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Portrait in Minute: Dolores Huerta

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2015-10-06T16:49:37.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_cxX89_ZpP2w

Delegate

Published by:
MelPat Associates, American, 1965 - 1986  Search this
Created by:
C. Melvin Patrick, American, died 1985  Search this
Subject of:
Universal Network Television, American, founded 1950  Search this
Alex Haley, American, 1921 - 1992  Search this
Percy Ellis Sutton, American, 1920 - 2009  Search this
Columbia Records, American, founded 1888  Search this
Brown & Williamson, American, born 1894  Search this
Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this
Ancient and Accepted Scottish Rite of Freemasonry  Search this
National Association of Market Developers, American, founded 1953  Search this
National Medical Association, American, founded 1895  Search this
Prince Hall Freemasonry, founded 1784  Search this
Chi Delta Mu Fraternity, Inc., American, founded 1913  Search this
National Newspaper Publishers Association, American, founded 1827  Search this
Roy Wilkins, American, 1901 - 1981  Search this
National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this
National Association of Black Social Workers, American, founded 1968  Search this
National Pan-Hellenic Council, American, founded 1930  Search this
Chi Eta Phi Sorority, Inc., American, founded 1932  Search this
Phi Beta Sigma Fraternity, American, founded 1914  Search this
National Medical Association, American, founded 1895  Search this
Phi Beta Sigma Fraternity, American, founded 1914  Search this
National Sorority of Phi Delta Kappa, Inc., American, founded 1906  Search this
National Urban League, American, founded 1910  Search this
National Dental Association, American, founded 1913  Search this
National United Church Ushers Association of America, Inc., American, founded 1919  Search this
Eta Phi Beta Sorority, Inc., American, founded 1943  Search this
National Medical Association, American, founded 1895  Search this
Delta Sigma Theta Sorority, American, founded 1913  Search this
President Jimmy Carter, American, born 1924  Search this
Shriners International, American, founded 1870  Search this
Daughters of Isis, American, founded 1910  Search this
Opportunities Industrialization Center of America, Inc., American, founded 1964  Search this
Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this
National Urban League Guild, American, founded 1946  Search this
Tuskegee Airmen, 1941 - 1946  Search this
Congressional Black Caucus, American, founded 1971  Search this
Improved Benevolent and Protective Order of the Elks of the World, American, founded 1898  Search this
National Council of Negro Women, founded 1935  Search this
Muhammad Ali, American, 1942 - 2016  Search this
369th Veterans Association, American  Search this
Southern Christian Leadership Conference, American, founded 1957  Search this
Prince Hall Freemasonry, founded 1784  Search this
National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this
Northside Center for Child Development, Inc., founded 1946  Search this
Medium:
ink on paper
Dimensions:
H x W x D: 10 13/16 × 8 7/16 × 5/16 in. (27.5 × 21.4 × 0.8 cm)
Type:
magazines (periodicals)
Place made:
Harlem, New York City, New York, United States, North and Central America
Place depicted:
Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America
Date:
1977
Topic:
African American  Search this
Advertising  Search this
Associations and institutions  Search this
Business  Search this
Communities  Search this
Fraternal organizations  Search this
Fraternities  Search this
Government  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Journalism  Search this
Labor  Search this
Mass media  Search this
Men  Search this
Political organizations  Search this
Politics  Search this
Professional organizations  Search this
Religious groups  Search this
Social life and customs  Search this
Sororities  Search this
Sports  Search this
Tennis  Search this
U.S. History, 1969-2001  Search this
Urban life  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely
Object number:
2012.167.11
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5a191f832-64ab-4d62-81fe-a2bc53493bea
EDAN-URL:
edanmdm:nmaahc_2012.167.11
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  • View <I>Delegate</I> digital asset number 1

Masters of the Building Arts

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
From the soaring skyscrapers of New York City to the adobe churches of New Mexico, from the sturdy stone walls of New England to the majestic monuments of the nation's capital, master craftworkers in the building arts have brought enduring beauty to our built environment. Working in wood, stone, brick, and metal, in plaster, paint, glass, and clay, they transform designs on paper into three-dimensional works of art. Much depends on their workmanship and skill: on their deep understanding of raw materials, their careful selection and use of tools, their mastery of technique. The final product is the result not only of their knowledge and abilities, but also their creativity and care - their will to excellence.

Artisans in the building trades share a deep appreciation for the aesthetic value and expressive power of technical perfection. They delight in skill and find meaning and pleasure in the poetic qualities of workmanship - in their ability to craft objects of beauty and strength through their special touch. Their great pride and creative spirit, their love for their work, and their commitment to excellence are manifested in a lasting legacy of architectural achievement left behind for generations to come.

The 2000 Festival program celebrated the extraordinary artistry of craftspeople in the building arts and explored the many challenges they face today as they work to preserve our nation's past and build for the future. The Festival brought together a selection of master artisans - stone carvers, masons, carpenters, terra cotta artisans, plasterers, blacksmiths, stained glass artisans, and adobe builders - who have enriched our world with the work of their hands, and who educated and informed Festival visitors not only with their skills but also with their knowledge and lore.

Marjorie Hunt was Curator and James Deutsch was Program Coordinator; Betty Belanus was Education Specialist and Family Activity Guide Coordinator. An Advisory Committee included: J. Bryan Blundell, Kurt Dewhurst, William Dupont, Cynthia Field, Henry Glassie, Norman Koonce, Betty Monkman, Peter Nabokov, Joanna Reagan, Rex Scouten, William Seale, Chris Sturbaum, John Michael Vlach, and Ed Worthy.

The program was produced in collaboration with the International Union of Bricklayers and Allied Craftworkers and the International Masonry Institute, the National Trust for Historic Preservation, the National Building Museum, the American Institute of Architects, and the Preservation Trades Network. Major funding was provided by Homestore.com, the Marble Institute of America, Allied Stone Industries, the Building Stone Institute, the Indiana Limestone Institute, and the National Building Granite Quarries Association. Major contributors included Target Stores, the Associated General Contractors of America, the National Association of Realtors, and the Smithsonian Women's Committee. Additional donors included the School of the Building Arts, Duron, Inc., the Brick Industry Association, the Laborers' International Union of North America, the Smithsonian Educational Outreach Fund, and the Copper Development Association, Inc.
Researchers:
Jane Beck, Betty Belanus, Ray Brassieur, Amanda Dargan, James Deutsch, Kurt Dewhurst, Karen Duffy, Lynn Martin Graton, Dwight Pauahi Kauahikaua, Winnie Lambrecht, Tim Lloyd, Gregory Sharrow, Gary Stanton, David Taylor, Elaine Thatcher, John Michael Vlach
Presenters:
Betty Belanus, Barry Bergey, Ray Brassieur, Olivia Cadaval, Amanda Dargan, William Dupont, Brian Finnegan, Lynn Martin Graton, Tim Lloyd, Philip "Pete" Pederson, Clift Seferlis, Peter Seitel, Gregory Sharrow, Angelo Simone, Nick Spitzer, Gary Stanton, David Taylor, Elaine Thatcher, Cynthia Vidaurri, John Michael Vlach
Participants:
David Adams, historic preservation specialist, Portsmouth, New Hampshire

Robert Alger, stone carver, sculptor, Spencerville, Maryland

Joseph Alonso, stone mason, Vienna, Virginia

Onofre Anguiano, terra cotta hand presser, mold maker, Lincoln, Calif.

Walter S. Arnold, stone carver, Skokie, Illinois

Sam Baca, program director, Cornerstones Community Partnerships, Santa Fe, New Mexico

Earl A. Barthe, 1932-2010, plasterer, historian and consultant, New Orleans, Louisiana

Hurchail Barthe, plasterer, New Orleans, Louisiana

Terry Barthe, plasterer, historic housing specialist, New Orleans, Louisiana

Nick Benson, stone carver, letterer, Newport, Rhode Island

Johan Bjurman, decorative painter, Cheshire, Connecticut

Anna Bowen, stone carver, letterer, Newport, Rhode Island

Dan Boyle, timber framer, Dover, New Hampshire

Rory Brennan, historic plaster specialist, Putney, Vermont

Ron Brooks, decorative painter, Rockville, Maryland

John Canning, decorative painter, Cheshire, Connecticut

Jacqueline Canning-Riccio, decorative painter, Cheshire, Connecticut

Jesus Cardenas, terra cotta modeler, mold maker, Lincoln, California

Charles Cardine, architectural blacksmith, Chantilly, Virginia

Patrick Cardine, architectural blacksmith, Chantilly, Virginia

Carson Christian, timber framer, Wooster, Ohio

Rudy Christian, timber framer, Burbank, Ohio

Peter "Billy" Cleland, 1921-2010, stone mason, Clinton, Maryland

William R. Cleland, Jr., stone mason, Dunkirk, Maryland

Rose Concha, -- enjarrodoro -- (adobe plasterer), Taos, New Mexico

Brian Cox, carpenter, Lyndhurst, National Trust for Historic Preservation, Tarrytown, New York

John Drew, carpenter, St. Leonard, Maryland

William Dupont, Graham Gund Architect of the National Trust, National Trust for Historic Preservation, Washington, D.C.

Cane Fields, Hawaiian dry stack mason, Kailua-Kana, Hawaii

Billy Fields, Hawaiian dry stack mason, Kailua-Kana, Hawaii

David Flaharty, ornamental plasterer, sculptor, Green Lane, Pennsylvania

lsidoro Flaim, stone mason, Camp Springs, Maryland

Tom Glynn, timber framer, South Berwick, Maine

Dieter Goldkuhle, 1938-2011, stained glass artisan, Reston, Virginia

Giles Harper, preservation carpenter, Lyndhurst, National Trust for Historic Preservation, Tarrytown, New York

Adam Heller, stone carver, letterer, Newport, Rhode Island

Randy Herald, sheet metal craftsperson, Bethesda, Maryland

Randy Herald, Jr., sheet metal craftsperson, Bethesda, Maryland

Hans Herr, coppersmith, Holtwood, Pennsylvania

John Paul Huguley, president, School of the Building Arts, Charleston, South Carolina

Judy Jacob, architectural conservator, National Park Service, New York, New York

Raymond Johnson, terra cotta modeler, draftsman, Lincoln, California

Dean Kalomas, decorative painter, Washington, D.C.

Vikki Keys, deputy superintendent, National Park Service, Washington, D.C.

Rick King, dry stone wall mason, Holderness, New Hampshire

Scott King, dry stone wall mason, Holderness, New Hampshire

Naomi Kroll, architectural conservator, National Park Service, New York, New York

Wade Lawrence, assistant director, Drayton Hall, National Trust for Historic Preservation, Charleston, South Carolina

Elmo Leonardelli, scaffold erector, Baltimore, Maryland

Stephen Lorenzetti, chief of resource management, National Park Service, Washington, D.C.

Amber Lucero, -- enjarrodoro -- (adobe plasterer), Taos, New Mexico

Rick Lykins, restoration carpenter, Bloomington, Indiana

George McDaniel, director, Drayton Hall, National Trust for Historic Preservation, Charleston, South Carolina

Richard Marks, architectural conservator, Charleston, South Carolina

Antonio Martinez, community leader, Upper Rociada, New Mexico

David Martinez, terra cotta draftsman, Roseville, California

David Mason, dry stone wall mason, Starksboro, Vermont

Rick Mason, dry stone wall mason, Hinesburg, Vermont

John O'Connor, engineer, Universal Builders Supply, Cheverly, Maryland

David Overholt, restoration project manager, Lyndhurst, National Trust for Historic Preservation, Tarrytown, New York

Albert D. Parra, adobe builder, Albuquerque, New Mexico

Theodore Pierre, Jr., brick mason, New Orleans, Louisiana

Konstantinos Pilarinos, Byzantine-style woodcarver, Astoria, New York

Panagiota Pylarinos, architect, Astoria, New York

Dennis Playdon, program manager, Cornerstones Community Partnerships, Santa Fe, New Mexico

Patrick Plunkett, stone carver, Takoma Park, Maryland

Joseph Pringle, blacksmith, Charleston, South Carolina

Nol Putnam, artist blacksmith, The Plains, Virginia

Clay Raley, restoration carpenter, Norman, Indiana

Brad Robinson, architectural blacksmith, Chantilly, Virginia

Steve Roy, historic preservation specialist, Portsmouth, New Hampshire

Brett Rugo, president, Rugo & Carosi, Woodbridge, Virginia

Laura Saeger, timber framer, Burbank, Ohio

George Salvador, restoration crew leader, Pueblo of Acoma, New Mexico

Eduardo Seara, vice-president, Lorton Contracting Company, Lorton, Virginia

Manuel Seara, president, Lorton Contracting Company, Lorton, Virginia

Tony Segreti, architect, Bethesda, Maryland

Carlton Simmons, blacksmith, Charleston, South Carolina

Philip Simmons, 1912-2009, blacksmith, Charleston, South Carolina

Louis Soublet, plasterer, New Orleans, Louisiana

Larry E. Stearns, coppersmith, Westford, Vermont

Ben Sturbaum, restoration carpenter, Owensburg, Indiana

Chris Sturbaum, restoration carpenter, Bloomington, Indiana

Arran Sturgis, timber framer, Eliot, Maine

Daniel Szwed, construction manager, Waldorf, Maryland

Mark Tamara, structural engineer, James Madison Cutts, Washington, D.C.

Lonn Taylor, historian, National Museum of American History, Smithsonian Institution, Washington, D.C.

Lloyd Tortalita, Adult, Higher Education director, former governor, Pueblo of Acoma, New Mexico

Roman Troyer, timber framer, Wooster, Ohio

Dexter Trujillo, adobe builder, mud preserver, Abiquiu, New Mexico

Mark Tsirigos, president, Universal Builders Supply, Cheverly, Maryland

George Void, masonry crew, Washington National Cathedral, Washington, D.C.

Chuck Wagner, owner, Wagner Roofing Company, Hyattsville, Maryland

Sheila Wagner, owner, Wagner Roofing Company, Hyattsville, Maryland

Tom Weddle, restoration carpenter, Bloomington, Indiana

Bob Wooldridge, slater, Mercersburg, Pennsylvania

Jeff Wooldridge, slater, project manager, Bethesda, Maryland

Bill Yeingst, curator, National Museum of American History, Smithsonian Institution, Washington, D.C.

Pauli Zmolek, decorative painter, Takoma Park, Maryland

INTERNATIONAL UNION OF BRICKLAYERS AND ALLIED CRAFTWORKERS (BAC), INTERNATIONAL MASONRY INSTITUTE (IMI)

Frank Baiocchi, marble mason, Mt. Airy, Maryland

Ed Bellucci, IMI deputy director of Apprenticeship and Training, Jefferson, Maryland

Robert Bernardon, marble mason, Suitland, Maryland

Lewis Carrara, mosaic worker, Fortville, Indiana

Raoul Cervantes, bricklayer, Claremont, California

Kurt Colo, bricklayer, New Baltimore, Michigan

Laird Donaldson, IMI regional director, Auburn, Washington

James Farris, stone mason, Stafford, Virginia

Richard Francescon, marble mason, South Easton, Massachusetts

Greg Hartseil, IMI Job Corps regional director, Lorida, Florida

Dennis Holloway, IMI Scola Training Center director, West Babylon, New York

Mike Kassman, IMI pointing, cleaning, and caulking instructor, Waynesboro, Pennsylvania

Tony Kassman, IMI National Safety, pointing, cleaning, and caulking coordinator, Tonawanda, New York

John Kitchen, bricklayer apprentice, Dryden, New York

Frank Koletar, refractory bricklayer, Orchard Park, New York

Annette Ludwig, tile layer, Bellevue, Washington

Nelson McMath, BAC Local 9 Michigan field representative, Saline, Michigan

Tom McQuaid, BAC Local 1 DC, MONA secretary, treasurer, Gettysburg, Pennsylvania

Steve Martini, IMI Strategic Programs director, Cascade, Maryland

Steve Mason, terrazzo apprentice, Washington, D.C.

