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Havana-Cuba Cable Station, 1930-1940 (Elevators)

Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Container:
Box 520, Folder 1-2
Type:
Archival materials
Collection Restrictions:
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
See more items in:
Western Union Telegraph Company Records
Western Union Telegraph Company Records / Series 15: Engineering Department Records / 15.2: Central Office of the Engineer Correspondence
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref8274

W. A. Sullivan [full length, holding mallets] [acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Sullivan, W. A.  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
2 Items (items?)
Container:
Box 4
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Scope and Contents:
Job Number: 18620
Figure stands before painted backdrop. Ink on negative edge: "18620 W.A. Sullivan 4--B & W --8 x 10". No manufacturer's mark on film edge. Caption on corresponding print: "A 211 / W. A. Sullivan".
General:
From negative Box B. Contact print in box 80? #92 on original envelope.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musicians -- 1930-1940  Search this
Backdrops  Search this
Portraits -- Men -- 1930-1940  Search this
African American musicians  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref119
Online Media:

Effie Moore and troupe [acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Creator:
Eastman Kodak Company (film manufacturer)  Search this
Names:
Moore, Effie  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 4
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
[undated]
Scope and Contents:
Job Number: 23650
Six girls with short skirts in chorus line. Ink on negative edge: "23650--Effie Moore 4--theatrical." Edge imprint: Eastman--Safety--Kodak.
General:
From negative Box B. (Corresponding negative in box 80.
Exhibitions Note:
Reproduction print in companion book to following exhibit: "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30 - November 15, 2009.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits, Group -- 1930-1940 -- Washington (D.C.).  Search this
Dancers  Search this
Vaudeville -- 1930-1940  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref134
Online Media:

[St. Paul's] Track Team [acetate film photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Creator:
Eastman Kodak Company (film manufacturer)  Search this
Names:
St. Paul Normal and Industrial School (Lawrenceville, Va.)  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 39
Type:
Archival materials
Photographs
Place:
Lawrenceville (Va.)
Date:
1941
Scope and Contents:
Ink on negative : "St. Paul track team 1941". Captions Includes names: Wiggins, Cave, Charles Marshall, Cary, Wade, Flan Couch [?], Perry, J. L. Whitehead, Jr., C.A. Smith (coach), J. L. Myrick. Edge imprint: Eastman--Safety--Kodak.
General:
Staff note: this catalog number has also been assigned incorrectly to a Scurlock photograph of a large group of children and its corresponding scan. It must be corrected when the correct SIRIS entry is located.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Sports -- Virginia  Search this
African American athletes -- Virginia  Search this
African Americans -- Virginia  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref920
Online Media:

Maps - To Determine Distance for Mileage - Membership

Collection Creator:
Architectural League of New York  Search this
Container:
Box 102, Folder 14
Type:
Archival materials
Date:
circa 1930s-1940s
Collection Restrictions:
Use of original papers requires an appointment.
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:
Architectural League of New York records, 1880s-1974, bulk 1927-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Architectural League of New York records
Architectural League of New York records / Series 9: Correspondence / 9.1: Alphabetical
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-archleag-ref3644

Leon Polk Smith papers

Creator:
Smith, Leon Polk, 1906-1996  Search this
Names:
Brooklyn Museum  Search this
Butler Institute of American Art  Search this
East Central Oklahoma State University  Search this
Galerie Denise René  Search this
Meyers/Bloom Gallery  Search this
Washburn Gallery (New York, N.Y.)  Search this
Wilhelm-Hack-Museum  Search this
Buck, Robert T.  Search this
Danto, Arthur Coleman, 1924-  Search this
Galloway, David D.  Search this
Gego  Search this
Humblet, Claudine, 1946-  Search this
Jamieson, Robert  Search this
Johnson, Ray, 1927-  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Transcripts
Video recordings
Scrapbooks
Essays
Interviews
Date:
1921-1997
Summary:
The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1921 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.
Scope and Contents note:
The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1921 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.

Biographical material includes official affidavits, certificates, passports, expense receipts, and a travel expense notebook. A curriculum vitae, family history, and medical records are also included in the series.

Correspondence, both business and personal, comprises the bulk of the collection. This includes correspondence between Smith and his life companion, Robert Jamieson; art critics Arthur C. Danto, Claudine Humblet, and David Galloway; and artists Gego (Gertrude Goldschmidt) and Ray Johnson. Business correspondence relates to Smith's various gallery and museum exhibitions, loans, and sales. There is extensive correspondence between Smith and the Brooklyn Museum, Butler Institute of American Art, Di Laurenti Gallery, Edition and Galerie Hoffmann, Galerie Denise Rene, Meyers/Bloom Gallery, Washburn Gallery, and the Wilhelm-Hack Museum. The business subseries also includes correspondence between Smith and his alma mater, East Central University, formerly known as Oklahoma State University.

