, Tupper remained optimistic about his ability to develop and manufacture some of his inventions.
In 1936, Tupper met Bernard Doyle, the inventor of Viscoloid, the plastics manufacturing division of DuPont, located in nearby Leominster, Mass. He went to work for DuPont in 1937, but stayed there only one year. Later, Tupper would say it was at Dupont "that my education really began." Tupper took the experience he had gained in plastics design and manufacturing at DuPont, and struck out on his own. In 1938, he formed the Earl S. Tupper Company, advertising the design and engineering of industrial plastics products in Leominster, Massachusetts. Much of the fledgling company's early work was performed under subcontract to DuPont. Business was good during the war, because despite the difficulty of acquiring the raw materials necessary for plastics production for the domestic market, Tupper Plastics was able to garner several defense contracts, molding parts for gas masks and Navy signal lamps.
After the war, Tupper turned his attention to developing plastics for the growing consumer market. Many of his earliest designs, which included plastic sandwich picks, cigarette cases, and an unbreakable tumbler for the bathroom, were offered as premiums with other products. For example, Tek toothbrushes offered the tumbler with purchase of a toothbrush, and cigarette companies and other businesses offered cigarette cases imprinted with their logo.
Plastics was still in its infancy in the forties, and the commercial market for plastics product was limited by plastic's reputation for being brittle, greasy, smelly and generally unreliable. Tupper's contributions were twofold. First, he developed a method for purifying black polyethylene slag, a waste product produced in oil refinement, into a substance that was flexible, tough, non-porous, non-greasy and translucent. Second, he developed the Tupper seal, an airtight, watertight lid modeled on the lid for paint containers. Together, these innovations laid the foundations for the future success of Tupperware. Nevertheless, marketing the new product presented a challenge. Tupper experimented with department store sales, but as Businessweek reported in 1954, "in retail stores it fell flat on its face." It seemed clear that the new lid required explanation or demonstration.
In the late 1940s, Thomas Damigella (in Massachusetts) and Brownie Wise (in Florida) were selling household products through Stanley Home Products. Purchasing through local plastics distributors, both began offering Tupperware as part of their product line, and were moving enough Tupperware to attract Earl Tupper's attention. In 1948, Tupper met with Damigella, Wise, and several other local distributors at a Sheraton in Worcester Massachusetts to discuss a new distribution plan. Modeled on the home party plan pioneered by Stanley Home Products and expanded and refined by Brownie Wise, the home party plan became and remains the exclusive outlet for Tupperware. Wise was named Vice President of the company (named Tupperware Home Parties) in 1951, a position she held until 1958, when Tupper sold the company to Rexall for $16 million.
Tupperware's success stems from the combined genius of Earl Tupper, the self-styled Yankee inventor and entrepreneur and Brownie Wise, the consummate saleswoman and motivator. If Tupper personified reverence for the product, Wise personified respect for the sales force. "If we build the people," she was fond of saying, "they'll build the business." Almost half a century later, their legacy remains an important part of Tupperware's continuing success.
Earl S. Tupper died on October 5, 1983.
Related Materials:
Materials in the Archives Center
Leo Baekeland Papers (AC0005)
DuPont Nylon Collection (AC0007)
J. Harry DuBois Collection on the History of Plastics (AC0008)
Celluloid Corporation Records (AC0009)
Albany Billiard Ball Company Records (AC#0011)
Brownie Wise Papers (AC0509)
Ann and Thomas Damigella Collection (AC0583)
Materials at the National Museum of American History
Tupperware related artifacts are located in the Division of Home and Community Life (now Division of Cultural and Community Life), the Division of Medicine and Science and the Division of Work and Industry. See accessions: 1983.0711; 1984.1098; 1985.3014; 1985.3015; 1987.0180; 1990.3055; 1992.0209; 1992.0605; 1993.0257; 1994.0118; 1994.0124; 1995.0109; 1998.0070; 1998.0220; 2012.0133; and 2014.3077.
Provenance:
The materials were donated to the Archives Center in 1992 by Glenn O. Tupper, Earl Tupper's son.
Restrictions:
Collection is open for research but master (preservation) tapes are 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.
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.
Main Image: Head and hand of U.S. Sailor holding cigarette
Local numbers:
Princeton Poster# 6575
General:
Issued by: Chesterfield Cigarettes
Artist(s): Anon
Series:
G-9219
Note:
Cardboard poster
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:
Copyright status of items varies. 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.