Antoine Matthews, bricklayer, Baltimore, Maryland

Michael Menegazzi, IMI terrazzo instructor, South Gate, California

Bob Mion, IMI tile, marble, and terrazzo instructor, Binghamton, New York

Guillermo Moreno, stone mason, Hyattsville, Maryland

Colleen Muldoon, coordinator of Education Programs, bricklayer, Baltimore, Maryland

Clarence Nichols, IMI deputy director of Apprenticeship and Training, Cumberland, Maryland

Angela Olszewski, tile layer, Jersey City, New Jersey

Lester Parnell, bricklayer, Detroit, Michigan

Bob Perry, IMI regional director, Culver City, California

Darren Raines, tile layer, Chicago, Illinois

Matthew Redabaugh, IMI coordinator of Special Projects, Cascade, Maryland

Butch Rovder, BAC stone craft director, South Riding, Virginia

Joe Stewart, BAC pointing, cleaning, and caulking craft director, Pittsburgh, Pennsylvania

Gene Stinner, IMI director of Apprenticeship and Training, Cascade, Maryland

Dennis Studley, IMI Job Corps regional director, Yucaipa, California

Harold Sugg, refractory bricklayer, West Seneca, New York

Jimmy Ternent, marble mason, Westminster, Maryland

John Totten, IMI plaster instructor, Clintondale, New York

Drew Vecchione, IMI stone instructor, Flourtown, Pennsylvania

Battista Yon, bricklayer, Hyattsville, Maryland
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2001, Series 3
See more items in:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-2001-ref26

Bernarda Bryson Shahn papers

Creator:
Bryson, Bernarda  Search this
Names:
Calder, Alexander, 1898-1976 -- Photographs  Search this
Hayes, Helen, 1900-1993  Search this
Javitz, Jacob  Search this
Knight, Gwendolyn  Search this
Lionni, Leo, 1910-  Search this
Lynes, Russell, 1910-1991  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Robbins, Warren M.  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Shahn, Ben, 1898-1969  Search this
Shahn, Jonathan, 1938-  Search this
Extent:
14.6 Linear feet
5.88 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Scrapbooks
Sketches
Diaries
Photographs
Drawings
Sketchbooks
Watercolors
Date:
1872-2004
bulk 1904-2004
Summary:
The papers of painter, printmaker, and illustrator Bernarda Bryson Shahn measure 14.6 linear feet and 5.88 GB and date from 1872 to 2004, with the bulk of the materials dating from 1904-2004. Found within the papers are family and biographical materials, correspondence, writings including sound recordings of lectures by the Shahns, some in digital format, voluminous notebooks, five diaries, exhibition files, personal business records, printed material, seven scrapbooks, one sketchbook and other art work, and photographs. Although the bulk of the collection documents Bernarda's work, there are materials about or created by Ben Shahn scattered throughout the collection. There is a 2.7 linear foot unprocessed addition to this collection donated in 2011 that includes administrative files regarding Bernarda Shahn's work on the board of Skowhegan correspondence of both Bernarda and Ben Shahn; an inventory ledger with names of works of art by Ben Shahn; a scrapbook regarding Ben Shan's work in Japan; photographs of Ben and Bernarda Shahn and images of works of art by Ben Shahn; sketchbooks and notebooks by Ben and Bernarda Shahn; and printed material.
Scope and Content Note:
The papers of painter, printmaker, and illustrator Bernarda Bryson Shahn measure 11.9 linear feet and 5.88 GB and date from 1872 to 2004, with the bulk of the materials dating from 1904-2004. Found within the papers are family and biographical materials, correspondence, writings including sound recordings of lectures by the Shahns, voluminous notebooks, five diaries, exhibition files, personal business records, printed material, seven scrapbooks, one sketchbook and other art work, and photographs. Although the bulk of the collection documents Bernarda's work, there are materials about or created by Ben Shahn scattered throughout the collection. There is a 2.7 linear foot unprocessed addition to this collection donated in 2011 that includes administrative files regarding Bernarda Shahn's work on the board of Skowhegan correspondence of both Bernarda and Ben Shahn; an inventory ledger with names of works of art by Ben Shahn; a scrapbook regarding Ben Shan's work in Japan; photographs of Ben and Bernarda Shahn and images of works of art by Ben Shahn; sketchbooks and notebooks by Ben and Bernarda Shahn; and printed material.

Biographical material includes biographical accounts for Bernarda and Ben Shahn, identification cards, membership cards, awards, appointment books and calendars, address books, and a video recording.

Correspondence is primarily between Bernarda Bryson Shahn and publishers, educational institutions, and colleagues and friends including Leo Lionni, Russell Lynes, Robert Osborn, and Warren Robbins.

There are four linear feet of notes, notebooks, typescripts, and other writings by Bernarda Bryson Shahn and others, many of which concern Ben Shahn. Included are numerous files of research notes for published and planned books about Ben Shahn, notebooks concerning art-related topics, card files of art work, lists, sound recordings of lectures by the Shahns and Gwen Knight, some in digital format, and many typescripts of writings about art and Ben Shahn, among other topics. There is also a folder of notes by Ben Shahn for the Mural for the Rural Rehabilitation Program. Five of Bernarda Shahn's diaries contain very brief daily entries and some illustrations. The 1972 diary contains much more elaborate illustrations.

The exhibition files contain letters, notes, and printed material concerning exhibitions of art work by Ben Shahn.

Personal business records include files concerning property, the Skowhegan School of Painting and Sculpture, miscellaneous contracts, files concerning publishing, art price lists, and other scattered legal and/or financial records.

Printed material includes clippings, exhibition announcements and catalogs, press releases for Bernarda Bryson Shahn, Ben Shahn, and others, books including A Partridge in a Pear Tree, illustrated by Ben Shahn, and printed reproductions of art work. Seven scrapbooks also contain printed materials, notes, and photographs. Scrapbooks 1-4 document the creation of the Franklin Delano Roosevelt Memorial for which Jonathan Shahn created the large portrait bust. Scrapbooks 5-7 concern a book by Bernarda Bryson Shahn, and scrapbook 8 contains obituaries for Ben Shahn.

Art work includes a sketchbook with annotations, drawings, a portfolio of drawings, lettering designs, watercolor sketches, and layouts for publications.

Photographs are of unidentified and identified Shahn family members, Ben Shahn, Ben Shahn with friends and colleagues including Alexander Calder, Helen Hayes, Senator Jacob Javitz, and Nelson Rockefeller, Ben Shahn's studio, exhibition installations, and art work by Bernarda Bryson Shahn, Ben Shahn, and others. There are also travel photographs.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1937-1999 (Box 1, 13; 35 folders)

Series 2: Correspondence, 1934-2004 (Box 1-5, 13, OV 14; 3.6 linear feet)

Series 3: Notes and Writings, 1946-2001 (Box 5-9; 4.0 linear feet, ER01-ER09; 5.88 GB)

Series 4: Diaries, 1965-1985 (Box 9; 5 folders)

Series 5: Exhibition Files, 1955-2000 (Box 9; 5 folders)

Series 6: Personal Business Records, 1932-2001 (Box 9, 10; 0.8 linear feet)

Series 7: Printed Material, 1904-2004 (Box 10-11, 13, OV 14-15; 1.2 linear feet)

Series 8: Scrapbooks, 1945-1978 (Box 11, 13, OV 15; 30 folders)

Series 9: Art Work, 1970-2002 (Box 11-13, OV 14; 70 folders)

Series 10: Photographs, 1872-1985 (Box 12; 34 folders)

Series 11: Unprocessed Addition, circa 1904-2004 (Box 16-19, OV 20; 2.7 linear feet)
Biographical Note:
Bernarda Bryson Shahn (1903-2004) worked primarily in New Jersey as a painter, printmaker, and illustrator. She was married to Ben Shahn and often collaborated with him.

Bernarda Bryson was born on March 7, 1903 in Athens, Ohio, the daughter of the owner-editor of newspaper The Athens Morning Journal. After receiving early drawing and painting lessons from her mother, Bryson attended a private girls' school where she continued her studies in art and art history.

At Ohio University, Bryson majored in philosophy and attended art classes in which David Smith was a classmate. She later attended the Cleveland Art School where she studied printmaking.

Following graduation, Bryson taught etching and lithography at the art school of the Columbus Gallery of Fine Art. She also wrote for The Ohio State Journal and became editor of community paper The South Side Advocate. While in New York City to interview Diego Rivera, she met Ben Shahn who was assisting Rivera in painting the mural at Rockefeller Center. Bernarda Bryson and Ben Shahn were married in 1935.

Bernarda Bryson Shahn moved to New York and helped organize the Artists' Union and exhibited at the Whitney Gallery on Eighth Street. She then went to Woodstock to study lithography with Bolton Brown and was invited to set up a lithographic shop for the Resettlement Administration in Washington, D.C.

During the 1950s and 1960s, Bernarda Bryson Shahn executed illustrations for Harper's Magazine, Scientific American and Fortune in addition to random assignments from Life, Sports Illustrated and other publications. She illustrated many books including Wuthering Heights and Pride and Prejudice as well as writing and illustrating her own books Gilgamesh, The Twenty Miracles of Saint Nicolas, and The Zoo of Zeus. Following the death of her husband in 1969, she wrote and designed a large monograph Ben Shahn, published by Abrams.

In the mid-1970s, Bernarda Bryson Shahn won further recognition when she returned to painting.

Bernarda Bryson Shahn died on December 12, 2004 in Roosevelt, New Jersey.
Related Material:
Also found in the Archives of American Art are two oral histories with Bernarda Bryson Shahn, one completed in 1983 by Liza Kirwin and another in 1995 by Pamela Meecham. The Archives also holds the Ben Shahn papers.
Provenance:
Donated 1983 by Bernarada Bryson Shahn and in 2005 and 2011 by Bernarda Brsyon Shahn estate via Jonathan Shahn and Abigail Shahn, co-executors.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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 Jersey -- Roosevelt  Search this
Printmakers -- New Jersey -- Roosevelt  Search this
Illustrators -- New Jersey -- Roosevelt  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Genre/Form:
Sound recordings
Scrapbooks
Sketches
Diaries
Photographs
Drawings
Sketchbooks
Watercolors
Citation:
Bernarda Bryson Shahn papers, 1872-2004, bulk 1904-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brysbern
See more items in:
Bernarda Bryson Shahn papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brysbern

W. Atlee Burpee & Company records

Creator:
W. Atlee Burpee Company  Search this
Burpee, W. Atlee (Washington Atlee), 1858-1915  Search this
Burpee, David, 1893-1980  Search this
James Vick's Sons (Rochester, N.Y.).  Search this
Wm. Henry Maule (Firm)  Search this
Extent:
201 Cubic feet
Type:
Collection descriptions
Archival materials
Advertising
Business records
Correspondence
Account books
Pamphlets
Trade catalogs
Date:
circa 1873-1986
bulk 1890-1930
Summary:
The W. Atlee Burpee & Company records, dated circa 1873-1986, document the firm's business activities developing plant varieties and marketing and selling seeds. They include accounting records, seed trial records, seed contracts, sales records, inventories, office correspondence, seed catalogs, promotional and instructional materials, advertisements and advertising reports, contest letters, daybooks, photographs, reference materials, and other items relating to the company and some of its competitors.
Scope and Contents:
This collection documents W. Atlee Burpee & Co., a mail-order seed company based in Philadelphia, from its early beginnings in 1876 when its founder, W. Atlee Burpee, started in the agricultural business, to the 1970s when his son, David Burpee, sold the family's then-global company. The collection also includes personal papers of the Burpee family dating back to the mid-nineteenth century.

Business-related content in the collection consists of crop propagation and management records; company correspondence; administrative and personnel records; advertising files; legal papers; property records and plans; reports, studies, and technical data; notes and drafts; files on professional outreach activities and events; trade literature (published by both the Burpee company and a number of its competitors); and awards and certificates received by the company. Significant topics documented in these files include the development of notable flower and vegetable novelties introduced by the company; the impact of World Wars I and II on gardening and the global seed trade; advertising strategies, technology, and innovation; and David Burpee's involvement in the national floral emblem congressional debate.

The Burpee family papers consist of personal files unrelated to the company's business operations. This includes records generated by W. Atlee's father (David Burpee, 1827-1882) and grandfather (Washington L. Atlee, 1808-1878), as well as W. Atlee's wife, Blanche (1863-1948); David Burpee (1893-1980) and his wife, Lois (1912-1984); and W. Atlee Burpee II (1894-1966). There are genealogical surveys conducted on both the Atlee and Burpee families as well as clippings about family members. W. Atlee and David Burpee's series are the most extensive and cover their involvement with numerous clubs and societies such as the Canadian Society of Philadelphia, the Union League of Philadelphia, and, for David Burpee, his involvement with Pearl S. Buck's Welcome House charity. The series include personal correspondence; financial, accounting, and tax records; files generated during vacations; reference material; and will and estate papers.

The Burpee collection also has a large number of images related to the Burpee business and family in a variety of formats including photographs, film and glass plate negatives, and advertisement mock-ups. Other formats include architectural and site plans, original artwork for advertisements, films, cassettes, audio tapes, and ephemera.
Arrangement:
Collection is arranged into six series:

Series 1: Plant/Farm Related Material

Series 2: Business Records

Series 3: Material Published About the Burpee Company

Series 4: Awards and Certificates

Series 5: Photographic and A/V Materials

Series 6: Burpee Family Papers
Biographical / Historical:
Washington Atlee Burpee (1858-1915) began a mail-order poultry and livestock business in 1876 in Philadelpia, which he soon expanded to include corn seed for chicken feed. In 1878, he founded W. Atlee Burpee & Co., the primary focus of which was to sell vegetable, fruit, and flower seeds through the mail. This company would go on to become one of the most notable seed distributors in the United States.

By 1888, Burpee's family home, Fordhook Farms, in Doylestown, Pennsylvania, was established as an experimental farm to test and evaluate new varieties of vegetables and flowers, and to produce seeds. Burpee spent many summers traveling throughout the United States and Europe, visiting farms and searching for the best flowers and vegetables; certain plants he found were shipped to Fordhook Farms for testing. Plants that survived were bred with healthier specimens to produce heartier hybrids that were more resistant to disease. Other Burpee trial gardens were established in Lompoc, California and near Swedesboro, New Jersey.