Interviews consist of six typewritten transcripts of interviews conducted with Smith over the course of his professional career from 1950 to 1993, a 1995 video interview of museum director Robert T. Buck discussing the Brooklyn Museum's exhibition of Leon Polk Smith for the television program National Arts, and a 1965 interview transcript with gallery owner Lucile Horsley.

Writings include sixteen published and unpublished scholarly essays on Smith and his work. The series also includes notes and a brief artist's statement by Smith regarding the pros and cons of modern art galleries.

Financial records are 1978-1989 federal income tax filings and routine tax preparation and payment receipts for the corporate entity Leon Polk Smith, Inc. Smith's personal filing records from 1987-1989 are also included in this series.

Printed material consists of two books, including the Brooklyn Museum's monograph Leon Polk Smith: American Painter, newspaper clippings reviewing Smith's work, and exhibition announcements and catalogs of Smith's museum and gallery shows from 1941 to 1997.

A scrapbook contains newspaper clippings documenting Smith's years as an educator and artist in Oklahoma in the 1930s and 1940s.

Photographs are of Smith and his acquaintances circa 1920-1960, and a representative selection of photographs and color slides of Smith's artwork from 1939 to 1960.
Arrangement note:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1938-1994 (Box 1, OV 10; 11 folders)

Series 2: Correspondence, 1939-1997 (Boxes 1-5, 9, OV 10; 5 linear feet)

Series 3: Interviews, 1950-1995 (Boxes 5-6; 8 folders)

Series 4: Writings, 1963-1996 (Box 6; 13 folders)

Series 5: Financial Records, 1979-1990 (Box 6; 15 folders)

Series 6: Printed Material, 1941-1997 (Boxes 6-7, 9; .5 linear feet)

Series 7: Scrapbook, 1930-1940 (Box 8; 1 folder)

Series 8: Photographic Material, 1920-1990 (Box 8; 8 folders)
Biographical/Historical note:
Leon Polk Smith (1906-1996) worked primarily in New York City as a painter, educator, and lecturer. He is considered one of the founders of the hard edge style of minimalist abstract art.

Smith was born in Chickasha, Indian Territory one year before its formal incorporation into the Oklahoma Territory. Both of his parents were of Cherokee ancestry and he was raised in a small farming community that included Cherokee and Choctaw Indians. After receiving his teaching degree in 1934, Smith worked as an educator in rural Oklahoma communities and, at the same time, took the opportunity to introduce arts programs to local schools. In 1936, he enrolled in Columbia University's Teachers College to pursue a graduate degree in arts education and began painting full time. That summer, he visited the Albert E. Gallatin Gallery of Living Art at New York University, where he was first introduced to the work of the European modernists Constantin Brancusi, Jean Arp, and most importantly, Piet Mondrian.

In the late 1940s and early 1950s, Smith accepted university teaching positions at Rollins College in Florida, and New York University and Mills College of Education in New York. During this time, Smith moved beyond his early explorations of neo-plasticism and began to paint in a more hard edge style, typified by geometric lines, curving shapes of color, and the use of tondo (disk shaped) canvases. In 1958, Betty Parson's Section Eleven Gallery showcased his new work in two one-man exhibitions, which introduced him to a wider audience of museum curators and art collectors. In the 1960s, Smith's work was included in two of his most important group exhibitions, The Responsive Eye at the Museum of Modern Art (1965) and Systemic Painting at the Solomon R. Guggenheim Museum (1966). In 1995, the Brooklyn Museum curated Leon Polk Smith: American Painter, a retrospective exhibition of Smith's career.

Smith produced works exploring shapes and lines, minimalist use of color, and modularity well into the 1990s and exhibited at a number of affiliated galleries, including the Stable Gallery, Galerie Chalette, Galerie Denise Rene, Washburn Gallery, and ACA Galleries. Smith died in 1996 in his home in Manhattan, at the age of 91.
Provenance:
The papers of Leon Polk Smith were donated by the artist's partner, Robert Jamieson, in 1998 and 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York  Search this
Painting, Abstract -- United States  Search this
Art galleries, Commercial  Search this
Genre/Form:
Photographs
Transcripts
Video recordings
Scrapbooks
Essays
Interviews
Citation:
Leon Polk Smith papers, 1921-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smitleon
See more items in:
Leon Polk Smith papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-smitleon
Online Media:

[Marian Anderson at Lincoln Memorial (series), #142 : cellulose acetate photonegative,]