World War, 1914-1918 -- Posters -- United States Search this
Genre/Form:
Posters
Posters -- World War, 1914-1918 -- United States
Collection Citation:
Princeton University Posters Collection, Archives Center, National Museum of American History.
Sponsor:
Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.
Three African American boys with cigarette, kneeling near loaded cart with large wheels: similar to RSN 5685, but from different negative.
Local Numbers:
RSN 8635
General:
Currently stored in box 1.2.20 [10]. Orig. no. USB 106.
Editorial comment: This image is part of a series intended to amuse white audiences, pandering to and reinforcing negative racial stereotypes of the period. The series title, which many late 20th-century and early 21st-century audiences would consider offensive in itself, makes the intentions of the publisher clear. --David Haberstich, Archives Center.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. 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.
Three African American boys with a cigarette; similar to RSN 8635.
Local Numbers:
RSN 5685
Video number 04447
General:
Currently stored in box 1.1.31 [161], moved from [153]. Orig. no. 16-E.
Editorial comment: This image is part of a series intended to amuse white audiences, pandering to and reinforcing negative racial stereotypes of the period. The series title, which many late 20th-century and early 21st-century audiences would consider offensive in itself, makes the intentions of the publisher clear. --David Haberstich, Archives Center.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. 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.
The Marlboro Oral History and Documentation Project is the result of a two-year effort supported in part by a gift from Philip Morris, Inc. Sixty oral history interviews and a variety of television commercials, print advertising, promotional materials, packaging, and industry publications were gathered to document Marlboro cigarette advertising. The bulk of the collection focuses on the period between 1954 and 1986, and examines the "Marlboro man", "Settle Back" and "Marlboro Country" campaigns. The collection is a rich source of information for researchers interested in advertising and marketing history, issues of smoking and health, and the export of both tobacco and American cultural symbols abroad.
The core of the collection is a series of interviews conducted during 1985-1987 by Dr. Scott Ellsworth, an independent scholar and oral historian. The broad range of interviewees included executives of Philip Morris, advertising agency personnel from Leo Burnett, photographers, production staff, sales and marketing personnel, and Marlboro cowboys.
Twenty-seven interviews were conducted overseas, in Argentina, Brazil, the Dominican Republic, Hong Kong, Switzerland, and West Germany. Conducted primarily with Marlboro licensee and affiliate staff, the interviews focus on the marketing and advertising history of Marlboro in the six nations. These interviews and others conducted with executives of Philip Morris International in New York City also address the history of Marlboro advertising in Africa, the Middle East, China, Eastern Europe and elsewhere in Europe and Latin America.
The interviews cover events from the 1930s through the 1980s. They focus on the theory and development of Marlboro advertising, its content and creation, and its modifications over the years. The foreign interviews also discuss the structure of the local cigarette marketplace, marketing and advertising techniques, and the use and modification of Marlboro advertising for different cultures.
Finding aids to the oral histories include abstracts of each interview indicating the major topic discussed, a cumulative index to personal names and topics in the interviews, and brief biographical and scope notes.
Arrangement:
Dthe collection is divided into seven series.
Series 1: Research Files, 1943-1987
Series 2, Interviewee Files, 1986
Series 3; Oral History Interviews, 1986
Series 4: Advertising Materials, 1926-1986
Series 5: Promotional items and packaging, 1926-1986
Series 6: Publications and Research Material, 1960-1988
Series 7: Travel Slides Generated by Project Team, 1926-1986
Biographical / Historical:
The history of Marlboro cigarettes offers insight into one of the great advertising and marketing success stories of the 20th century. Marlboro cigarettes were marketed from the Victorian era through the first half of this century as a women's cigarette, with tag-lines that aimed to appeal to female smokers, such as "Marlboro - Mild As May." In 1955, two transformations occurred which would affect both profitability and brand recognition: the addition of an integrated filter and the re-invention of the market through the debut of the "Marlboro Man" advertising campaign. The original Marlboro Man campaign featured close-up images of all kinds of men using the product -- the cowboy was one, along with lifeguards, sailors, drill sergeants, construction workers, gamblers and other types suggestive of a masculine spirit and rugged independence. By 1963, the "Marlboro Country" campaign began. This campaign focused on the cowboy and his symbolic canon: boots, hats, horses, and western landscapes. By the mid-1980s, Marlboro was the best-selling brand in the United States and the world, and the Marlboro cowboy was among the most widely recognized of American cultural symbols. Sold in over 180 nations, both the cigarettes and the ad campaign had become a global phenomena.