Burpee's son David took over the family business upon his father's death in 1915. At that time, the Burpee Company had 300 employees and was the largest mail order seed company in the world. It distributed over one million catalogs a year and received as many as 10,000 orders a day. In response to food shortages caused by World War I, the Burpee Company helped promote a "war gardens" campaign that evolved into a "victory gardens" campaign during World War II. Both were aimed at city dwellers and instructed them on how to grow vegetables for their own consumption to aid in the war effort.

Sometime in the 1930s, the Burpee Company entered into a business relationship with the James Vick's Company of Rochester, New York. In 1947, Burpee purchased the assets of and rights to the use of the name of the Wm. Henry Maule Co. In 1970, Burpee was sold to General Foods; the corporate headquarters moved from Philadelphia to Warminster, Pennsylvania in 1974. David Burpee remained a consultant for the company until his death in 1981. In 1991, the Burpee Company was acquired by George J. Ball, Inc.
Related Materials:
Burpee seed catalogs donated to the Smithsonian in 1982 by the W. Atlee Burpee Co. can be found in the Smithsonian Libraries and Archives' Trade Literature Collection at the National Museum of American History.

The Farm Security Administration - Office of War Information Photograph Collection in the Library of Congress Prints and Photographs Division includes a series of images of Burpee company operations taken in 1943.

The Black Gold Cooperative Library System's Asian/Pacific - Americans on the Central Coast Collection includes images dated 1933-1939 of Japanese employees of the Burpee Co. working at Floradale Farms in Lompoc, California.
Restrictions:
Access to original images 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.
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.
Topic:
Seed industry and trade  Search this
Mail-order business  Search this
Gardens -- United States  Search this
Business  Search this
Agriculture  Search this
Horticulture  Search this
Vegetables  Search this
Flowers  Search this
Trial gardens  Search this
Victory gardens  Search this
Contests  Search this
Genre/Form:
Advertising
Business records
Correspondence
Account books -- 19th century
Account books -- 20th century
Pamphlets
Trade catalogs
Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Identifier:
AAG.BUR
See more items in:
W. Atlee Burpee & Company records
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-bur
Online Media:

Argument of John Quincy Adams, before the Supreme Court of the United States, in the case of the United States, Appellants, vs. Cinque, and others, Africans, captured in the Schooner Amistad

Subject of:
John Quincy Adams  Search this
Sengbe Pieh, Sierra Leonean, 1814 - 1879  Search this
Supreme Court of the United States, American, founded 1789  Search this
Published by:
S. W. Benedict, American  Search this
Signed by:
John T. Bradlee, American  Search this
Medium:
ink on wove paper
Dimensions:
H x W: 8 11/16 × 5 11/16 in. (22 × 14.5 cm)
Type:
books
manuscripts
Place printed:
New York, New York, United States, North and Central America
Place depicted:
Washington, District of Columbia, United States, North and Central America
Cuba, Caribbean, Latin America, North and Central America
Sierra Leone, West Africa, Africa
Date:
1841
Topic:
African American  Search this
Illegal slave trade  Search this
International affairs  Search this
Law  Search this
Slavery  Search this
Trans Atlantic slave trade  Search this
U.S. History, 1815-1861  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2018.46.6
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5c555f537-deaf-49ec-9815-af12ef6b8a36
EDAN-URL:
edanmdm:nmaahc_2018.46.6
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>Argument of John Quincy Adams, before the Supreme Court of the United States, in the case of the United States, Appellants, vs. Cinque, and others, Africans, captured in the Schooner Amistad</I> digital asset number 1

Project Files

Collection Creator:
Wilbur H. Burnham Studios  Search this
Extent:
10.6 Linear feet (Boxes 2-12, 42)
Type:
Archival materials
Date:
1916-1980s
Scope and Contents note:
Project, or "Job," files provide documentation of contracts for approximately 250 locations held by Burnham Studios throughout the United States and in Bellau, France, from the 1920s-1980s. Files typically include correspondence with clients, architects and builders, contracts, purchase orders, building plans, sketches, scattered photographs and some printed material. Found at the beginning of the series are some files relating to projects in general, including correspondence and job orders with metal window specialists, Chas. Haas Company; 2 sets of index cards listing project numbers and materials used; records of repair contracts; and a set of completed contracts for the firm Reynolds, Francis & Rohnstock from 1920s-1960s.

The series contains significant documentation for the following projects in particular: New York's Cathedral of Saint John the Divine, Saint Mary's Cathedral in Peoria, Illinois, Saint Martin's Church in Providence, Rhode Island, and the Washington National Cathedral in Washington D. C.

See Appendix for a list of numbered contracts in Series 6.
Arrangement note:
Arrangement of this series reflects the studio's main system for organizing project files alphabetically by name of the town in which the job site was located. It can be assumed that all folder titles containing references to letters elsewhere in the collection (e.g. "Repairs, A-C, E,") also follow that system of arrangement. Beginning in the 1920s Burnham Studios began assigning numbers to contracts and several copies of a list of contracts by number were found in the collection. That list is provided below and allows for cross-referencing (albeit incomplete) of the projects arranged by location in this series with the design studies found in Series 10: Artwork and Sketchbooks. The list was transcribed from hand-written records which were incomplete and sometimes illegible.
Appendix: List of Numbered Contracts in Series 6:
1. Pitsburgh, E. Liberty Presbyterian Church, 3 figure windows