Photographer:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Creator:
Agfa (film manufactuer)  Search this
Scurlock Studio (Washington, D.C.)  Search this
Names:
Anderson, Marian, 1897-1993  Search this
Ickes, Harold L. (Harold LeClair), 1874-1952  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 3-1/4" x 4-1/4"..)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
April 9, 1939
Scope and Contents:
No ink on negative. Secretary of the Interior Harold Ickes talking with two other men. Agfa Safety Film edge imprint.
General:
No corresponding contact print located.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Concerts  Search this
Civil rights  Search this
African American singers -- 1930-1940  Search this
Lincoln Memorial (Washington, D.C.)  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and white negatives Part 1 / Anderson, Marian
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-06-ref27336

[Marian Anderson at Lincoln Memorial (series), #143 : cellulose acetate photonegative,]

Photographer:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Scurlock Studio (Washington, D.C.)  Search this
Names:
Anderson, Marian, 1897-1993  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet, 3-1/4 x 4-1/4".)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
April 9, 1939
Scope and Contents:
No ink on negative. Crowd of photographers, reporters, officers and dignitaries on the steps of the Memorial. No edge imprint.
General:
Negative Box C. No corresponding contact print located.
Exhibitions Note:
Photograph reprinted in companion book to the following exhibit: "The Scurlock Studio and Black Washington: Picturing the Promise" held in NMAAHC Gallery, NMAH, January 30-November 15, 2009.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Police  Search this
Photographers  Search this
African American singers -- 1930-1940  Search this
Civil rights  Search this
Concerts  Search this
Lincoln Memorial (Washington, D.C.)  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and white negatives Part 1 / Anderson, Marian
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-06-ref27337

[Marian Anderson walking at Lincoln Memorial (series), #127 : cellulose acetate photonegative,]

Photographer:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Scurlock Studio (Washington, D.C.)  Search this
Creator:
Agfa (film manufactuer)  Search this
Names:
Anderson, Marian, 1897-1993  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet.)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
1939
Scope and Contents:
No ink on negative. Anderson with man and woman walking past the statue of Lincoln in the Memorial, with a policeman standing opposite them. Agfa Safety Film edge imprint. No Scurlock number.
General:
Notes on original enclosure: "#9 / 1-8-1/2 x 7". Negative Box C. No corresponding contact print located.
Exhibitions Note:
Image reproduced in companion book to following exhibit: "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30 - November 15, 2009.
Publication:
April 9, 1939., 4" x 5"
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Memorials  Search this
African American singers -- 1930-1940  Search this
Concerts  Search this
Civil rights  Search this
Singers -- 1930-1950  Search this
Lincoln Memorial (Washington, D.C.)  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and white negatives Part 1 / Anderson, Marian
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-06-ref27339

[Marian Anderson at Lincoln Memorial (from series), #128 : cellulose acetate photonegative,]

Photographer:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Scurlock Studio (Washington, D.C.)  Search this
Creator:
Agfa (film manufactuer)  Search this
Names:
Anderson, Marian, 1897-1993  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 4" x 5".)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
April 9, 1939
Scope and Contents:
No ink on negative. Seated members of audience. Image slightly blurred. Agfa Safety Film edge imprint. No Scurlock number.
General:
Notes on original envelope: "#9 / 1-8-1/2 x 7". Negative box C. No corresponding contact print located.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Civil rights  Search this
Concerts  Search this
African American singers -- 1930-1940  Search this
Memorials  Search this
Singers -- 1930-1950  Search this
Lincoln Memorial (Washington, D.C.)  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and white negatives Part 1 / Anderson, Marian
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-06-ref27340

Ernest Coffin notes

Collection Photographer:
Brooks, Warwick  Search this
Steckel, Geo. (George), 1864-  Search this
Weston, Arthur  Search this
Sarony, Napoleon, 1821-1896  Search this
Collection Collector:
Coffin, Ernest Edwin  Search this
Collection Creator:
Falk, B. J. (Benjamin J.), 1853-1925  Search this
Sandwina, Katie  Search this
Weider, Joe (author)  Search this
Collection Donor:
Manhart, Harrison D., II  Search this
Container:
Box 7, Folder 21
Type:
Archival materials
Date:
1930s-1940s
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Ernest Edwin Coffin Collection, Archives Center, National Museum of American History.
See more items in:
Ernest Edwin Coffin Collection
Ernest Edwin Coffin Collection / Series 2: Correspondence / 2.1: Alphabetical
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1152-ref663

Katherine Joseph Papers

Creator:
Joseph, Katherine  Search this
Hertzberg, Suzanne  Search this
Names:
International Ladies' Garment Workers' Union.  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Extent:
1 Sound disc (33 1/3 RPM)
1 Cubic foot (4 boxes)
Type:
Collection descriptions
Archival materials
Sound discs
Photographs
Place:
Mexico
Date:
1938-1944, 1962
bulk 1941
Summary:
Papers document Katherine Joseph's career as staff photographer for the International Ladies' Garment Workers' Union. The papers contain negatives and prints taken in Mexico, and some photographs of a White House event in 1938, featuring Franklin and Eleanor Roosevelt; and images of American workers on the home front during World War II.
Scope and Contents:
The collection consists of negatives and photographs from Ms. Joseph's career as staff photographer for the International Ladies' Garment Workers' Union. There are also images taken in Mexico, and some photographs of a White House event in 1938, featuring Franklin and Eleanor Roosevelt; images of American workers on the home front during World War II; correspondence and travel notes.