Provenance:
The collection was donated to the Archives Center by Philip Morris, Inc. in 1986.
Restrictions:
The materials in the Marlboro Collection are made available for research according to the established practices and principles of the Archives Center and the National Museum of American History.
Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
An extensive collection of magazine advertisements featuring celebrities from entertainment, sports, royalty, and the arts.
Scope and Contents:
A wide-ranging collection of over 1,000 celebrity advertising endorsements, ca. 1897-1979. The endorsements were culled by a collector/hobbyist from high-end magazines publications such as Fortune, McCalls, Playbill and Vogue. They feature a wide range of celebrities from the fields of performing arts, sports, business, politics and "society." The products endorsed vary greatly with heavy concentrations of cigarettes, beauty products and electronic equipment predominating. The bulk of the collection covers the 1920s-1970s with an especially high concentration of material from the 1930s-1940s. The majority are in color.
Advertisements are filed according to the profession or background of the endorser Thereunder, ads are arranged alphabetically by the last name of the endorser. Where more than one endorser is featured, the advertisement is filed under the last name of the endorser most prominently featured in the advertisement. If they are all of equal status within the advertisement, the advertisement is filed under the last name appearing earliest in the alphabet.
Arrangement:
The collection is arranged into five series.
Series 1: Performing Arts
Series 2: Business/Politics
Series 3: Sports
Series 4: Society, fashio, Royalty
Series 5: Writers, Musicians, Artists, Singers
Biographical / Historical:
The use of celebrities for promoting a product is an advertising device that has been used with increasing frequency since the latter part of the 19th century. Personalities from all walks of life, society, sports, and entertainment have regularly lent their image for product endorsement. These products have ranged from alcohol to moth crystals to cigarettes and a variety of other products. The trend continues to grow and refine itself expanding from the realm of print media into television, radio, motion pictures, and the internet.
Provenance:
The collection was donated to the Archives Center of the National Museum of American History by Gary and Sandra Baden, of Chevy Chase, D.C., in 1997.
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.
Love is like a cigarette is contained in one folder consisting of 1 two page piano vocal score, 1 five page short score and 3 parts in C Major concert -- in pencil and photocopy -- in unidentified hands (DE, Tizol?).
Items in 3 groupings -- (i) Piano vocal score. Lyrics begin "What is love, you called it heaven above ...". -- (ii) Short score. Score indicates parts for saxes, trumpets, trombones. -- (iii) Parts for 1 trumpet - Cooty; 1 trombone - Browne; bass. -- Groupings ii and iii from the Duke Ellington Library.
Biographical / Historical:
Grouping i from DeVincent Collection, box 499.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, worn.
Other Title:
Love cigarette.
Like a cigarette.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Holographs
Manuscripts
Music
Parts (musical)
Photocopies
Piano vocal scores
Short scores
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Satin doll is contained in sixteen folders consisting of 1 part in G Major concert, 2 seven-page conductor scores, 1 fourteen-page conductor score, 1 one-page conductor score, 1 three-page short score, 1 one-page short score, 1 four-page short score, 2 published four-page piano conductor scores, 1 two-page piano conductor score, 1 published three-page piano vocal score, 2 published two-page piano vocal scores, 1 two-page piano vocal score, 1 published one-page piano vocal score, 1 lead sheet, 25 published parts and 183 parts in C Major concert, 6 parts in F Major concert, 10 parts in Bb Major concert, and 1 three-page piano vocal score in Db Major concert -- in ink, pencil and photocopy -- in unidentified hands (DE, BS, ME, Whaley, Sanders, Jones, Tizol, Moten, Henderson, others?).
Folder A contains parts in C Major for 2 violins - A (2), B (2); 2 cellos - 1, 2.
Folder B contains parts in C Major for 15 reeds - flute 1, flute 2, flute 3, flute 4, oboe 1, oboe 2, oboe 3, oboe 4, clarinet 1, clarinet 2, clarinet 3, bass clarinet, bassoon 1, bassoon 2, contrabassoon; 5 horns - 1, 2,3, 4, 5; 4 trumpets - 1, 2, 3, 4; 3 trombones - 1, 2, 3; tuba; drums; vibes (4) harp (2); piano (2).