2. Pittsburgh, E. Liberty Presbyterian Church

3. Sample, Liturgical Arts Exhibition

4. New York, Cath. St. John Divine, Missionary sample

5. Chevy Chase, Shrine Most Blessed Sacrament

6. Boston, Old South, repair corridor windows

7. Boston, Old South, 30 clerestory windows

8. Sample, duplicate Liturgial Arts #3

9. Boston, Old South rose

10. Worcester, All Saints Church, chancel

11. Boston, N. E. Mutual

12. Fall River, St. Mark's Church

14. Albany, St. Andrew's

15. Worcester, All Saints Church (Thompson) duplicate (restored after fire)

16. Buffalo, Westminster Presbyterian

17. Transparencies, Dusky Dancer

18. Quincy, Mausoleum, Long & Saunders

19. Worcester, All Saints Church, aisle, St. Martin of Tours

20. Greenwood, Union Church

21. Illegible

22. New York, Cath. St. John Divine, Lawyers

23. Worcester, All Saints Church, Sample Mr. Robb

24. Waban, Union Church

25. New York, Cath. St. John Divine, Ecclesiastical

26. Worcester, All Saints Church aisle, St. Elizabeth of Hungary

27. New York, Cath. St. John Divine, clerestory (Lawyers Bay-St. Paul; Ecclesiastical Bay-Moses)

28. New York, Cath. St. John Divine, clerestory (St. Augustine, St. Aidan)

29. New York, St. Thomas Chapel

30. Transparency, Erica

31. Transparency, Dickey, Coats of Arms

32. Boston, Tremont Temple, Erica

33. Northeast Harbor, St. Mary's by the Sea

34. Albany, Westminster Presbyterian, Herrick Mem'l aisle, Faith

35. Detroit, Backus, design

36. New York, Cath. St. John Divine, aisle sample #25

37. New York, Cath. St. John Divine, clerestory sample #28

38. Cambridge, St. Peter's

39. Detroit, Backus

40. Worcester, All Saints-Thompson

41. Needham, Legion

42. Christ circle

43. Sunapee, N. H. Private Chapel, Crowther

44. Durham, N. C. (see also #19 old groups of numbers)

45. Needham, Congregational, Long Church

46. Sample, Madonna and Child

47. Salisbury, MD, St. Peter's

48. Mechanicville, NY, Frye

49. Transparency, Portia and the Prince, King Lear Spring

50. Resnick-Roslindale-Church Saviour

51. Melrose, Trinity Church

52. Dobbs Ferry, N. Y., Ferncliff Chapel

53. Peoria, IL, St. Mary's Cath.

54. Clinton, St. John's Choir windows

55. Beverly, Appleton, circle

56. Repair, National Casket Co.

57. Au Sable Forks

58. Cincinnati, Calvary Church

59. Norwich, CO, repair

60. Lanesboro, St. Luke's Church

61. Repair, Lantern, Mrs. George Hall

62. Beverly, St. Peter's Gove

63. Belfast, ME, Matthews Brothers

64. Los Angeles, Dohney Mausoleum

65. Barharbor, Lingee Memorial

66. Peoria, IL, Lady Chapel

67. Tozzer House, Fry, Cambridge

68. Detroit, Central M. E. Church

69. Bishop O'Leary's House

70. Concord, St. Paul's School, fifteen medallions

71. Repair, Melrose, Trinity Church

72. Winter Park, Rollins College

73. Repair, lampshade, Smith

74. Swampscott, Ch. Holy Name

75. Marblehead, Unitarian Church

76. Grand Rapids, Klise Chapel chancel window

77. Hadley, South, Mount Holyoke Chapel

78. Peoria, Illinois, roses

79. Clinton, St. John's, 3 sanctuary, 2 chapel, 2 front

80. Concord, N. H. - Adams

81. St. Augustine, FL

82. Salt Lake City-Fry

83. Winter Park, Rollins College-Erasmus, John, Eliz. of Hungary

84. Cincinnati, Trailer cathedral-Bishop Hobson

85. Mechanicville-Fry (2 aisles)

86. Sample, Eve from Peoria Lady Chapel

87. Transparencies, Erica 2 coat of arms and 2 trans.

88. Northampton-Prof. Putnam

89. Albany, N.Y., St. Andrew's

90. Allentown, PA, St John's Ev. Luth. Church

91. Hampton, NH, Congregational Church

92. Northampton, Smith College, Library Chapel, Irving & Casson

93. Repair, Brookline, St. Paul's

94. San Francisco, St. Ives' Law Club, St. Ignatius

95. Brookline, Mr. Page, 80 Seaver St.

96. Brookline, Leyden Congregational Church, West transept

97. Sample, Duplicate #46

98. Peoria, IL, St. Thomas More Chapel

99. Brocton, Bart Bonner

100. Sample, Gowns

101. Sample, duplicate of #52

102. Processes for exhibition-how window is made

103. Repair-Long & Saunders

104. Repair

105. Brookline, Harvard Church

106. Coat of Arms, Bishop Schlarman

107. Peoria, St. Mary's Cath. 12 nave windows

108. Medway

109. Cleveland, Ohio, Trinity Cathedral, aisle windows

110. Elyria, St. Andrew's Episcopal Church

111. Braintree, Emmanuel Church

112. West Roxbury, Church Holy Name

114. Montpelier, St. Augustine's Ch.

115. Winchester, Ch. Epiphany

116. Exeter, NH, repair

117. Bradford, VT-Congregational Church

118. Transparency, colored pieces

119. Repair, Chestnut Hill, Ch. Redeemer

120. Pittsburgh, PA, Hunt Residence

121. Wellesley, College

122. Repair, Collens

123. Melrose, Repair

124. Newport, RI, St. George's School

125. Brookline, St. Paul's, repair

126. Wrentham, Trinity Episcopal, repair

127. Repair, Leominster, Pilgrim Congregational

128. Christ Chapel, Brookline-Sears 1st repairs

129. Sample, Dagit, Philadelphia

130. Harrisburg, Pine Street Church

131. Repair, Stafford Springs, Molitoris

132. Repair, Holy Name, W. Roxbury, basement

133. Repair, Chestnut Hill, Ch. Redeemer

134. Repair, Leominster, Methodist

135. Repair, Medfield, Congregational

136. Repair, New Badford, Weber

137. Church Hill, Md., St. Luke's

138. Mt. Vernon, O., Mercy Hospital

139. Cincinnati, Calvary Ch. transept

140. Transparency, St. Francis of Assisi (WHB)

141. Jamaica Plain, Unitarian Cong. Ch. repair

142. Transparency, Fry

143. Transparency, WHB Owl

144. Concord, St. Paul's School Shields

145. New Haven, CO, St. Thomas Ch.

146. Greensbury, 1st Pres. Ch.

147. Albany, St. Andrews, aisle

148. Sample, Jr. auto panel

149. Repair, Ch. New Jerusalem

150. Milford, Trinity Ch. design

151. Greensburgh (Taylor)

152. Transparency, Sea Horse

153. Repair, Cambridge

154. Lynn, Ch. Incarnation

155. Miss Frye., Mechanicsville, NY

156. Webster, Church of Reconciliation, Col. Wilson

157. Sample, Tricker Gallery, Exhibition, Kotzian Cruifixion

158. Montpelier-St. Augustine's-Crosby

159. Springfield, Hillcrest Mausoleum, Heydt

160. Brookline, Christ Church (Sears)

161. Transparency, St. Francis two ovals

162. Brookline, Christ Chapel (Sears) reglazing rose

163. Newport, St. George's Chapel

164. Webster, Church of Reconcilliation, Chancel, 2 grisaille windows

165. Maynard, Heffernan, circular and 2 quarries

166. Transparency ship no paint

167. Washington Cathedral, Choir clerestory-Peter Paul, Annunciation

168. Transparency, Owl

169. Swampscott, St. John's Convent repair

170. New Bedford, St. Joseph's Ch., Maginnis & Walsh

171. Transparency, St. Francis, Gothic

172. Sample, auto panel Jr., framing & boxing

173. Transparency, Jr. Mexican dancer

174. Transparency, Chocolate soldiers

175. Transparency, Knave of Spades-Erica

176. Transparency, Queen of Hearts-Erica

177. Maynard, 10 aisle windows

178. Peoria, St. Mary's Cathedral, St. Thomas More Chapel, murals

179. Roxbury, Jewish Synagogue (now 209)

180. Worcester Tech, 29 medallions

181. Repair, Charleston, SC

182. New Bedford, Holy Name Parish

183. Finkelstein, 2 cabinet doors, king and queen

184. Holyoke, Our Lady Perpetual Help

185. Mechanicsville, NY, balcony window, Frye

186. Mechanicsville, NY, aisle and clerestory, Frye

187. Cleveland, OH, First Baptist

188. Wakefield, Universalist Church

189. Gloucester, L. Buswell

190. Transparency, Monkey, Bush

191. Winthrop, C. L. Covington

192. Natick, Morse Institute

193. Fall River, St. Mark's 4/18/40

194. Montgomery, AL, Ch. Ascension

195. New York, Cath. St. John Divine, 5 apse clerestory 450 sq. ft.

196. Sample, Exhibition, Hotel Penn., New York

197. Clifton, O. Ch. Annunciation

198. Sample for Mr. Hoyle

199. New York, Christ Ch., Mosaics

200. Lynn, First Universalist

201. Repair, Quincy, Atlantic Methodist

202. New Haven, CO, Evergreen Cemetery Chapel

203. Litchfield, CO, St. Michael's Church aslo #210

204. Chicago, IL, First Presbyterian Church

205. Lexington, Hancock Congregational

206. Fitchburg, St. Bernard's Convent Chapel

207. Brookline, Temple Israel

208. East Boston-two windows-quarry

209. West Roxbury, Austrian Hungarian Society

210. Litchfield, CO., St. Michael's door lights see #203

211. Valhalla, Long Island, Gate of Heaven Cemetery

212. Albany, St. Andrews, aisle, St. Paul

213. Cambridge, book case

214. Westfield, St. Mary's lower church

215. Cleveland, OH, First Baptist, Dr. Phillips'single lancet

216. Milford, Trinity Church, rose, Miss Brent

217. Toledo Museum, Music transparency

218. Boston, Old South church, Children's Chapel

219. Palmer, St. Thomas Church

220. West Roxbury, Church of Holy Name

221. Watertown, CO, Christ Church-2 lancet window

222. Newton, Finkelstein, quarry

223. Boston, Emmanuel Church

224. Albany, NY, St. Andrew's, five windows

225. Chestnut Hill, Ch. Redeemer, choir window

226. Hampton, NH, 1st Congregational Church

227. Boston, Ch. Disciples, Frye

228. Cambridge, First Unitarian

229. St. Agatha, Maine, Ch. St. Agatha

230. Portland, Maine, Mr. Graham

231. Transparency repair-Veritas

232. Bronx, NY, St. Helena

233. Washington Cathedral, Peter, Paul, Joan of Arc

234. Worcester, Chestnut St. Congregational

235. Washington Cathedral, Peter Paul, Color scheme

236. Newton, Mr. Porder (2 small king and queen)

237. Bronx, NY, Carmelite Monastery

238. Dorchester, St. Matthews

239. Salisbury, MD, St. Peter's (4 lancets)

240. Dover, NH, St. Thomas Episcopal Church, inscription

241. Roxbury, Jewish Cemetery, inscriptions

242. Repair, Boston, Mt. Vernon

243. Peoria, IL, St. Mary's Cath., Good Shepherd panel

244. Albany, NY, St. Andrews: Sts. Luke, Stephen, George

245. Watertown, CO, Christ Church, Bread of Life

246. Peoria, IL, St. Mary's Cathedral, St. Thomas More, ceiling, see #178

247. Lynn, Miss McCarthy, Dining Room

248. West Haven, CO, Christ Church

249. New Britain, CO, Ch. Holy Cross

250. Roxbury, Temple Mishkan Tefila

251. Cambridge, Harvard-Epworth, Methodist repair

252. Northampton, Mr. Putnam

253. West Roxbury, Ch. of the Holy Name repair

254. Albany, St. Andrew's Church

255. Punxsutawney, Pa, Cosmos and Damian

256. Whitinsville, Trinity Ch.

257. New York, Holy Ghost Chapel, Stearns and Stanton

258. Clinton, First Congregational Church

259. Boston, repair

260. Turners Falls, Congregational

261. Wash. D. C., Cath. Peter Paul, Apse window, Resurrection

262. Baltic, CO, Academy of the Holy Family

263. Boston, Hotel Lenox repair

264. Albany, St. Andrew's Ch., Joan of Arc, Augustine, Seabury, Bishop Doan, Cranmer, Wycliffe, St. Francis Assisi

265. Repair, Boston, lantern

266. Westfield, St. Mary's Ch., 22 aisle, 3 sanc., 13 clerestory

267. Austin, TX, Presbyterian Theological Seminary rose

268. Winter Park, FL, Rollins College

269. Winter Park, FL, All Saints

270. New York, Cath. St. John Divine, baptistry

271. Bridgeport, CO, Methodist Ch.

272. Repair, Brookline, All Saints Ch.

273. Lantern slides made 1940 (entire year)

274. Adams, First Congregational Ch.

275. Atlanta, GA, Mrs. McBurney

276. Repair, Maynard

277. Repair, Boston, Mr. Sargent

278. Sample, grisaille #164

279. Groton, Baptist Ch.

280. Repair, Newton

281. Chelsea, St. Rose's Ch.

282. Albany, NY, St. Paul's Ch.

283. Worcester, All Saints

284. Westfield, St. Mary's, Stations of the Cross

285. Peoria, IL, St. Mary's Cath., lightening windows

286. Bellaire, OH, Trinity Episcopal

287. Lantern slide, Joan of Arc

288. Newton, Temple Emmanuel

289. Westfield, St. Mary's Baptistry

290. Holyoke, Our Lady of Perpetual Help, Rose Dollard and Joan of Arc windows

291. Springfield, Holy Family (repair aisle in shop)

292. West Roxbury, Holy Name, gates

293. Roslindale, Ch. Our Savior

294. Westfield, St. Mary's Gallery Window

295. Westfield, St. Mary's 3 tympanum

296. Westfield, St. Mary's 2 small angel (5 entrance)

297. Transparencies, Christmas angels

298. Brookline, Mr. Green

299. Springfield, Holy Family, clerestory, sanctuary

300. Exhibition, Boston, Bornstein

301. Cambridge, Mt. Auburn

302. Repair, Winter Park, FL, Rollins College

303. Winchester, Congregational

304. Gales Ferry

305. Exhibition, Boston, St. Paul's Cath.

306. Boston, Station WMEX

307. Pittsfield, St. Mary Morning Star, Rose

308. Springfield, Holy Family, 10 door lights

309. Springfield, Holy Family, altar aisle tracery

310. Pittsfield, St. Mary Morning Star, 32 clerestory

311. Boston, Ch. Covenant

312. Holyoke, Sisters of Providence

313. Spotswood, N. J., St. Peter's Episcopal

314. Repair, Brookline, Wm. J. Barry

315. Attleboro, St. John's Ch., quarry

316. Pittsfield, St. Mary Morning Star, 10 nave

317. Pittsfield, St. Mary Morning Star, 12 boys and chapel sacistry

318. Pittsfield, St. Mary Morning Star, 7 amb. clerestory

319. Pittsfield, St. Mary Morning Star, 6 chapel

320. Pittsfield, St. Mary Morning Star, 4 nave

321. Watertown, Mr. Porter

322. Pittsfield, St. Mary Morning Star, confessionals, etc.

323. Newton, Mr. Leo Mayer

324. Repair, Attleboro, St. John's Ch.

325. Westfield, St. Mary's, door lights

326. Westrield, St. Mary's, plate

327. Lancaster, Immaculate Conception Ch.

328. Albany, NY, Madison Ave. Presbyterian

329. Boston, Bachrach

330. Cambridge, Episcopal Theological

331. Ipswich, Ascension Memorial

332. Wakefield, Mr. B., repair

333. Everett, Universalist Ch.

334. Roxbury, Mr. Libby

335. Albany, St. Andrew's Resurrection

336. Fall River, St. Mark's 2 transept, Christ blessing children and Boy Christ

337. Brookline, estimate, Honsberg

338. Repair, panels

339. Albany, NY, St. Andrew's clerestory

340. Colorado Springs, Grace Episcopal Ch.

341. Portland, ME, Mercy Hospital

342. Wash. D. C., Cath. Peter Paul, Center Apse, Christ in Glory

343. Fall River, St. Mark's, Resurrection, Tomb

344. Pittsburgh, Mellon Chapel

345. Fredericksburg, MD, St. George's, large window

346. Springfield, St. Michael's Cath.

347. Boston, U. S. Quartermaster Depot

348. N. Adams, St. John' Ch.

349. New Bedford, St. Andrew's Ch.

350. Dorchester, Baptist Temple

351. Brookline, Mr. Macmillan

352. Braintree, Emmanuel Ch.

353. Holyoke, Ch. Holy Rosary

354. Providence, R. I., Mr. Long

355. Fredericksburg, 3 door lights

356. Dorchester, Baptist Temple

357. Boston, Repair

358. Boston, Mrs. Turner

359. Worcester, Odd Fellows Home

360. Boston, Mr. Collens

361. Boston, Mrs. Hamilburg

362. Greenwood, Most Blessed Sacrament

363. Brookline, St. Lawrence Ch.

364. Boston, Kingsley School

365. Brookline repair

366. Concord, Trinity Ch., rose

367. Roxbury, Ch. St Theresa, rose

368. Boston, Touraine

369. Manton, R. I., St. Peter's

370. Wash. D. C., Rock Creek, St. Paul's Ch. three nave

371. Pittsfield, St. Mary's M. S. 29 doors

372. Fredericksburg, St. George's Ch. repair

373. Roslindale, Ch. Our Saviour

374. Boston, Hotel Touraine

375. Concord, Trinity Ch. lancets

376. Pawtucket, R. I., Trinity Church, door light

377. Fredericksburg, St. George's Ch. repair

378. Transparency, Choate

379. Wash. D. C., Red Cross

380. Portland, C. H. Farley Co.

381. Wash. D. C., Rock Creek, St. Paul's Ch. one tower

382. Jamaica, N. Y., Bishop Molloy Retreat House

383. Norfolk, Va. David Adams Memorial Chapel: 1 over side; 2 vestibule windows; 9 aisle; 2 side windows; 6 door lights; 1 over west; 6 narthex

384. Fredericksburg, St. George's Ch. repair

385. Repair, Boston, Swan

386. Repair, Boston, Presbyterian

387. Norfolk, Va. Our Lady of Victory Chapel, rose

388. New Bedford, St. James Ch.

389. Pawtucket, R. I., Trinity Ch., clerestory

390. Sample of #344, Mellon

391. New Bedford, Grace Ch.

392. Cleveland, OH, Euclid Avenue, Joan of Arc, Wycliff, St. Francis Assisi

393. Elyria, Ohio, St. Andrew's, Presentation in the Temple, Flight into Egypt

394. Sample, #180

395. Boston, repair, I. J. Fox

396. Worcester, Exhibition, general

397. Transparency, Jr. ship oblong 9 x 11

398. Transparency, Ernest's little round ship

399. Transparency, Rubiyat, glass upturned

400. Transparency, Rubaiyat IV - 58

401. Transparency, Rubaiyat, Bird of Paradise

402. Transparency, Erica's Madonna and Child

403. Transparency, Tahitian girl, Wallis

404. Transparency, ship, painted black round

405. Transparency, art and literature

406. Transparency, Egyptian charioteer

407. Worcester, Sacred Heart Ch.

408. Albany, St. Andrew's, 2 entrance, Lochner

409. Columbus, OH, Trinity Ch., designs only

410. Columbus, OH, Trinity Ch., 2 on south side

411. Fall River, St. Mark's, Gethsemane

412. Brunswick, Me., St. Paul's Ch.

413. Repair, Wakefield, Fussy

414. Repair, Peoria

415. Norfolk, Our Lady of Victory Chapel, 7 aisle

416. Norfolk, David Adams Memorial Chapel, one chancel window

418. Norfolk, David Adams Memorial Chapel, 1 circle, 1 window over balcony

419. Transparency, bunny

420. Transparency, Christ Child and lamb

421. Transparency, Puss in Boots

422. Transparency, Rooster

423. Roslindale, Ch. Our Saviour, Transept Window Fisk Memorial

424. Wash. D. C., Rock Creek, St. Paul's Ch. repair

425. Repair, Linden

426. Repair, Dedham

427. Repair, Boston

428. Transparency, St. Luke

429. Repair, Mr. Barber

430. Cleveland, OH, First Baptist, St. Mark

431. Exhibition, Modern Art

432. Wash. D. C., Rock Creek, St. Paul's Ch. two nave windows

433. Albany, St. Paul's, 4 chapel

434. Transparency pig

435. Winchester, Ch. Epiphany, 3-lancet tower

436. Repair, Boston

437. Sutton, Congregational

438. Northampton, St. John's

439. Dedham, Ch. Good Shepherd, 2 lancet

440. Repair, Leech

441. Albany, NY, St. Andrew's, 2 chapel

442. Pawtucket, RI, Trinity Ch., St. Michael's

443. Brookline, Torf Memorial Chapel

444. Brookline, St. Paul's Ch.

445. Camp Lejeune, N. C., chancel

446. Norfolk, VA, U. S. Naval Air Station

447. Boston, Bethlehem Steel

448. Worcester, St. John's Ch.

449. Providence, St. Martin's

450. Roxbury, St. Theresa's

451. Holyoke, Sacred Heart

452. Norfolk, Va. - Our Lady of Victory Chapel, 3 entrance

453. Auburn, N. Y., 2nd Presbyterian

454. Repair

455. Litchfield, Conn. - St. Michael's

456. Wash. D. C. - Cathedral Jefferson lancet

457. Pawtucket, R. I. - Trinity Ch., Nativity

458. Norfolk, VA - Frazier Hall, Naval Base, 3 entrance (Jewish)

459. Beverly - St. Peter's (Dorcas)

460. Lynn - Sacred Heart

461. Boston - Greek Cathedral (480)

461-A. Boston - Greek Cathedral (589)

462. Pawtucket, R. I. - Trinity alterations

463. Gardiner, Me. - Christ Ch., alterations

464. Bullions-Jewel

465. Boston-St. Elizabeth's Hospital, 14 win.

466. Auburndale - Ch. of the Messiah, chancel

467. Boston-S. Elizabeth's Hospital, 12 win.

468. Norfolk, Va.-Our Lady of Victory Chape (3 narthex, 1 transom, 2 door panels. Utilize 4 discarded medallions and make into 2 sacistry win. and 2 choir win. re-install 3 win. now in place)