Series 1, Historical Background, 1941, undated, consists of correspondence and travel notes from a photojournalistic trip to Mexico in 1941.

The correspondence is organized into three sections, Tayoltita in Northwest Mexico, the 1941 Colima, Mexico earthquake, and Thelma Goldman. In addition to the correspondence there are typescript captions for some of the photographs and annotated drafts of travel notes detailing the Mexico trip.

Series 2, Photographic Negatives and Prints, [1941?] and undated, consists of negatives and prints for garment workers and the photojournalistic trip to Mexico. The negatives and prints are housed together in 4" x 5" envelope enclosures. Captions and other information about the negative/print is provided on the envelope. The majority of negatives and prints are undated, and there is no arrangement.

Series 3, Photographic Prints, 1938, 1941 and undated, is further divided into four subseries topically: Subseries 1, International Ladies Garment Workers Union; Subseries 2, Labor; Subseries 3, Mexico and Subseries 4, Subjects. The photographs are 8" x 10" black-and-whites taken by Katherine Joseph and some by Harry Rubenstein, another journalist. The photographs are arranged topically. Some of the photographs have captions and/or annotations, and almost all bear a stamp "photo by Katherine Joseph."

Series 4, "Pins and Needles" (audio disc), 1962, consists of one (1) 33 1/3 RPM audio disc from the Pins and Needles twenty-fifth anniversary. Pins and Needles was originally produced by the Cultural Division of the International Ladies' Garment Workers' Union under the leadership of Louis Schaffer. The music and lyrics for Pins and Needles was composed by Harold Rome in 1936–1937. The revue had its public debut on November 27, 1937 at the New York Labor Stage, which had been created when the ILGWU leased the Princess Theater and renovated the space for union cultural performances. Because of their factory jobs, cast and crew could rehearse only at night and on weekends, and initial performances were presented only on Friday and Saturday nights. The original cast was made up of cutters, basters, and sewing machine operators. Pins and Needles satirized current events and cultural trends from a pro-union standpoint. Pins and Needles went on to become the longest-running musical of the 1930s, with 1108 New York performances and multiple national tours.
Arrangement:
The collection is divided into five series.

Series 1: Historical Background, 1941, undated

Series 2: Photographic Negatives and Prints, 1941 and undated

Series 3: Photographic Prints, 1938, 1941 and undated

Subseries 3.1: International Ladies Garment Workers Union (ILGWU), undated

Subseries 3.2: Labor, undated

Subseries 3.3: Mexico, undated

Subseries 3.4: Subjects, 1938, 1941, 1944 and undated

Series 4: Photographic Prints and Negatives, 1938-1944

Series 5: Sound Recording, 1962
Biographical / Historical:
Katherine Joseph (1909-1990) was active as a professional photographer from approximately 1937 to 1944. Much of her time was spent as a staff photographer for the International Ladies' Garment Workers' Union (ILGWU) in New York City. Her photographs documented workers on the shop floors and union, community, political, and cultural activities. One of Joseph's most notable assignments was a 1938 visit to the White House where she photographed the cast of ILGWU's Broadway revue, "Pins and Needles," performed for President Franklin D. Roosevelt at the invitation of Eleanor Roosevelt. After the Second World War, Joseph left her photographic career to look after her family. In 1941, Joseph undertook a photojournalistic tour of Mexico with two friends, Thelma Goldman, and Andrée Vilas Graham, made possible by the gift of a Willys-Overland Americar to Joseph and her two friends as part of of publicity campaign for the Americar.

Willys-Overland Motors, was an American automobile company founded by John North Willys in 1908 and best known for its design and production of military Jeeps during World War II.

The Americar that Joseph and her friends drove to Mexico was a powder blue Model 441 which they nicknamed "Willy.". Their south-of-the-border road trip held only one obligation, to send back to the United States photographs featuring themselves and "Willy" against the Mexico landscape. Katherine Joseph took photographs and Thelma Goldman and Andrée Vilas-Graham wrote about their travels using a portable typewriter. When the women arrived in Mexico City they secured press passes from the Minister of Information.