Folder C contains parts in C Major for 3 violins - A (8), B (8), C (8); viola (6); cello (9); bass (7).
Folder D contains items in 3 groupings -- (i) Parts in C Major for 6 reeds - alto 1 (2), alto 3 (2), tenor (2), tenor 2 (2), tenor 4 (2), Carney (2); 4 trumpets - trumpet, 2, 3, 4 (2); 3 trombones - 1, 2 (2), 3 (2); bass. -- (ii) Parts in C Major for 2 reeds - tenor, baritone (2); 2 trumpets - 1 (2), 3 (2); trombone. Parts appear to reflect different arrangements of the piece. -- (iii) One page piano vocal score in C Major, lead sheet in C Major, parts in Bb Major and part in G Major. Piano vocal score lyrics begin "Cigarette holder which wigs me ...". Score appears incomplete. Lead sheet for unidentified treble instrument. Parts in Bb Major for 3 trumpets - 1 (2), 2, 3. Part in G Major for 1 trumpet - 1.
Folder E contains three page short score and part in C Major. Short score indicates part for bass. Part for 1 trumpet - Herb.
Folder F contains parts in C Major for 5 reeds - alto 1 (2), alto2 (2), tenor 1 (2), tenor 2, baritone (2); 2 trumpets - 2 (2), 4; 4 trombones -1 (2), 2, 3 (2), 4 (2).
Folder G contains parts in F Major for 5 reeds - alto 1, clarinet tenor 3, tenor 4, baritone; 1 trumpet - 1. A full set of parts in F Major wasapparently intended. This folder contains several sheets marked with instrumentation and key signatures, but no music is notated.
Folder H contains 2 seven page conductor scores in C Major. Scores indicate parts for voices - soprano, alto, tenor, baritone, bass. Lyrics begin as above. Scores appear incomplete.
Folder I contains three page piano vocal score in Db Major and one page short score in C Major. Piano vocal score lyrics begin as above. Short score does not indicate instrumentation and appears incomplete.
Folder J contains fourteen page conductor score in C Major. Score indicates parts for 3 flutes, 3 oboes, 4 clarinets, 3 bassoons, 5 horns, 4 trumpets, 3 trombones, tuba, vibes, harp, piano, 3 violins, viola, cello, bass.
Folder K contains parts in 3 groupings -- (i) Parts in C Major for trumpet; 1 trombone - 1. -- (ii) Part in C Major (?) for drums. -- (iii) Parts in Bb Major for 2 reeds - alto, baritone; 3 trombones - 1, 2, 3; bass.
Folder L contains parts in C Major for 1 trombone - 1; bass.
Folder M contains parts in C Major in 9 groupings -- (i) Part forunidentified bass instrument (trombone?). -- (ii) Parts for 5 reeds - Pro, Rick Hamilton, Paul, Carney; 3 trumpets - Terry, unidentified, Nance; 1 trombone - 1. -- (iii) Parts for 2 trombones - Butter, Tizol. -- (iv) Part for 1 reed - baritone. -- (v) Parts for 1 reed - Carney; 2 trumpets - trumpet, Cat; 2 trombones - 1, Tizol. -- (vi) Part for 1 trumpet - Nat. -- (vii) Parts for 2 reeds - alto (2), tenor; 2 trumpets - trumpet, bass trumpet; trombone. -- (viii) Parts for 3 reeds - alto (2), tenor, baritone (2); 2 trumpets - trumpet,bass trumpet; bass. -- (ix) Parts for unidentified Bb transposing instrument (trumpet?) - 1, 2; 2 trombones - Britt, Butter.
Folder N contains one-page conductor score in C Major and published piano vocal scores. Conductor score indicates parts for 5 reeds - alto 1, alto 3, tenor 2, tenor 4, baritone; 4 trumpets - 1, 2, 3, 4; 3 trombones - 1, 2, 3; bass. Score appears incomplete. Piano vocal score lyricsbegin as above.
Folder O contains published piano conductor scores and published parts in C Major. Piano conductor scores do not indicate instrumentation. Scores include lyrics. Lyrics begin as above. Parts for 5 reeds - alto 1, alto3/tenor 4 (2), tenor 2, baritone, baritone/trombone 3; 4 trumpets - 1, 2, 3/4, 4; 2 trombones - 2 (2), 3; 2 violins - A/B (2), C; bass (2); drums; guitar. Some parts are noted 2 parts per sheet. -- (ii) Parts for 2 reeds - alto 1, tenor 2; 1 trumpet - 1; 1 trombone - 1 (2).