469. Pascoag, R.I., Calvary Church

470. Albany, N. Y., St. Andrew's

471. Leominster, Pilgrim Congregational

472. Norfolk, VA., Our Lady of Victory Chapel (revision of rose, 4 nave windows)

473. Attleboro, All Saints

474. Bookplate-Stokes

475. Springfield-Hope Congregational

476. Boston-Holy Cross Cathedral

477. Waban-Union Church

478. Worcester-All Saints

479. Colorado Springs, CO, Grace Ch.

480. Boston-Greek Cathedral (461, 589)

481. Boston-Catholic Boys' Club

482. Providence Museum (repair)

483. Plymouth-St. Peter's (repair)

484. Providence, R.I.-St. Martin's

485. New York City-Mrs. Smith's panels

486. Easthampton-St. Philip's Ch.

487. Samples of glass (movie-Mrs. Taylor)

488. New York-Calvary Church, 5 apse

489. Washington Cathedral-Physician's window

490. Worcester-Sacred Heart

491. St. Paul, Minn.-House of Hope Ch. 7 chapel

492. Boston-Boston Univ., Mt. Chcorua

493. Milton-Milton Academy

494. Newton-St. Paul's

495. Holyoke-Mother House (see 554)

496. Waban-Union Church

497. Plymouth-St. Peter's

498. Boston-Trinity Ch. repair

499. Transparency-Bambino

500. Greenwood-Catholic Church

501. Plymouth-St. Peter's Church

502. Greenwood-Union Church

503. Waban-Union Ch., clerestory

504. Albany, N.Y.-St. Peter's

505. Boston-St. Clement's Church

506. Bronxville, N.Y.-Christ Church

507. Charlton City-St. Joseph's Church

508. Transparency-Small Christ Child

509. Waterbury, Conn.-Bunker Hill Cong. Ch.

510. Winchester-Unitarian Church (3 chapel)

511. Boston (Shaw)

512. Boston (Swift)

513. Montgomery, AL-St. John's (repair)

514. New York-St. John the Divine (St. Col. Chap.)

515. Ipswich-Ascension Memorial Church

516. Washington, D.C.-Rock Creek Parish (Brent)

517. St. Paul, MN-House of Hope, 2 narthex

518. Dedham-Ch. of Good Shepherd, clerestory

519. Granite Falls, MN, St. Paul's Luth. (cross)

520. Jamaica Plain-Blessed Sacrament

521. Briston, R.I.-Christ Church

522. West Roxbury-Jewish Cemetery (inscription)

523. Lonsdale, R. I.-Our Christ Church

524. Newton Center-Our Lady's (repair)

525. Manchester, NH-Grace Ch., 2 lancets

526. Newton-Vachon, 4 lights

527. Winchester-Congregational Ch., Sir Galahad

528. Winchester-Unitarian, Red Cross windows cloister

529. Central Falls, R.I.

530. Worcester-All Saints, 2 Baptistry

531. Boston-Kennedy Residence

532. Newton-Our Lady's, 2 lights

533. Brookline-Temple Israel, repair

534. Boston-St. Anthony's Shrine

535. Boston-St. Anthony's Shrine, 14 Stations

536. Boston-St. Anthony's Shrine, 2 murals

537. Colorado Springs, Grace Ch., 2 narthex

538. Colorado Springs-Grace Ch., Ascension

539. Brookline-Temple Israel, inscriptions

540. Brookline-Temple Israel, repair

541. New York-Calvary, 6 quatrefoils

542. New York-Calvary, 4 single lancets

543. New York-Calvary, 3 lancets

544. Boston-St. Anthony Shrine, 10 doorlights

545. Melrose-Trinity Church, 2 aisle

546. Burlington, Vt.-Cath. Immac. Conception

547. Greenwood-Union Church

548A. Washington Cath.-Choir, Civilizations

548B. Washington Cath.-Choir, Jacob

549. Providence-St. Martin's, 3 aisle

550. Watertown-Methodist, repair

551. Dorchester-St. Mark's

552. North Saugus-Union Church

553. Worcester-All Saints, repair

554. Holyoke-Mother House, 2 confessional

555. Milton-Reed, repair doorlight

556. St. Augustine, Fla-Trinity Ch., Vaill Mem. window

557. Winchester-Unitarian, repair vents

558. Mt. Desert, ME

559. Providence-St. Martin's, west window

560. St. Louis, MO-St. Michael's, 2 cleretory

561. St. Louis, MO-St. Michael's, 3 aisle

562. Colorado Springs-Grace Ch., Cruxifixion

563. Providence-St. Martin's, 3 lancet chapel win.

564. Providence-St. Paul's Ch., DeMaris window

565. Norwalk, CO-St. Paul's Ch.

566. Sprinfield-Trinity Ch., 10 windows

567. St. Louis, MO-1st Congreg'l (Creation)

568. West Roxbury-St. Theresa's, chancel

569. West Roxbury-St. Theresa's, 12 aisle

570. West Roxbury-St. Theresa's, transept

571. Evanston, Ill.-1st Presbyterian

572. Dorchester-St. Mary's Ch., 2 chancel

573. West Roxbury-St. Theresa's, 5 chapel

574. St, Paul, MN-House of Hope, War Memorial

575. Newton Hlds-St. Paul's, Ch. St. John window, St. Matthew

576. Lawrence-Central Methodist, Missionary win.

577. Colorado Springs-Grace Ch., Parables

578. Colorado Springs-Grace Ch., Miracles

579. Newport, R.I.-St. George's Ch., Missionary

580. Philadelphia, PA-St. Martin's, chancel

581. New York, N.Y.-Calvary, St. Francis

582. Cleveland, OH-Ch. Covenant

583. Cambridge-Theological Sch., rose

584. Bronxville, NY-Christ Ch., Epiphany

585. Providence, RI-St. Martin's s. porch win.

586A. Washington Cath.-Education; large Gemini

586B. Washington Cath.-Law

587. St. Louis, MO-1st Congreg'l, 4 prophets

588. Newton Corner-Grace Episcopal-Christ Window

589. Boston-Greek Cathedral, Good Shepherd

590. Colorado Springs-Grace Ch., 6 library

591. Colorado Springs-Pauline Chapel, 2 sanc.

592. West Roxbury-St. Theresa's Chapel, altar

593. New York-All Angel's, transept window

594. Cambridge-episcopal Theo. Sch., 9 aisle

595. Washington Cath-Book of Common Prayer

596. Bronxville, NY-Christ Ch., Boy Christ in Temple

597. Washington, DC-Rock Creek, Bishop Kemper

598. Philadelphia, PA-St. Martin's, repair

599. Newton Corner-Grace Ch., Old Testament repair

600. Newton Corner-Grace Ch., Creation

601. Colorado Springs-Pauline Chapel, rose

602. Litchfield-St. Michael's clerestory

603. Cambridge-St. Peter's, St. Anne Window

604. Ipswich-Ascension mem. Ch. 2 rose

605. Taunton-St. Thomas'-chapel window

606. Manchester, NH-Grace Ch., rose window

607. Bronxville, NY-Christ Ch., Jesse window, Missionary-3 lancet

608. Boston Univ.-Sch. Theology, Apostles-3 lancet, 8 sgle lancets, emblem

609. Boyd, Minn.-Redeemer Lutheran Ch., Cruxifixion

610. Rubaiyat transparency-rose center

611. Boston-Old South Ch, rear chapel window

612. Bronxville, NY-Christ Ch., Miracles aisle

613. Rockport, MA-St. Mary's Church

614. Lakewood, OH-Buchanan coat-of-arms

615. Portland, OR-Holy Name Church

616. Boston, MA-Old South Church, side chapel win.

617. Watertown, CO-Christ Church

618. Millwood, VA-Christ Ch. 2 aisle Baptism Annunciation

619. Melrose, MA-Altar win. Rev Smith's chapel

620. Transparency-Madonna and Child

621. Transparency-Madonna and Child

622. Albion, MI-Chapel, Starr Commonwealth for Boys

623. Buffalo, NY-Westminster Ch., 3 vestibule

624. Peabody, MA-St. Paul's Ch. Madonna and Child

625. Washington Cathedral-Suter Memorial windows

626. Millwood, VA-Christ Church, altar window

627. Millwood, VA-Christ Ch. 2 aisle, emblems, designed only

628. Bronxville, NY-Christ Ch., Ascension

629. Taunton-1st Parish Ch., aisle

630. Proctor, Vt.-Union Ch., 5 lancet rear window

631. Chestnut Hill, Mass.-Ch. Redeemer, Epiphany window

632. Plainfield, NJ-Crescent Avenue, Presbyterian Church

633. Cleveland, OH-Our Lady of Peace Ch.

634. Charlotte, NC-Myers Park Baptist Ch.

635. Holyoke-Greylock Rest, Good Shepherd Medallion

636. Providence, RI-Bishop Perry Mem. Win.

637. Waban-Union Ch., 8 clerestory

638. Orange, NJ-Grace Ch., "Baptistry win."

639. Brookline-temple Ohabei Shalom

640. Richmaond, VA-St. Paul's Church

641. Cleveland, OH-St. Philip and St. James' Ch., 13 emblems

642. Chestnut Hill-Ch. Redeemer, Te Deum win.

643. Gates Mills, OH-Gilmour Academy, 7 emblems

644. Arlington, MA-Ch. of Our Saviour

645. Lawrence, MA-Grace Episcopal

646. Newton Centre-First Parish Church, 3 2-lancet chapel windows

647. Wollaston-St. Chrysostom's, chancel window

648. Charlotte, NC-First Presbyterian, 10 chapel windows

649. Cleveland, OH-St. Jerome's Church

650. Attleboro-2nd Congregational Church, Mary and Martha lancet

651. Chestnut Hill-Ch. Redeemer, 2-lancet windows angels

652. Albany, NY-Westminster Presbyterian Ch., Antemann aisle window

653. Charlotte, NC, 1st Presbyterian, Madonna

654. Pittsfield-Congregational Ch.

655. Chestnut Hill-First Church, 6 2-lancet win.

656. Keene, NH-St. Jame's Ch., Nativity

657. Morgantown, VA-Trinity Ch.

658. Lynn-Ch. Incarnation, Mary Magdalene lancet

659. Rockport-St. Mary's, 2 door lights

660A. Washington Cathedral-Baptism

660B. Washington Cathedral-Go ye into the world

661. Charlotte, NC-Myers Park Baptist, Colonial lights

662. Portland, OR-Holy Trinity, Iconastasis

663. Winchester-Unitarian, 2 angel windows

664. Akron, OH-Ch. Immac. Conception

665. Washingon Cathedral-Sayre Memorial

666. Rye, NY-Christ Ch. Chapel, 2 three-lancets

667. Albion, MI-St. Geor and Dragon medallion

668. North Andover-Merrimac College Fac. House

669. St. Mary's City, Md.-Trinity Ch., 2 aisle

670. Worcester-All Saints, St. Anthony window

671. Wollaston, Methodist, chancel

672. Durham, NC-Trinity Methodist

673. Fairfield, CO-St. Paul's Ch.

674. Colorado Springs, CO-Grace Ch., triptych

675. Wakefield-Emmanuel, 2 aisle, A-St. Elizabeth; B-Madonna

676. Parma, O.-Alvernai Rest Home, 10 chapel

677. Gloucester-St. John's Church

678. Worcester-Trinity Lutheran, 2 chapel

679. Canton, OH-1st Presby. A-Chapel, B-Sanctuary

680. Malden-St. Paul's, aisle

681. West Roxbury-Jewish Benevolent Cemetery Assn.

682. Franfort, KY-Ch. Ascension

683. New Orleans, LA-Christ Ch. Cathedral, Nativity

684. St. Louis, MO-1st Cong., chancel window

685. Lewes, DE-St. Peter's, A-Baptism, B-Holy Communion, C-Tower, Virgin and Child

686. Beverly-St. Peter's Church, 8 aisle

687. Washington Cathedral-Lee and Jackson windows

688. Wakefield-Emmanuel Ch., St. George, Rose window

689. Wilmington, DE-Trinity Ch., 5 chapel

690. Eaton Rapids, MI-VFW Home, Chapel Windows, Colorado State seal medallion for cottage

691. Deham-St. Paul's Ch., St. George Window

692. Braintree-Library, 5 windows

693. Norfolk, VA.-Holy Trinity

694. Melrose-Rev. Smith's private chapel, 5 windows

695. Baltimore, MD.-Ch. Holy Nativity

696. Chevy Chase, MD-Methodist Church

697. Melrose-Congregational Church, 4 windows

698. Dedham-Ch. Good Shepherd, chapel window (Flight into Egypt, Nativity)

699. Cambridge-St. Peter's Ch., Ascension

700. Portland, OR-St. Mary Magdalene Ch.

701. West Columbia, TX-St. Mary's, rose

702. Cranston, RI-Bethany Lutheran, chancel and rose

703. Chappaqua, NY-Ch. St. Mary the Virgin, Rose

704. Alexandria, VA-Westminster Presby., Rose

705. Woodfords, ME.-(Irving and Casson) Trinity Church

706. Albany, NY-Westminster Presby. (Welles Mem.)

707. Wellesley-St. Andrew's Church

708. Cambridge, St. Mary's Church

709. Washington, GA-Ch. Mediator

710. Washington Cathedral-Rose and 6 lancets (1/2)

711. Grand Rapids, MI-South Congr. Church

712. Worcester-Central Congr. Church

713. Providence, RI-St. Martin's; St. Francis door panels

714. Belmont-All Saints Church

715. San Rafael, Calif.-St. Paul's Ch. 2 aisle, Mary and Martha; Christ Blessing Children

716. Southampton, NY-St. Andrew's Church

717. Washington, DC-St. David's Church, chancel

718. Washington Cathedral-Worcester, John Elliot lancet

719. Brighton-Temple Bnai Moshe

720. Spartanburg, SC-Ch. Advent

721. Holyoke-St. Paul's Church

722. Worcester-State Mutual Insurance Co.

723. Hartford, CT-Emanuel Evangel. Lutheran Church

724. Worcester-All Saints Ch, 3 Chapel

725. Albion, MI-Museum, Starr Commonwealth

726. Brookline-All Saints Church

727. Webster Groves, MO-Webster Hills Meth. Church

728. Newton-Newton Centre Methodist Ch, chancel

729. Bloomfield Hills, MI-Kirk-in-the-Hills

730. Dover, NH-St. Thomas' Church

731. Princeton, NH-Trinity Church

732. Portland, OR-Holy Redeemer Church

733. Jamaica Plain, MA-Pius Daughters Convent Chapel and New Chapel 1960

734. Huntingdon, PA-Abbey Evangel. and Reformed Church

735. Dayton, OH-St. Paul's Episcopal Church (not done)

736. Wash. DC-Sts. Constantine and St. Helen Gr. Orth

737. Cambridge-St. Peter's Catholic Church

738. Tulsa , OK-Trinity Church, 2 door panels

739. Randolph-Trinity Church, Rose-Christ the King

740. Clarksville, TN-Trinity Church, Nativity

741. Woods Hole-Ch. Messiah, 2 tower windows

742. Edgewood, RI-Ch. Transfiguration

743. Boston-Chapel, Children's Hospital

744. Melrose-Methodist Church

745. Houston, TX-St. Vincent de Paul

746. Watertown, MA-Union Church

747. Houston, TX-St. Stephen's Episcopal Church

748. Glendale, CA-Forest Lawn Memorial Park

749. Needham, MA-Christ Church

750. Marblehead-St. Andrew's Church

751. Tryon, NC-Tryon Presbyterian Church

752. New York City-Church of the Epiphany

753. Brighton-St. John's Seminary

754. Wilmington, DE-Calvary Church

755. Baltimore, MD-Cathedral of Mary Our Queen

756. Toledo, OH-St. Michael's in the Hill

757. New York, NY-South Wing, Riverside Church

758. Braintee-Congregational Church

759. Abilene, TX-Ch. Heavenly Rest

760. Milton-St. Michael's Church

761. Chattanooga, TN-First Presbyterian

762. Denver, CO-Epiphany Episcopal Church

763. Baltimore, MD-Cathedral Ch. Incarnation (Epis.)

764. The Plains, VA-Grace Episcopal Church

765. Honolulu, Hawaii-Central Union Church

766. Springfield-Christ Church Cathedral

767. Brookline-Levine Chapel

768. Hamburg, NY-Methodist Church

769. Melrose-Church of the Nazarene

770. Clearwater, FL-Ch. Ascension

771. Providence, RI-St. Pius Church

772. Transparency-WHBjr. angel, 1962

773. Chattanooga, TN-Cumberland Presby.

774. New Rochelle, NY-St. Paul's Episcopal

775. Washington, GA-First Meth. 8 Chapel

776. Brookline-McKenny Home

777. St. Joseph, MO-Mausoleum

778. Colorado Springs-Chapel Holy Spirit

779. Falmouth-St. Barnabas Memorial Church

780. Melrose-Public Library

781. Wakefield-Congregational Church

782. Staten Island, NY, Chapel Daughters of St. Paul Convent

783. Melrose, 1st Congregational Church

784. Appleton, Wisconsin, Aid Association for Lutherans, A=Chapel, B=Ornamental Windows

785. Worcester-Chestnut Street Congregational Church

786. S. Weymouth, Church of Holy Nativity

787. East Falmouth, MA, Grace Chapel

788. East Greenwich, RI, St. Lukes

789. Westford, MA, Hoffmire Residence

790. Bengtz, T? 61 Clifton Park, Melrose (Finland)

791. West Hartford, St, John's clerestory

792. Bell

793. [Quincy]

794. Rot? Transparency

795. Temple Israel

796. Me? Cong.

797. [Masonic em?] (WHB)

798. Provincetown-Church of the Holy Virgin

799. Queen of Hearts

800. King of Hearts

801. Lantern

802?