Joseph returned to New York as America was gearing up to enter the war and resumed working for the ILGWU in 1942. Her New York images from this period chronicle the Home Front contributions of the garment industry to the war effort. In July 1944 Joseph covered the Democratic National Convention in Chicago, where Franklin D. Roosevelt won an unprecedented fourth-term nomination and Harry S. Truman was chosen as his running mate over the incumbent vice-president, Henry Wallace. This was to be Joseph's last professional assignment before, like millions of American women, she gave up her career to devote herself to family life.
Related Materials:
Materials at Other Organizations

A master's thesis written by Suzanne Herzberg is available through the University of Southern California's Digital Library. The thesis does not form part of the Katherine Joseph Papers held by the Archives Center, National Museum of American History. Author retains sole copyright; use of copyrighted material requires author's permission.

Herzberg, Suzanne. "Photo by Katherine Joseph." (master's thesis, University of Southern California, 2002), 217 pages.

Hertzberg, Suzanne. Katherine Joseph Photographing an Era of Social Significance. Bergamot Books, 2016.

When Katherine Joseph died in 1990, her daughter discovered a trove of memorabilia from her mother's life as a Roosevelt-era photographer for the International Ladies Garment Workers Union (ILGWU). Ms. Joseph's photographs celebrate the golden age of organized labor, from her iconic image of the ILGWU's Pins and Needles White House performance to her sensitive portraits of men and women at work. Her images from a 1941 journey to Mexico reveal a nation caught in the high-stakes political crossfire between the superpowers of the day. She photographed marketplaces, artists' colonies, and Acapulco's posh set as well as a secret gold mine, a historic labor convention, American movie stars on a "Goodwill Fiesta" tour, and a devastating earthquake. Returning to New York, Ms. Joseph documented labor's home front efforts and the historic 1944 Democratic Convention that put Harry Truman on the ballot. Hertzberg's book tells a remarkable story that preserves a legacy of historical, artistic, and feminist significance.
Separated Materials:
Materials in National Museum of American History, Division of Political History (now Division of Political and Military History

Division holds some materials related to the International Ladies' Garment Workers' Union
Provenance:
Donated by Suzanne Hertzberg and Richard Hertzberg, daughter and son of Katherine Joseph, February 20, 2007.
Restrictions:
The collection is open for research.
Rights:
Copyright held by donor. Written permission required prior to obtaining reproductions. Consult with Archives Center staff for contact information. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Textile industry  Search this
Labor unions  Search this
Labor  Search this
Photographers -- New York  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1930-1940
Citation:
Katherine Joseph Collection, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0944
See more items in:
Katherine Joseph Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0944
Online Media:

Edward J. Orth Memorial Archives of the World's Fair

Collector:
Orth, Edward J.  Search this
Exhibition Collectors Historical Organization  Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Extent:
130 Cubic feet (417 boxes, 23 map-folders)
Type:
Collection descriptions
Archival materials
Souvenirs
Photographs
Pamphlets
Guidebooks
Date:
1835-1992
Summary:
Collection documents the 1939 New York World's Fair in Flushing Meadows, New York. Also includes materials on other world's fairs, the Exhibition Collectors Historical Organization (ECHO), New York City tourism and Disney.
Scope and Contents:
The collection contains the archival materials collected by Edward Orth including postcards, newspaper clippings, exhibitor's literature, photographs, scrapbooks, tickets, pamphlets, brochures, magazines, books, and motion picture film.
Arrangement:
The collection is arranged into ten series.

Series 1, Edward J. Orth Personal Papers, 1939-1989

Subseries 1.1: Correspondence, 1939-1989

Subseries 1.2: Other Materials, 1915-1989

Series 2, Exhibition Collectors Historical Organization Records, 1942-1990

Subseries 2.1, Organizational History, 1960-1988

Subseries 2.2: Correspondence, 1942-1990

Subseries 2.3: Classified Ads, 1956-1988

Subseries 2.4: Financial Records, 1976-1989

Subseries 2.5: Newsletters, 1969-1988

Subseries 2.6: Membership applications, renewal notices and cancellations, 1977-1987