Folder P contains two page piano conductor score, two page piano vocal score, four page short score and part in C Major concert. Piano conductor score does not indicate instrumentation. Piano vocal score lyrics begin as above. Piano vocal score appears incomplete. Short score indicates part for trumpet. Short score appears incomplete. Part for drums. -- All items except Folder D, Folder F, piano vocal score in Folder I, Folder L, and Folder M, grouping viii from the Duke Ellington Library.
Biographical / Historical:
Piano vocal score in Folder I from the Presentation Album, vol. F. Remaining items from the Mercer Ellington Library. There appear to be numbers from the Duke Ellington Band Book: 20, 75.
General:
One-page conductor score in Folder N (photocopy) is originally noted on the verso of "Come Sunday." A part for "In a mellow tone" is noted on the verso of a part in Folder D, grouping ii. A lead sheet for "S'bout time" is noted on the bottom of the lead sheet in Folder D, grouping iii. Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Publication:
New York, NY, Tempo Music, Inc., 1964
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Conductor scores
Copy scores
Holographs
Lead sheet
Music
Parts (musical)
Photocopies
Piano conductor scores
Piano vocal scores
Published sheet music
Short scores
Manuscripts -- Music -- 20th century
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Beggar's holiday scores is contained in five of forty seven folders for "Beggar's holiday" consisting of 1 three page short score, 2 seven page piano vocal scores, 2 three page piano vocal scores and 1 five page piano vocal score in C Major concert, 1 one page piano conductor scores, 3 two page piano vocal scores, 1 one page piano vocal score, 1 one page short score, 1 twopage piano conductor score, 4 three page piano vocal scores and 1 six page piano vocal score in F Major, 2 one page piano vocal scores, 2 three page pianovocal scores, 1 one page piano conductor score, 1 eight page short score, 1 twopage short score, 1 twelve page short score, 1 five page piano vocal score and 1 six page piano vocal score in Bb Major concert, 1 two page piano vocal score,1 one page short score 1 two page short score, 1 three page piano vocal score and 1 part in Eb Major concert, 2 two page piano vocal scores in Ab Major concert, 1 three page short score, 1 one page piano vocal score and 1 two page piano vocal score in Db Major concert, 1 one page piano conductor score and 1 two page piano vocal score in D Major concert, 1 six page piano vocal score in G Major concert, 1 part in a minor concert, 1 four page piano vocal score in d minor, 3 three page piano vocal scores in e minor concert, 4 three page piano vocal scores and 1 thirteen page short score in c minor concert, and 1 one page piano vocal score, in g minor concert -- in ink, pencil and photocopy -- in unidentified hands (DE, BS, Tizol, Whaley, others?).
Folder A contains items (primarily in DE? hand) in 8 groupings --(i) 1 one page piano vocal score in Bb Major. Piano vocal score lyrics begin "Bible of my days, I kiss you and close you ...". Score appears incomplete. --(ii) 1 one page piano conductor score in F Major. Score does not indicate instrumentation. -- (iii) 1 four page piano vocal score in d minor. Piano vocal score includes partial lyrics. Lyrics begin "Your heart ...breeze to blow ...". Score appears incomplete. -- (iv) 1 three page short score in C Major and 1 one page short score in Eb Major. Short score in C Major indicatesparts for flute, clarinet, trombone, viola, cello, bass. Score appears incomplete. Short score in Eb Major indicates parts for saxes. -- (v) 1 one page piano vocal score in F Major. Score does not include lyrics and appears incomplete. -- (vi) 1 three page piano vocal score in Bb Major. Lyrics begin "Back, oh, oh, Sweet Lucy ...". -- (vii) 1 one page short score in F Major, 1 one page piano conductor score in Bb Major, and 1 two page piano conductor score in F Major. Scores do not indicate instrumentation and appear incomplete. -- (viii) 1 thirteen page short score in c minor (?). Score indicates parts for flute, clarinet, trombone, cello, bass. Score appears incomplete or fragmentary. Score may reflect a compilation.
Folder B contains items (in DE? hand) in 2 groupings -- (i) 1 onepage piano conductor score in D Major. Score does not indicate instrumentation. -- (ii) 1 eight page short score in Bb Major. Score appears incomplete or fragmentary. Score may reflect a compilation.