803?

804. Peace Dale

805. St. Pauls, Cambridge, Relief medallion

806. Tivoli, NY

807. Zodiac symbols

808. Transparency-child and lamb

809. Transparency-child and lamb

810. Transparency-Madonna and child

811. Transparency-[Penguin]

812. Peace symbol-3 made

813. Pisces-2 made

814. Worcester-Higgins estate

815. 4 door lights-Winthrop

816. WHB

817. Newfoundland

818. Small Taurus

819. Small Capricorn

820. Houston

821. Worcester-?

822. Small Gemini

823. Small Aries

824. Small Virgo

825. ?

826. Sylvester Cape Cod

827. [Cut one]

828. ?

829. Hamilton-Christ Church

830. 4 Door ?

831. Sample with Bro? ?

832. Reading

833. [Haywood Wakefield] Samples

834. Sample with B? Christian

835. Haywood Wakefield, colonial 9x20.5

836. Haywood Wakefield, colonial 9x20.5

837. Haywood Wakefield, colonial 10x24.5

838. 9x9 samples Haywood Wakefield

839. Marlboro-First Congr. Church

840. Beverly-Hospital Chapel

841. Belmont P? Park Congr.

842. Heywood-6x26.5

843. {Cab door lights (4)]

844. Cleveland Church of the Saviour

845. Sample Mirror-Heywood, Wakefield-6x31.5

846. C? Wakefield

847. Flowers transparency

848. T? Repair

849. Calami? (2 doors)

850. F? 4 windows (house)

851. Arlington ?

852. Rounds-Wilmington

854. Alley

856. Providence-St. Stephens

857. Q?-Salem Lutheran

858. N. ? ? church

858R. N. ? ? church repair

859R. St. Steohen's Providence (repair)

860. B?

861. Newport

862. Temple Israel B?

864. McRuff?

865. Lancaster, PA-Reformed Church

866. Mr. Reese?

867. England

868. Daughter of St. Pauls

870. 12 Christian Angels

871. Rubiyat

872. St. Paul's School Seal

873. Lamp-?

874. Old N. Church

875. Old N. Church Silhouette

876. ?-Silhouette

878. England

879. Rudeman

880. [Hamilton-St. Pauls]

881. [Beth Shalom Peabody]

882. [Samples] Heyward Clear 9" x 38"

883. [Samples] Heyward Clear 8" x 38"

884. [Samples] Heyward Clear 13" x 38"

885. Breckenridge House

886. Concord, NH 4 chapel

887. St. Georges School-Newport RI

888. [Naffei]

889-835. Blue and ? white

890-837. Blue and ? white

891-835. Window glass

892-835. Window gladd

893-835. ?, blue, window glass

894-837. ?, blue, window glass

895. ? repair

896. Woods Hole repair

897. Charlotte, Providence ?

898. Bu???

899. Still River, [MA]

900. Belmont Payson Park

901. Woods Hole Chancel repair

902. ?

903. Rogers-Portrait

904. ?

905. Choate seal for stars

907. ? 6 doors

908. ? [tulips]

910R. St. ? ? window

911. [Stella court Co.]

912. Repair, Winchester Congr.

913. Chattanooga 7 ?

914. Milton Academy, seal

915R. [Ewing Peabody]

916R. Everett repair

917. M?

918R. Dr. Hard?

919R. Pelegrine?

920R. Schwartz repair

924. ? St. Pauls

925. Wakefield Baptist

926R. T? repair

927. ? St.

928R. R? museum

929R. Wilmington
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Wilbur H. Burnham Studios records, circa 1901-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wilbhbur, Series 6
See more items in:
Wilbur H. Burnham Studios records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wilbhbur-ref66

W. Atlee Burpee & Company records - Accretion 1

Creator:
W. Atlee Burpee Company  Search this
Burpee, W. Atlee (Washington Atlee), 1858-1915  Search this
Burpee, David, 1893-1980  Search this
Wm. Henry Maule (Firm)  Search this
Extent:
2.25 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Business records
Correspondence
Pamphlets
Trade catalogs
Date:
1882-1980
bulk 1890-1930
Summary:
The W. Atlee Burpee & Company records - Accretion 1, dated circa 1882-1980, document the firm's business activities developing plant varieties and marketing and selling seeds. They include seed trial records, administrative files, seed catalogs, promotional and instructional materials, awards, reference materials, and other items relating to the company and some of its competitors.
Scope and Contents:
This accretion to the W. Atlee Burpee & Co. records documents aspects of the W. Atlee Burpee & Co., a mail-order seed company based in Philadelphia that was founded in 1876 by W. Atlee Burpee. It includes seed trial records; administrative and personnel records; trade literature (published by both the Burpee company and a few of its competitors); awards and certificates received by the company; and a few personal papers of David Burpee, W. Atlee's son and business successor.
Arrangement:
Collection is arranged into four series:

Series 1: Plant/Farm Related Material

Series 2: Business Records

Series 3: Awards and Certificates

Series 4: Burpee Family Papers
Biographical / Historical:
Washington Atlee Burpee (1858-1915) began a mail-order poultry and livestock business in 1876 in Philadelphia, which he soon expanded to include corn seed for chicken feed. In 1878, he founded W. Atlee Burpee & Co. to sell livestock and vegetable, fruit, and flower seeds through the mail. His company went on to become one of the most notable seed distributors in the world.

In 1888, W. Atlee bought a tract of land named Fordhook Farms in Doylestown, Pennsylvania. It was initially established as an experimental farm to test and evaluate new varieties of vegetables and flowers and to produce seeds for the mail-order market. Burpee spent many summers traveling throughout the United States and Europe visiting farms and searching for the best flowers and vegetables. Certain plants he found were shipped back to the firm for testing and propagation; other seeds were obtained through contracts with growers throughout the U.S., a practice common in the seed industry at that time. Promising varieties were bred with healthier specimens to produce hardier hybrids that were more resistant to disease. Other Burpee trial grounds were later established at Sunnybrook Farm near Swedesboro, New Jersey, and at Floradale Farm in Lompoc, California (1909/1910). The company went on to purchase more land for farming in California, and established sales branch headquarters in Sanford, Florida (c. 1930s), Clinton, Iowa (1942), and Riverside, California (1949).

W. Atlee Burpee married Blanche Simons (1863-1948) in 1892. They had three sons: David (1893-1980); W. Atlee Jr. ("Junior") (1894-1966); and Stuart Alexander (1901-1934). Both David and Junior attended the Blight School in Philadelphia for elementary school and Culver Military Academy in Culver, Indiana for preparatory school. While they both attended Cornell University as undergraduates, they left before graduating due to W. Atlee's poor health. Junior married Jeanetta Lee (1893-1981) in November 1916, and they had two children: W. Atlee III (1917-1971) and Jeanette (1919-2002). David married Lois Torrance (1912-1984) in 1938, and they had two children: Johnathan (b. 1941) and Blanche (b. 1943). Stuart Alexander was apparently born with a disability; according to census records he worked on farms during his lifetime.

David Burpee took over the family business upon his father's death in 1915; Junior served as treasurer of the firm once he returned from military service. At that time, the Burpee company had 300 employees and was the largest mail-order seed company in the world. It distributed over one million catalogs a year and received on average 10,000 orders a day. Under David's tutelage, the company adapted to contemporaneous shifts in business and advertising methods, advancements in plant science, ever-changing consumer demands, and two World Wars. In response to food shortages experienced during World War I, the Burpee company helped promote a "war gardens" campaign that evolved into a "victory gardens" campaign during World War II.

Both W. Atlee and David used their position as head of a major seed house to lobby congressional debates in regard to two topics: postage rates (W. Atlee) and the designation of a national floral emblem for the United States (David). Additionally, both men belonged to the Union Club of Philadelphia and The Canadian Society of Philadelphia (which W. Atlee helped found), and served on the boards of directors for hospitals and other charitable organizations. Both father and son were politically aligned with the Republican Party.

The firm reorganized its governing structure in 1917 at which time it changed its name from W. Atlee Burpee & Co. to W. Atlee Burpee Co. Burpee's acquired three seed companies between 1878 and 1970: Luther Burbank Seed Company, James Vick's Seeds, Inc., and the William Henry Maule Company. David Burpee sold the company to the General Foods Corporation in 1970 and served as a consultant for the business until 1973. The Burpee brand was bought by its current owner, George J. Ball, Inc., in 1991.
Related Materials:
Burpee seed catalogs donated to the Smithsonian in 1982 by the W. Atlee Burpee Co. can be found in the Smithsonian Libraries and Archives' Trade Literature Collection at the National Museum of American History.

The Farm Security Administration - Office of War Information Photograph Collection in the Library of Congress Prints and Photographs Division includes a series of images of Burpee company operations taken in 1943.

The Black Gold Cooperative Library System's Asian/Pacific - Americans on the Central Coast Collection includes images dated 1933-1939 of Japanese employees of the Burpee Co. working at Floradale Farms in Lompoc, California.
Restrictions:
Access to original images 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.
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.
Topic:
Seed industry and trade  Search this
Mail-order business  Search this
Gardens -- United States  Search this
Business  Search this
Agriculture  Search this
Horticulture  Search this
advertising  Search this
Vegetables  Search this
Flowers  Search this
Trial gardens  Search this
Genre/Form:
Business records
Correspondence
Pamphlets
Trade catalogs
Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Identifier:
AAG.BUR1
See more items in:
W. Atlee Burpee & Company records - Accretion 1
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-bur1

W. Atlee Burpee & Company Records - Accretion 2

Creator:
W. Atlee Burpee Company  Search this
W. Atlee Burpee Co.  Search this
Burpee, W. Atlee (Washington Atlee), 1858-1915  Search this
Burpee, David, 1893-1980  Search this
Wm. Henry Maule (Firm)  Search this
James Vick's Sons (Rochester, N.Y.).  Search this
Extent:
200 Cubic feet
Type:
Collection descriptions
Archival materials
Trade catalogs
Business records
Commercial correspondence
Instructional materials
Ledgers (account books)
Date:
circa 1873-1980
Summary:
The W. Atlee Burpee & Company records, dated circa 1873-1986, document the firm's business activities developing plant varieties, working with contract seedsmen, and marketing and selling seeds. They include seed trial records, seed contracts, sales and acccounting records, inventories, office correspondence, seed catalogs, promotional and instructional materials, advertisements and advertising reports, contest letters, daybooks, photographs, reference materials, and other items relating to the company and some of its competitors. The collection also includes Burpee family papers.
Content Description:
This collection documents W. Atlee Burpee & Co., a mail-order seed company based in Philadelphia, from its early beginnings in 1876 when its founder, W. Atlee Burpee, started in the agricultural business, to the 1970s when his son, David Burpee, sold the firm. The collection also includes personal papers of the Burpee family dating back to the mid-nineteenth century.

Business-related content in the collection consists of crop propagation and management records; company correspondence; administrative and personnel records; advertising files; legal papers; property records and plans; reports, studies, and technical data; notes and drafts; files on professional outreach activities and events; trade literature (published by both the Burpee company and a number of its competitors); and awards and certificates received by the company. Significant topics documented in these files include the development of notable flower and vegetable varieties introduced by the company; the impact of World Wars I and II on gardening and the global seed trade; advertising strategies, technology, and innovation; and David Burpee's advocacy of the marigold as the national floral emblem of the United States.

The Burpee family papers consist of personal files unrelated to the company's business operations. These include records generated by W. Atlee's father (David Burpee, 1827-1882) and grandfather (Washington L. Atlee, 1808-1878), as well as W. Atlee's wife, Blanche (1863-1948); David Burpee (1893-1980) and his wife, Lois (1912-1984); and W. Atlee Burpee II (1894-1966). There are genealogical surveys conducted on both the Atlee and Burpee families as well as clippings about family members. W. Atlee and David Burpee's series are the most extensive, and cover their involvement with numerous social and philanthropic clubs and organizations. The series include personal correspondence; financial, accounting, and tax records; travel-related files; reference material; and will and estate papers.

The Burpee collection also has a large number of images related to the Burpee business and family in a variety of formats including photographs, film and glass plate negatives, and advertisement mock-ups. Other formats include architectural and site plans, original artwork for advertisements, films, cassettes, audio tapes, and ephemera.
Arrangement:
Collection is arranged into six series:

Series 1: Plant/Farm Related Material Series 2: Business Records Series 3: Material Published About the Burpee Company Series 4: Awards and Certificates Series 5: Photographic and A/V Materials Series 6: Burpee Family Papers

The collection's original order was maintained wherever possible, though many records were found scattered throughout the collection and artificial files were necessarily created for them.

Most files are arranged chronologically or alphabetically by person or topic.

Various photographs interspersed in correspondence files were kept where they were originally found. All other photographic and audio/visual materials found on their own were grouped in Series 5 Photographic and A/V Material which documents aspects of both the Burpee company and Burpee family.
Biographical / Historical:
Washington Atlee Burpee (1858-1915) began a mail-order poultry and livestock business in 1876 in Philadelphia, which he soon expanded to include corn seed for chicken feed. In 1878, he founded W. Atlee Burpee & Co. to sell livestock and vegetable, fruit, and flower seeds through the mail. His company went on to become one of the most notable seed distributors in the world.

In 1888, W. Atlee bought a tract of land named Fordhook Farms in Doylestown, Pennsylvania. It was initially established as an experimental farm to test and evaluate new varieties of vegetables and flowers and to produce seeds for the mail-order market. Burpee spent many summers traveling throughout the United States and Europe visiting farms and searching for the best flowers and vegetables. Certain plants he found were shipped back to the firm for testing and propagation; other seeds were obtained through contracts with growers throughout the U.S., a practice common in the seed industry at that time. Promising varieties were bred with healthier specimens to produce hardier hybrids that were more resistant to disease. Other Burpee trial grounds were later established at Sunnybrook Farm near Swedesboro, New Jersey, and at Floradale Farms in Lompoc, California (1909/1910). The company went on to purchase more land for farming in California, and established sales branch headquarters in Sanford, Florida (circa 1930s), Clinton, Iowa (1942), and Riverside, California (1949).

W. Atlee Burpee married Blanche Simons (1863-1948) in 1892. They had three sons: David (1893-1980); W. Atlee Jr. ("Junior") (1894-1966); and Stuart Alexander (1901-1934). Both David and Junior attended the Blight School in Philadelphia for elementary school and Culver Military Academy in Culver, Indiana for preparatory school. While they both attended Cornell University as undergraduates, they left before graduating due to W. Atlee's poor health. Junior married Jeanetta Lee (1893-1981) in November, 1916, and they had two children: W. Atlee III (1917-1971) and Jeanette (1919-2002). David married Lois Torrance (1912-1984) in 1938, and they had two children: Johnathan (b. 1941) and Blanche (b. 1943). Stuart Alexander was apparently born with a disability; according to census records he worked on farms during his lifetime.