Series 3, New York World's Fair, Inc. Records, 1900-1988

Subseries 3.1: Administrative Files, 1900-1971

Subseries 3.2: Amusement Zone, 1937-1940

Subseries 3.3: Communications and Business Systems Zone, 1939-1965

Subseries 3.4: Community Interest Zone, 1939-1940

Subseries 3.5: Food Zone, 1939-1975

Subseries 3.6: Government Zone, 1939-1940

Subseries 3.7: Production and Distribution Zone, 1939-1940

Subseries 3.8: Transportation Zone, 1939-1940

Subseries 3.9: Ephemera, 1939-1988

Series 4, Photographic Materials, 1876-1969

Subseries 4.1: General

Subseries 4.2: Amusement Zone

Subseries 4.3: Business Systems Zone

Subseries 4.4: Communications Zone

Subseries 4.5: Community Interest Zone

Subseries 4.6: Food Zone

Subseries 4.7: Government Zone

Subseries 4.8: Production and Distribution Zone

Subseries 4.9: Transportation Zone

Subseries 4.20: Miscellaneous

Subseries 4.21: Oversize

Subseries 4.22: Color Slides

Subseries 4.23: Color Transparencies

Series 5, Scrapbooks, 1938-1981

Series 6, Postcards, 1906-1985

Series 7: Publications Related to World's Fairs, 1922-1989

Subseries 7.1: Magazines, 1922-1988

Subseries 7.2: Newspaper Articles, 1935-1989

Subseries 7.3: Other Publications, 1939-1973

Subseries 7.4: Other Subjects, 1962-1989

Series 8: Materials Relating to Other Fairs, 1951-1988

Subseries 8.1: Great Exhibition of the Works of Industry of All Nations/Crystal Palace Exhibition

Subseries 8.2: New York Crystal Palace Exhibition

Subseries 8.3: Centennial Exposition

Subseries 8.4: World's Columbian Exposition

Subseries 8.5: Exposition Internationale D'Anvers (Antwerp, Belgium)

Subseries 8.6: Tennessee Centennial and International Exposition

Subseries 8.7: Trans-Mississippi Exposition

Subseries 8.8: South Carolina Inter-State and West Indian Exposition/Pan-American Exposition

Subseries 8.9: Louisiana Purchase Exposition

Subseries 8.10: Jamestown Tercentennial Exposition

Subseries 8.11: Alaska, Yukon, Pacific Exposition

Subseries 8.12: Panama-California Exposition

Subseries 8.13: Bronx International Exposition of Science, Arts and Industries

Subseries 8.14: Sesquicentennial Exposition

Subseries 8.15: Barcelona International Exposition Subseries 8.16: L'Exposition Coloniale, Paris

Subseries 8.17: Olympics

Subseries 8.18: Century of Progress

Subseries 8.19: California Pacific International Exposition (San Diego)/Brussels International Exposition

Subseries 8.20: Great Lakes Exposition/Texas Centennial Central Exposition

Subseries 8.21: Exposition Internationale des Arts et Techniques dans la Vie Moderne

Subseries 8.22: Golden Gate International Exposition

Subseries 8.23: Festival of Britain

Subseries 8.24: Milan Fair

Subseries 8.25: Exposition Universelle et venti Internationale de Bruxelles

Subseries 8.26: Moscow

Subseries 8.27: Century 21 Exhibition

Subseries 8.28: Expo 67

Subseries 8.29: Long Beach, California (cancelled)

Subseries 8.30: HemisFair 68

Subseries 8.31: Expo 70

Subseries 8.32: Expo 74

Subseries 8.33: Expo 75

Subseries 8.34: American Revolution Bicentennial, 1776-1976

Subseries 8.35: Queens Bicentennial Festival

Subseries 8.36: Expo 81, (cancelled)

Subseries 8.37: Portopia 81

Subseries 8.38: 1982 World's Fair

Subseries 8.39: Louisiana World Exposition

Subseries 8.40: Olympic Games

Subseries 8.41: Expo 85

Subseries 8.42: Queens Festival

Subseries 8.43: Expo 86

Subseries 8.44: World Expo 88

Subseries 8.45: Expo 92

Subseries 8.46: Expo 2000

Subseries 8.47: Combined Fairs

Subseries 8.48: General information about world's fairs

Series 9: Ephemera, 1934-1987

Subseries 9.1: New York (arranged first by subject and then general materials)

Subseries 9.2: Other States and Countries (alphabetical by location)

Subseries 9.3: Disney and Wizard of OZ Materials (chronological order)

Series 10: Audio Visual Materials, 1939, 1964-1965

Subseries 10.1: Moving Images, 1939; 1964-1965

Subseries 10.2: Sound Recordings

Series 11: Oversize, 1835-1992
Biographical / Historical:
Edward J. Orth grew up relishing history, particularly the history of the New York World's Fair. His experience of visiting the fair as a twelve year old boy led to a life long passion of collecting. At the time of his death, he had amassed a collection that filled two houses in California. The collection not only included materials of the 1939 New York World's Fair but also documented events before and after the fair. He also collected materials from a number of other fairs. Edward Orth was also instrumental in creating an organization for people who wanted to collect information and trade artifacts and relating to world's fairs materials.

Mr. Orth was born April 19, 1927 to Andrew Joseph Orth and Florence Minnie Gordon Orth in New York. The family would later include another son George, some six or seven years younger than Edward. In the 1930's, the Orth family lived in a number of locations in New York including Ridgewood, Brooklyn, Glendale, and Queens. In 1935, the family eventually moved to St. Albans, Queens, New York where Orth lived seven miles from Flushing Meadow Park, future site of the New York World's fair.