Folder C contains items (primarily in BS? hand) in 4 groupings --(i) 1 three page short score in Db Major. Short score indicates parts for Rab,Jim, baritone, trombone. -- (ii) 1 two page short score in Bb Major. Score indicates parts for 2 altos, 2 tenors, Ray, Rex, Wallace, Tricky, Brown, Tizol.-- (iii) 1 twelve page short score in Bb Major. Score indicates parts for bassoon, violin, cello, bass, harp. Score appears incomplete or fragmentary. Score may reflect a compilation. -- (iv) 1 two page short score and 1 part in Eb Major. Score indicates parts for 2 altos, clarinet, baritone. Part for unidentified treble instrument.
Folder D contains items (in Whaley, others? hands) in 13 groupings -- (i) 1 three page piano vocal score in Bb Major. Lyrics begin "Bible of my days, I kiss you and close you ...". -- (ii) 3 three page piano vocal scores in F Major. Lyrics begin "First I whispered I am too young ...". - (iii) 1 one page piano vocal score in Bb Major. Lyrics begin "Daddy's in thehospital ...". -- (iv) 1 one page piano vocal score in g minor concert. Lyricsbegin "Mac promised me a paradise to be ...". -- (v) 1 trhee page piano vocal score in c minor. Lyrics begin "Through all the employments of life ...". -- (vi) 1 two apge piano vocal score in Ab Major. Lyrics begin "This is awful I'mhis lawful ever roving faithful wife ...". -- (vii) 2 two apge piano vocal scores in F Major. Lyrics begin "Git out, git out, I've done told you oft ...". -- (viii) 1 two page piano vocal score in F Major. Lyrics begin "I once knew a guy name of Macheath ...". -- (ix) 2 seven page piano vocal scores in C Major. Lyrics begin "My grandmother dreamed when she had time to dream ...". - (x) 1 three page piano vocal score in Eb Major. Lyrics begin "Between the twilight and nightfall ...". -- (xi) 1 two page piano vocal score in D Major. Lyrics begin "In my frivolous youth I was one for the chaps ...". -- (xii) 1 three page piano vocal score in C Major. Lyrics begin "You wake up and breakfast on a cigarette ...". -- (xiii) 1 one page piano vocal score in Db Major. Lyrics begin "It's a most peculiar thing ...".
Folder E contains items (in Whaley, other? hands) in 11 groupings-- (i) 1 six page piano vocal score in G Major. Lyrics begin "If you like to live, live for the moment ...". -- (ii) 1 five page piano vocal score in Bb Major. Lyrics begin "I lunch on the succulent olives that grow in a martini dry ...". -- (iii) 1 three page piano vocal score in F Major. Lyrics begin "A virgin's like ore from a gold mine ...". -- (iv) 1 five page piano vocal score in C Major. Lyrics begin "What a nice fate for junior ...". -- (v) 1 two page piano vocal score in Ab Major. Lyrics begin "Silky harpy, smirking sharpie ...". -- (vi) 1 six page piano vocal score in F Major. Lyrics begin "You're like a rooster in the barnyard ...". -- (vii) 1 three page piano vocal score inC Major. Lyrics begin "In the scrimmage of life you are certain to win ...". - (viii) 1 two page piano vocal score in Db Major. Lyrics begin "If you go downby Sweet Lucy's put your money in your sack ...". -- (ix) 1 six page piano vocal score in Bb Major. Lyrics begin "We brighten lives that are otherwise drab ...". -- (x) 3 three page piano vocal scores in e minor and 2 three page piano vocal scores in c minor. Lyrics begin "We don't want the wings of an angel ...". -- (xi) 1 two page piano vocal score in Eb Major and 1 part in a minor. Lyrics begin "But beware for women, women, women ...". Part for voice. Lyrics begin "The atom we split, we walk undersea ...". -- from the Duke Ellington Library.
General:
26 separate titles from "Beggar's holiday" and a number of untitled items comprise the materials described above. 20 of the titles are unique to this entry. Refer to the finding aid for further detail. Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Mark Tucker.
Condition: fair, worn, stained, tape. Folder A -- 14p., folder B -- 12p., folder C -- 15p., folder D -- 35p., folder E -- 24p. Folder A -- 10p., folder C -- 1p., folder D -- 4p. Folder A -- 2p., folder D -- 9p., folder E -- 28p.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