David Burpee took over the family business upon his father's death in 1915; W. Atlee Burpee, Jr. served as treasurer of the firm once he returned from serving in the military. At that time, the Burpee company had 300 employees and was the largest mail-order seed company in the world. It distributed over one million catalogs a year and received on average 10,000 orders a day. Under David's tutelage, the company adapted to contemporaneous shifts in business and advertising methods, advancements in plant science, ever-changing consumer demands, and two World Wars. In response to food shortages experienced during World War I, the Burpee company helped promote a "war gardens" campaign that evolved into a "victory gardens" campaign during World War II.

Both W. Atlee and David used their position as head of a major seed house to lobby congressional debates in regard to two topics: postage rates (W. Atlee) and the designation of a national floral emblem for the United States (David). Both men belonged to The Union League of Philadelphia and The Canadian Society of Philadelphia (which W. Atlee helped found), and served on the boards of directors for hospitals and other charitable organizations. Both father and son were politically aligned with the Republican Party.

The firm reorganized its governing structure in 1917 at which time it changed its name from W. Atlee Burpee & Co. to W. Atlee Burpee Co. Burpee's acquired three seed companies between 1878 and 1970: Luther Burbank Seed Company, James Vick's Seeds, Inc., and the William Henry Maule Company. David Burpee sold the company to the General Foods Corporation in 1970 and served as a consultant for the business until 1973. The Burpee brand was bought by its current owner, George J. Ball, Inc., in 1991.
Related Materials:
Burpee seed catalogs donated to the Smithsonian in 1982 by the W. Atlee Burpee Co. can be found in the Smithsonian Libraries and Archives' Trade Literature Collection at the National Museum of American History.

The Farm Security Administration - Office of War Information Photograph Collection in the Library of Congress Prints and Photographs Division includes a series of images of Burpee company operations taken in 1943.

The Black Gold Cooperative Library System's Asian/Pacific - Americans on the Central Coast Collection includes images dated 1933-1939 of Japanese employees of the Burpee Co. working at Floradale Farms in Lompoc, California.
Restrictions:
Access to original images 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.
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 the Archives of American Gardens.
Topic:
Seed industry and trade  Search this
Mail-order business -- Catalogs  Search this
Gardens -- United States  Search this
Horticulture  Search this
Vegetables  Search this
Trial gardens  Search this
Victory gardens  Search this
Prize contests in advertising  Search this
Advertising, Newspaper -- 20th century  Search this
Advertising, magazine -- 20th century  Search this
Flower shows  Search this
Genre/Form:
Trade catalogs
Business records
Commercial correspondence
Instructional materials
Ledgers (account books)
Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records
Identifier:
AAG.BUR2
See more items in:
W. Atlee Burpee & Company Records - Accretion 2
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-bur2
Online Media:

One Life: Dolores Huerta Installation

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2015-07-17T13:16:55.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_jNhrklTfkf4

George Jackson Fisher

Collection Creator:
Museum of the American Indian, Heye Foundation  Search this
Collection Collector:
Johnson, Frederick, 1904-1994  Search this
Churchill, Frank C. (Frank Carroll), 1850-1912  Search this
Davis, Edward H., b. 1862  Search this
Churchill, Clara G.  Search this
Harrington, M. R. (Mark Raymond), 1882-1971  Search this
Harvey, Byron  Search this
Emmons, George Thornton  Search this
Gridley, Marion E. (Marion Eleanor), 1906-1974  Search this
Wildschut, William  Search this
Stiles, William F., 1912-1980  Search this
Verrill, A. Hyatt (Alpheus Hyatt), 1871-1954  Search this
Skinner, Alanson, 1886-1925  Search this
Waterman, T. T. (Thomas Talbot), 1885-1936  Search this
Harvey, Fred  Search this
Keppler, Udo J., 1872-1956  Search this
Lothrop, S. K. (Samuel Kirkland), 1892-1965  Search this
Barrett, S. A. (Samuel Alfred), 1879-1965  Search this
Pepper, George H. (George Hubbard), 1873-1924  Search this
Speck, Frank G. (Frank Gouldsmith), 1881-1950  Search this
Hodge, Frederick Webb, 1864-1956  Search this
Collection Director:
Dockstader, Frederick J.  Search this
Heye, George G. (George Gustav), 1874-1957  Search this
Collection Source:
Force, Roland W.  Search this
Burnett, Edwin K.  Search this
Type:
Archival materials
Biographical / Historical:
George Jackson Fisher (1825-1893) was born into a prosperous and prominent Dutch family in Westchester County, New York. His father had been a merchant in New York City and fought against the British as the captain of a company in the war of 1812. Fisher studied medicine at the University of New York and graduated in 1849. In 1851 he was appointed physician and surgeon to Sing Sing Prison. He was U. S. examining surgeon for twenty years, from approximately 1854 to 1874. At the request of President Lincoln, Fisher attended wounded at the Battle of Antietam, the bloodiest single day in the history of the Civil War. Thousands of Confederate and Union soldiers were killed and wounded. Fisher later became the president of Ossining Hospital. He also served as the president of the New York State medical society. Fisher died of blood poisoning contracted while treating a patient.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
Museum of the American Indian/Heye Foundation records
Museum of the American Indian/Heye Foundation records / Series 6: Collectors
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_component:sova-nmai-ac-001-ref15735

Business Records

Collection Collector:
National Museum of American History (U.S.). Division of Musical History  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Type:
Archival materials
Date:
1938-1988
Scope and Contents note:
Consists of booking contracts and correspondence, tour receipts, personal and band bills and receipts, accounting ledgers, union dues statements, cancelled checks and bank statements, accounting records for several Ellington-owned and operated music companies, tax records and Internal Revenue Service audits, general correspondence, and miscellaneous records.

The records document Duke Ellington's career as a musician, composer, and bandleader between 1938 and 1988, and the operation of several of his and Mercer Ellington's music companies, including Tempo Music, Incorporated; Gaye Records, Incorporated, and Eighty-Eight Records, Incorporated. The records illustrate the complexities of maintaining a stable performing musical group when America's tastes in popular music were shifting away from large swing-style orchestras.

The records are organized into nine subseries: Subseries 3.1, Performance Management Records, 1941-1974; Subseries 3.2, Accounting Ledgers, 1960-1967; Subseries 3.3, Work Dues Statements, 1965-1974; Subseries 3.4, Bank Records, 1955-1974; Subseries 3.5, Tempo Music, Incorporated Records, 1961-1973; Subseries 3.6, Music Company Records, 1938-1965; Subseries 3.7, Tax Records and Internal Revenue Service Audits, 1944-1974; Subseries 3.8, General Correspondence, 1941-1988; and Subseries 3.9, Miscellaneous Records, 1966-1970.
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.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0301, Series 3
See more items in:
Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14799

Smithsonian Folklife Festival records: 1988 Festival of American Folklife

Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Names:
Smithsonian Folklife Festival  Search this
Extent:
1 Cubic foot (approximate)
Type:
Collection descriptions
Archival materials
Business records
Correspondence
Memorandums
Sound recordings
Audiocassettes
Contracts
Negatives
Video recordings
Slides (photographs)
Plans (drawings)
Videotapes
Audiotapes
Digital images
Notes
Photographic prints
Place:
Caribbean Area
Trinidad and Tobago
Puerto Rico
Date:
June 23-July 4, 1988
Summary:
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1988 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 6 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: American Folklore Society Centennial

Series 3: Festival Music Stage

Series 4: Ingenuity and Tradition: The Common Wealth of Massachusetts

Series 5: Migration to Metropolitan Washington: Making a New Place Home

Series 6: Music from the Peoples of the Soviet Union
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1988 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1988 Festival celebrated the centennial of the American Folklore Society, founded one hundred years earlier because of the need to document and study cultures that were seen as disappearing. Much of the Society's attention today, however, is engaged in the documentation and interpretation of emerging traditions and cultural expressions. Folklorists work in inner cities, conduct research on occupational groups, analyze processes of traditionalization and cooperate with other professionals in devising natural conservation and historical preservation strategies, which also promote cultural continuity, equity and integrity. Visitors to the 1988 Festival could learn about what it is that folklorists do and what impacts they have on the communities with which they work.

The other living exhibitions that made up this year's Festival also provided ample illustrations of this same view of the traditional. The Massachusetts program told a paradigmatic American story. Gay Head Wampanoag, Yankee settlers, Afro American migrants, and immigrants from Italy, Greece, Poland, the Cape Verde Islands, Puerto Rico, and Southeast Asia have not only preserved their traditions; through ingenious acts of individual and community creativity they have adapted them and endowed them with new meanings, as circumstances have changed. The Metropolitan Washington program pointed to the heightened consciousness of cultural issues associated with the migration experience. The program asked how immigrants from El Salvador, Ethiopia, China, Trinidad and Tobago, as well as domestic Anglo and Afro American groups historically migrating from nearby states, discard, reinvent, and reconstitute their traditions as they actively make a new place home. A varied contingent of musicians and performers from several republics of the Soviet Union demonstrated how truly ancient traditions nurtured in various pastoral, tribal, and religious environments have not merely survived but actually flourished in contemporary Soviet life. Also at the Festival were American musicians who, as part of a groundbreaking cultural exchange with the Soviet Union, would later travel to Moscow to participate in the International Folklore Festival in August 1988 and be reunited with the Soviet musicians participating in the Smithsonian's Festival.

The 1988 Festival took place for two five-day weeks (June 23-27 and June 30-July 4) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).

The 1988 Program Book included schedules and participant lists for each program; the Program Book essays provided a larger context for the Festival presentations, extending beyond the traditions actually presented at the 1988 Festival.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Office of Folklife Programs.

Office of Folklife Programs

Richard Kurin, Acting Director; Diana Parker, Festival Director; Anthony Seeger, Curator, Folkways Records; Thomas Vennum, Jr., Senior Ethnomusicologist; Peter Seitel, Senior Folklorist; Marjorie Hunt, Phyllis M. May-Machunda, Heliana Portes de Roux, Frank Proschan, Nicholas R. Spitzer, Folklorists; Jeffrey Place, Assistant Archivist

National Park Service

William Penn Mott, Jr., Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Forms Part Of:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Topic:
World music  Search this
Food habits  Search this
Folk art  Search this
arts and crafts  Search this
Folk festivals  Search this
Folk music  Search this
Folklore  Search this
Genre/Form:
Business records
Correspondence
Memorandums
Sound recordings
Audiocassettes
Contracts
Negatives
Video recordings
Slides (photographs)
Plans (drawings)
Videotapes
Audiotapes
Digital images
Notes
Photographic prints
Citation:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1988
See more items in:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_collection:sova-cfch-sff-1988

Record Industry Association of America - Conference - 3

Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Container:
Box 3.33, Folder 9
Type:
Archival materials
Date:
1963
Scope and Contents note:
File consists of contracts, catalogs, conference documents, and correspondence. Correspondence regard various issues with new initiatives within the RIAA as well as the progress of a suggestion from Moe himself regarding a commercial exhibit with the Soviet Union, 6/11/1963.
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, File ASCH_03_033_009
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 3: Business Records / General Business M-Z
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-asch-ref13213

Lavelli, Tony

Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Container:
Box Asch_01_019, Folder 2
Type:
Archival materials
Date:
1957-1959,
Scope and Contents note:
Sales records, 1958-1959; union contract copy, 1957; press releases/clippings, 1957-1958; promotional material/printed ephemera, 1958-1959; miscellaneous notes
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, File Asch_01_019_002
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 1: Correspondence
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-asch-ref1907

FA 2337 Clark Kessinger v. 2- Live at Union Grove

Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Container:
Box Asch_02_004, Folder 16
Type:
Archival materials
Date:
1976
Scope and Contents note:
Proofs, label copy, shipping records, liner notes (final), contract copy
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, File Asch_02_004_016
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 2: Folkways Production / 2.1: Production Files
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-asch-ref4280

FA 2343 George Davis-When Kentucky Had No Union Men

Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Container:
Box Asch_02_004, Folder 19
Type:
Archival materials
Date:
1967
Scope and Contents note:
Record labels, label copy, proofs, album layout sketches, contract copy
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, File Asch_02_004_019
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 2: Folkways Production / 2.1: Production Files
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-asch-ref4286

Correspondence, US Capitol

Creator:
Meigs, Montgomery C., 1816-1892  Search this
Vanderlyn, John, 1775-1852  Search this
Jarvis, Leonard, 1781-1854  Search this
Chapman, John W. (John Wight), 1858-1939  Search this
Collection Creator:
Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this
Extent:
3 Items (Letters, written in ink)
Type:
Archival materials
Correspondence
Place:
U. S. Capitol
Date:
1837-1853
Scope and Contents:
This folder houses a series of letters referencing the building and renovation of the United States Capitol Building, most of which are from architects who worked on the project. One of the contracts orders iron beams for use in extending the Capitol building in 1857, during the second remodeling.
Arrangement:
Organized chronologically.
Biographical / Historical:
General Montgomery Cunningham Meigs was Quartermaster General of the United States Army during and after the American Civil War. He was responsible for the purchase and distribution of supplies to the Union troops. Meigs was also an engineer and architect, and before and after the war, he supervised numerous projects throughout Washington, D.C. as part of the Army Corps of Engineers. He supervised the construction of wings and the dome of the Capitol building and the expansion of the General Post Office building. Meigs designed the Old Pension Office Building. His most amazing contribution to the city, however, was the Washington Aqueduct. Interestingly, it was Meigs who suggested to Abraham Lincoln that Arlington would be a good place for a cemetery. Meigs is buried there.
Leonard Jarvis was an American politician who served in Congress from 1829 to 1837. He was chairman of the Committee on Naval Affairs for some time. This contract is signed by him.
John Vanderlyn was an American neoclassicist painter who painted portraits of politicians in the early 19th century. He was commissioned by Congress in 1842 to paint the landing of Columbus. This painting was later reproduced on a stamp. This painting was commissioned for the renovation of the rotunda in the Capitol Building.
John Chapman was an American congressman who represented Pennsylvania. He worked as a judge before being elected to the House of Representatives.
Local Numbers:
FSA A2009.06 7
Other Archival Materials:
Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Correspondence -- 19th century
Identifier:
FSA.A2009.06, Series FSA A2009.06 7
See more items in:
The Brumbaugh Collection of Artist Letters
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a2009-06-ref7
Online Media:

Correspondence

Collection Creator:
McCausland, Elizabeth, 1899-1965  Search this
Extent:
2.9 Linear feet (Boxes 2-5)
Type:
Archival materials
Date:
1923-1960
Scope and Contents note:
Series consists primarily of McCausland's professional and, to a lesser extent, personal correspondence, which includes general, artist, and some family correspondence. Correspondence typically consists of letters to and copies of letters from McCausland, along with enclosures (such as clippings and other printed material; contracts, agreements, and other business and financial papers; and proposals and manuscripts) and related material (such as notes, illustrations, and writings). Correspondents include artists, art organizations, museums, curators, editors, publishers, scholars, research institutions, her agent (Mary Squire Abbot), friends, and her mother, Belle Noble McCausland. Correspondence largely documents McCausland's various professional activities as an art critic, art historian, and freelance writer, and her relationships with various figures of the art and publishing worlds before, during, and immediately after the Second World War.