The year 1939 was a particularly painful one for the family due to a number of deaths. Edward Orth's paternal grandmother died on April 22nd. His grandfather, Michael Orth, also passed away in April. Three months later his grandmother Gordon died on July 22th. The severe losses to the Orth-Gordon families limited many social activities; however, the family did drive by the grounds of the future site of the world's fair. For the first time Edward Orth glimpsed the Trylon and Perisphere. Later, Orth would remark that the sight appeared to be magic.

In the summer of 1939, Edward Orth went to the fair with his class at Public School 136. The next summer Edward and his father walked over to an elementary school in Hollis, Queens, New York and purchased a 10 admission ticket for elementary school students. Edward Orth saved every souvenir and every bit of information he could find about the fair. He filled scrapbooks with photographs from newspapers and the 1939 Curt Teich and Manhattan PC Company postcards that were on sale at the corner candy store. When his family moved from an apartment to a house he acquired an old world's fair bench which he kept in the backyard.

In 1941, Orth attended Newton High School in Elmhurst, and Queens, New York. The high school offered a special college preparatory technical course which involved heavy emphasis on mathematics, science, mechanical drawing and workshop courses. Such educational pursues coupled with the motion picture films which he saw at the fair, including Thomas Edison's "The City of Light", Ford Motor Company's "Road of Tomorrow", "Democracy" and General Motors' "Futurama" inspired Orth's interest in architecture and landscaping. This inspiration formed the basis of his decision to become a city planner for California.

By 1943, Orth began to explore used magazine and book stores in New York City to continue his collecting of world's fairs materials. Two days after graduation in 1945 he was enlisted in the army. Upon his discharge he resumed buying and trading worlds' fairs' postcards. From 1948-1953, Orth continued his education at the University of California and the University of Connecticut where he studied architecture and landscape design. Between these years he posted advertisements in various postcard collector clubs publications in his continued pursue of world's fairs materials. In March 1953, Mr. Orth moved to Los Angeles, California. It was during his time in Los Angeles that he really began to make contact with other World's fairs buffs and formed lasting friendships based on this common interest. By 1967, Orth and a number of his closest friends including Peter Warner, Oscar Hengstler, David Oats, Larry Zim, and Ernest Weidhaas conceived the idea of a world's fair collector's society. By the summer of 1968 this group had formally created the Exhibition Collectors Historical Organization (ECHO).

Edward Orth was always concerned about the welfare of his collection and did not want the materials to be broken into parts and sold. Instead he wanted it to go to a museum. Mr. Orth stipulated in his will that the collection would be given to the Smithsonian Institution upon his death. In 19??, Jon Zackman, former Smithsonian employee, conducted two interviews on micro cassettes. One interview was conducted with George Orth, brother of the collector. The other interview is with Peter Warner, another world's fairs collector. Orth and Warner had corresponded extensively and had traded objects. Mr. Orth primarily covered the west coast area while Peter Warner was his east coast counterpart.
Related Materials:
Materials in the Archives Center

Warshaw Collection of Business Americana (AC0060)

Larry Zim Collection (AC0519)

Materials at Other Organizations

New York Public Library

The New York World's Fair 1939 and 1940 Incorporated Records, 1935-1945, MssCol 2233
Separated Materials:
Materials at the National Museum of American History

Artifacts from the collection include several thousand souvenirs and examples of memorabilia commemorating the fair to include buttons and badges, ceramics, glassware, clothing, costume jewelry, coins and medals, commemorative spoons and flatware, toys and games, and philatelic material which are all part of the Division of Home and Community Life's holdings (now Division of Cultural and Community Life).
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Exhibitions -- 1930-1940 -- New York (State) -- New York  Search this
World's fairs  Search this
Genre/Form:
Souvenirs -- 1930-1940
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1930-1940
Pamphlets -- 1930-1940
Guidebooks -- 1930-1940
Citation:
Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0560
See more items in:
Edward J. Orth Memorial Archives of the World's Fair
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0560
Online Media:

Gottlieb and Bodansky Family Papers

Creator:
Bodansky, Lony Gottlieb  Search this
Gottlieb, Camilla Klaber, 1884-1964  Search this
Bodansky, Harry  Search this
Gottlieb, Hermann, 1875-1943  Search this
Extent:
1.5 Cubic feet (4 boxes)
1.5 Cubic feet (4 boxes)
Type:
Collection descriptions
Archival materials
Place:
Theresienstadt (concentration camp)
Date:
1901-1981, undated
1901-1981, undated
Summary:
The Gottlieb and Bodansky family papers are a collection of correspondence, immigration material, photographs, and ephemera related to the family of Hermann and Camilla Gottlieb and their daughter Lony Gottlieb Bodansky. Hermann and Camilla were interred at Theresienstadt concentration camp by the Nazi government during World War II.
Scope and Contents:
The Gottlieb and Bodansky family papers are a collection of letters, diaries, immigration material, photographs, and ephemera related to the family of Herman and Camilla Gottlieb and their daughter Lony Gottlieb Bodansky and her husband Harry Bodansky. Herman and Camilla were interned at Theresienstadt by the Nazis during World War II. Herman died in 1943 while at Terezin and Camilla survived and immigrated to the United States in 1946. Lony Gottlieb and Harry Bodansky immigrated to the United States in 1938. The greatest portion of the materials in all series and subseries are written in German.