General correspondence relates to articles and reviews that McCausland wrote for the Springfield Republican; to freelance articles she wrote over the years for various publications, including ones for Parnassus, The New Republic, and Magazine of Art, as well as yearly articles for various encyclopedias (such as Encyclopedia Britannica, Encyclopedia Americana, and Collier Encyclopedia); and to various book projects, including Changing New York (1939), Careers in the Arts (1950), and ones on the artists E. L. Henry, George Inness, and Alfred H. Maurer. General correspondence also relates to her teaching job at Sarah Lawrence College and other courses taught; to various editing projects, including photo-editing Carl Sandburg's Poems of the Midwest and the planned book Art and Advertising; her work as a research consultant on the American Processional exhibition and book, and on other exhibitions; and her involvement in various art and social organization, as well as her participation in various conferences. General correspondence largely documents McCausland's tireless efforts to drum up work, and to fund (through various grants and fellowships) and carry out her many research and writing projects.

Correspondence from particular artists, including Arthur Dove, Louis Eilshemius, Marsden Hartley, Georgia O'Keeffe, and Alfred Stieglitz, was maintained by McCausland in files separate from general correspondence. Artist correspondence documents her relationships with these artists - particularly well-documented are her relationships with Dove and Stieglitz - and the artists' reactions to her reviews of their shows. Files of artist correspondence also include some of McCausland's own notes on her feelings about or relationship with particular artists.

Family correspondence consists almost entirely of letters and copies of letters from McCausland to her mother, Belle Noble McCausland. These seem to have originated from the scrapbook kept by McCausland's mother which can be found amongst personal papers.

See Appendix for a list of notable correspondents from Series 2
Arrangement note:
General correspondence is arranged in rough chronological order. Within individual yearly files, McCausland often grouped together letters to and from a particular correspondent; this existing organization has for the most part been maintained. Selected artist correspondence and family correspondence are arranged in files at the end of the series. Correspondence can also be found amongst research and writing files.
Appendix: Notable Correspondents from Series 2:
List represents only a selection of correspondents from general correspondence.

A. A. Wynn Inc.: 1951

ACA Gallery: 1941, 1943, 1945, 1946, 1947

Abbot, Mary Squire (McIntosh and Otis Company): 1941, 1945, 1947, 1948, 1949, 1950, 1952, 1953, 1954, 1955, 1958

Abbott, Berenice: 1934

Adams, Charles: 1938, 1939, 1940, 1943, 1944, 1946, 1947, 1948, 1949, 1950, 1951, 1952

Adams, Harriet Dyer: 1946

Adelphi College: 1953

Adlow, Dorothy ( -- Christian Science Monitor -- ): 1950, 1951, 1952, 1953, 1954

Albany Institute of History and Art: 1946, 1947

Aldrich, Adolf: 1945

American Academy of Arts and Sciences: 1946, 1947

American Artist Magazine -- : 1952

American Artists Congress: 1938, 1939, 1942

American Artists Group: 1939, 1945, 1946, 1947, 1950

American Association of University Women: 1951

American Federation of Arts: 1946, 1947, 1948, 1949, 1951, 1952, 1954, 1956

American Museum of Natural History: 1944

American Newspaper Guild: 1942

American Philosophical Society: 1947

Anderson, Mrs. Sherwood (Eleanor): 1949

Antiques -- : 1955

Arden, Elizabeth: 1937

Arnason, H. Harvard (Walker Art Center): 1951, 1952, 1953, 1954

Art Digest -- : 1951

Art in America -- (see also Jean Lipman): 1957

Art Institute of Chicago: 1945, 1947

Art of this Century: 1944

Artists for Victory: 1944

Artists Equity Association: 1956

Artists League of America: 1942, 1943, 1944, 1945

Artists Society for National Defense: 1941

Associated American Artists: 1940

Baltimore Museum of Art: 1953

Bard College: 1953

Barnes, Djuna: 1951

Barr, Alfred H.: 1939, 1944, 1947, 1951

Barr, Norman: 1941, 1942, 1943, 1945

Baumann, Gustave: 1946

Baur, John I. H.: 1939, 1942, 1946

Beam, Lura: 1945, 1958

Beard, Mary: 1938, 1939, 1944

Benn, Ben: 1951

Bennington School of the Arts: 1940

Berkshire Museum: 1939, 1940

Biddle, George: 1947

The Bobbs-Merrill Company: 1944

Bourke-White, Margaret (letter to Berenice Abbott): 1940

Brewster, William F.: 1954, 1955

The Brooklyn Museum: 1943, 1945, 1948, 1954

Brown, Milton: 1945

Buchholz Gallery: 1941, 1943

Butler, Joseph (Butler Institute of Art): 1954, 1955

Cahill, Holger: 1937, 1942, 1944, 1946, 1950

Carter, Clarence H.: 1945, 1946

Cinema -- : 1947

Clarke, Bert: 1950

Constantine, Mildred: 1939, 1941, 1942

Cook, Waldo Leland: 1949

Cooper Union: 1949, 1952

Cooper Union Art School: 1947, 1948

Corcoran Gallery of Art: 1948, 1949, 1950, 1951

Cowdrey, Mary Bartlett (Smith College Museum of Art): 1943, 1949, 1951, 1952, 1953, 1954

Crawley, Lawrence: 1950

Crehan, Hubert ( -- Art Digest -- ): 1953

Crichlow, Ernest: 1941

Curran, Charles: 1942

D'Harnoncourt, Rene: 1947

Daura, Pierre: 1949, 1951, 1954

Detroit Institute of Arts: 1945

Devree, Howard: 1949

Diamond (Rotkin), Adele: 1941

Donato, Louis: 1939

Dows, Olin: 1942

Eames, Charles: 1950, 1951

Estler, William C.: 1944

Federation of Modern Painters and Sculptors: 1946

Fitch, George: 1955

Fitch, James: 1940

Fortune Magazine -- : 1946

Francis, Robert: 1940, 1942, 1943

Frick Art Reference Library: 1944, 1948, 1950, 1951, 1953, 1958

Friedman, William: 1939

Fuerstenberg, Eugenia Maurer: 1950, 1951

Fulton, W. Joseph (University of Chicago): 1951, 1952, 1954, 1955, 1956, 1958, 1959

G. P. Putnam's Sons: 1937

Genauer, Emily: 1947

George Walter Vincent Art Museum (Cordelia Sargent Pond): 1945, 1946, 1947, 1948

Gibran, Khalil: 1928

Gilbert, Dorothy: 1950

Godsoe, Robert Ulrich: 1951

Golden, Samuel (see also American Artists Group): 1946

Goodrich, Lloyd: 1942, 1947, 1950, 1951, 1952

Goodwin, Phillip L.: 1943

Gottlieb, Harry: 1944

Griffin, Maude: 1953

Graham, Martha: 1934, 1942

Grossman, Sid: 1938

Gwathmey, Robert: 1945

Harcourt, Brace and Company: 1947, 1949

Harper and Brothers: 1951

Hayes, Bartlett (Addison Gallery of Art): 1942, 1945, 1947

Hess, Thomas ( -- Art News -- ): 1950

Hope, Henry (University of Indiana): 1949, 1950

International Fine Arts Council: 1950

Irvine, Rosalind: 1952

J. B. Lippincott Company: 1951, 1952

Jacques Seligmann and Company: 1938

James, Rebecca Salsbury: 1951

Javitz, Romana: 1946, 1950, 1951, 1952, 1954, 1955

Jewell, Edward Alden: 1946, 1947

John Day Company: 1950, 1951, 1955

John Simon Guggenheim Memorial Foundation: 1941, 1942, 1943, 1944, 1945, 1946, 1947, 1952, 1953

Jones, Howard Mumford (Harvard University): 1947

Kauffer, E. McKnight: 1946

Kent, Rockwell: 1945, 1946

Kirstein, Lincoln: 1941, 1943, 1944, 1946, 1947

Kish, Maurice: 1945

Kistler, Aline: 1941

Knight Publishers Inc.: 1938

Kuniyoshi, Yasuo: 1945

Landon, Edward: 1939

Lange, Dorothea: 1945

Larkin, Oliver: 1943, 1944, 1949

Leeper, John and Blanche (see also Corcoran Gallery of Art): 1950, 1951, 1954

Leighton, George: 1945

Lerner, Abe (see also World Publishing Company): 1950, 1951

Lipman, Jean: 1945, 1946, 1947, 1952

Lipton, Norman C. ( -- Good Photography -- ): 1941, 1942, 1943

Longman, Lester: 1940

MacMahon, Audrey (see also -- Parnassus -- ): 1936, 1938, 1939, 1940, 1942

The MacMillan Company: 1943, 1947, 1949, 1950

Magazine of Art -- : 1944, 1945, 1946, 1947

Magriel, Paul: 1954

Maurer, Alfred L.: 1951

Metropolitan Museum of Art: 1943, 1947, 1955

Miller, Dorothy: 1950, 1951

Milwaukee Art Institute: 1948

Minicam Photography -- : 1941, 1943, 1944

Modernage Furniture Corp.: 1945

More, Herman (Whitney Museum of American Art): 1954

Morton, Phillip: 1951, 1952

Mount Holyoke College: 1943

Munson-Williams-Proctor Institute: 1956

Museum of Modern Art: 1934, 1942, 1943, 1944, 1945

Museum of the City of New York: 1958

N.W. Ayer and Son: 1945, 1946, 1950

The Nation -- : 1940, 1955

National Gallery of Art: 1944, 1945

National Maritime Union: 1945

Navas, Elizabeth: 1952, 1953, 1954

Neuberger, Roy: 1952

The New American Library -- : 1955, 1956

The New Republic -- : 1944, 1947

The New School for Social Research: 1945

The New York Herald Tribune -- : 1945, 1947

New York Historical Society: 1943

New York Public Library: 1943, 1955, 1956

New York State Museum: 1949

The New York Times -- : 1940

Newark Museum: 1944

Newhall, Beaumont: 1944

Newhall, Nancy: 1945

Norman, Dorothy: 1934, 1937, 1938, 1940

Old Print Shop: 1945

Olmsted, Anna Wetherill (Syracuse Museum of Art): 1950

Opportunity -- : 1943, 1944, 1945

Ossorio, Alfonso: 1953

P. F. Collier and Son Corp.: 1947, 1948, 1949, 1951, 1952, 1953, 1954, 1955, 1957, 1958

Pach, Walter: 1955

Parnassus -- : 1939

Pennsylvania Academy of Fine Art: 1951

Pepsi-Cola Company: 1944, 1945

Philadelphia Art Alliance: 1946

Pierre Matisse Gallery: 1938, 1939

Popular Photography -- : 1943

Portland Art Museum: 1940

Porter, Eliot: 1954

Printer's Ink (Carl Weiss): 1951

Railway Express Agency: 1949

Rivera, Diego: 1949

Rogers, John C.: 1941

Roosevelt, Eleanor: 1944

Rosenblum, Walter: 1944

Rothschild, Lincoln: 1937, 1942, 1945, 1946, 1949

Royce, William: 1933, 1934, 1935, 1942, 1958

Rukeyser, Muriel: 1941, 1950

San Francisco Chronicle -- : 1951, 1953

Sarah Lawrence College: 1942, 1943, 1944

Saturday Evening Post -- : 1946

Schlesinger, Arthur: 1943

School Art League of New York City: 1953, 1954

Schwimmer, Rosika: 1933, 1935, 1943

Sculpture's Guild: 1938, 1940, 1941

Segy, Ladislaw: 1943

Shelter -- : 1939

Sloan, John: 1951

Smith College Museum of Art: 1939, 1954

Soby, James Thrall: 1935, 1946, 1951

Social Science Research Council: 1948

Springfield Museum of Fine Art: 1938, 1940, 1941

Standard Oil: 1946

Stein, Gertrude: 1934

Sterling, Charles (Department of Painting, The Louvre): 1951

Strand, Paul: 1942

Survey Associates -- : 1938, 1939

Sweeney, James John: 1954, 1955, 1956

Thornton, Russell (see also Corcoran Gallery of Art): 1951, 1952, 1953

Time Magazine -- : 1945

Toklas, Alice B.: 1949

Traphagen School of Fashion: 1957

U.S. Camera -- : 1940

University of Chicago Library: 1951

University of Minnesota: 1951

University of Nebraska: 1953, 1954, 1956, 1957

Vanderbilt, Paul (Library of Congress): 1950

Vogue Magazine -- : 1953

Vose, Robert C.: 1945

Wade, Henry: 1954

Walker Art Center: 1946, 1947, 1949, 1950, 1951

Walker, Hudson: 1948, 1949, 1950, 1951, 1952

Ward, Lynd: 1942, 1945, 1947

Western Photography -- : 1946

Weston, Edward: 1943

Weyhe Gallery: 1940, 1951

Wheaton College: 1955

Wheeler, Monroe: 1941, 1942, 1943, 1944, 1945

Whitney Museum of American Art: 1946, 1947, 1951

Wichita Art Association: 1947

Williams, Hermann Warner (see also Corcoran Gallery of Art): 1950, 1951, 1952, 1954

Wilson, Sol: 1945

Worcester Art Museum: 1943, 1945

World Publishing Company: 1946, 1949, 1950, 1955

Yale University Art Gallery: 1949

Yale University Library: 1951, 1952, 1953, 1954

Young, Art: 1941

Young Artists Guild: 1948
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccaeliz, Series 2
See more items in:
Elizabeth McCausland papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccaeliz-ref60

Various Projects

Collection Creator:
McCausland, Elizabeth, 1899-1965  Search this
Type:
Archival materials
Date:
1896, 1926-1958
Scope and Contents note:
Subseries consists of files stemming from various research projects, some of which resulted in a finished product (such as articles, books, other published works) and some of which were only planned and never completed, and other research activities, such as speaking engagements and consulting jobs. Files include correspondence, notes, manuscripts, proofs, project proposals, contracts and agreements, call slips, questionnaires, reports, and printed material.

Found are files relating to articles and writings on artists, Arthur Dove, Martin Johnson Heade, Robert Henri, and Jacob Lawrence, among others; on film and photography, including numerous articles for The Complete Photographer, Minicam Photography, Modern Photography, and Photography; her work with Berenice Abbott; and on more general topics, such as "Art and Advertising" and "Why Can't Americans Afford Art?".

There are also files relating to McCausland's published book, Careers in Art (1950); to her work on a selected bibliography on American art, which appeared in Magazine of Art (1946); to her catalog for the Charles Hawthorne exhibition at the Grand Central Art Galleries in 1947; to speaking engagements at the American Artists Congress Symposium in 1940 and the National Convention of the American Association of University Women in 1947; to her applications for Guggenheim fellowships; and to various planned projects, including her long-term study on the artist in America from 1641 to 1941 and her study of the nude in American art.

Also found are files relating to various freelance consulting and editing jobs, including photo-editing Carl Sandburg's book of poems, Poems of the Midwest, assisting as special publications editor for the opening of the Everyday Art Gallery at the Walker Art Center, and conducting a survey of art education for Cooper Union Art School.
Arrangement:
Files are arranged alphabetically.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccaeliz, Subseries 7.4
See more items in:
Elizabeth McCausland papers
Elizabeth McCausland papers / Series 7: Other Research and Writing Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccaeliz-ref825

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