The collection is divided into two series. Each series is arranged by subject and chronologically at the folder level beginning with correspondence arranged by date then followed by other materials arranged chronologically and within each folder chronologically:

Series 1, Camilla Klauber Gottlieb Papers, 1901-1981, undated, is arranged into two subseries: Subseries 1, Purse Contents, 1901-1981, undated and Subseries 2, Papers, 1937-1964, undated.

Subseries 1, Purse Contents, 1901-1981, undated, is arranged with loose purse papers first, then United States War Department Envelope (WDE) documents (in ten folders), then the envelope marked "Mia" envelope (in one folder), all the contents of Camilla's purse. Each grouping begins with correspondence. The correspondence is between relatives and friends in the United States, Germany, Austria, and Palestine (later Israel). In addition to correspondence, this subseries also contains diaries, documents related to Hermann Gottlieb; financial, medical, education, immigration, and employment materials as well as photographs. The one item dated "1981" is a document that was produced earlier but carries dates up to 1981.

Subseries 2, Papers, 1937-1964, undated, contains papers relating to the Gottlieb family but that were not contained within the purse. The subseries begins with correspondence arranged chronologically and then with documents arranged chronologically. In addition to correspondence this series contains a diary for Camilla; obituary files for both Camillia and Hermann, immigration documents, travel papers, financial, loose photographs consisting of snapshots as well as formal portraits and passport photographs, and one photograph album with small snapshots of Camilla, family, and scenery.

Series 2, Bodansky Family, 1933-1964, undated, is arranged chronologically with correspondence heading the series. This series contains material about and generated by Lony Gottlieb Bodansky and her husband Harry Bodansky. The series contains correspondence, diaries, schooling, medical, immigration and travel documents for Lony; immigration materials related to their sustained efforts to secure Camilla Gottlieb status in the United States; financial material; news clippings (obituaries, fashion and a few German language items); ephemera; documents related to Harry Bodansky's efforts on behalf of Gerard T. Oschinsky's desire to immigrate to the United States; one photograph album with unidentified snapshot photographs of Lony and Harry as well as other friends and/or family members taken circa 1930s-1940s. There are also photographs taken at the 1939 New York World's Fair.
Arrangement:
This collection is arranged into two series.

Series 1, Camilla Klauber Gottlieb Papers, 1901-1981, undated

Subseries 1, Purse contents, 1901-1981, undated

Subseries 2, Papers, 1937-1964, undated

Series 2, Bodansky Family Papers, 1933-1964, undated
Biographical / Historical:
Camilla Klauber Gottlieb (1884-1964), nickname "Mia", was born on December 10, 1884 in Vienna, Austria to Ludwig and Caroline Hirsch Klauber. She married Hermann Gottlieb (1875-1943) on August 15, 1918 in Vienna. They had one child, Lony (1919-1970). During the rise of the Nazi government in Germany, efforts were repeatedly made by their daughter, Lony, the Klauber relations in the United States, and Harry Bodansky and his family to secure Camilla and Harry's immigration to the United States. These efforts failed. During World War II, Camilla and her husband were interned in Theresienstadt concentration camp by the Nazi government. Hermann died while in Theresienstadt of natural causes. Camilla was at last allowed to immigrate to the United States in 1946. After her immigration to the United States Camilla lived in New York City with Lony and her son-in-law Harry Bodansky (1919-2009). For a time Camilla worked at home as a hand embroiderer sewing insignia on sweaters and scarves for G.A. Embroidery Company of New York. She moved with her family when they relocated to Kensington, Maryland in 1952. Camillia died in Maryland in 1964 and was interred in the Adas Israel Cemetery in Kensington.

At some point, Camilla acquired a purse. She used this purse as a defacto file cabinet at least until 1952. Within this purse she kept all of the documents detailed in Series 1, Subseries 1.

Harry Bodansky was born on March 19, 1919 in Berlin, Germany and with the rise of Adolf Hitler he and his family moved to Vienna, Austria. He and Lony Gottlieb both attended the same school in Vienna, Austria. Lony immigrated to the United States in 1938. Harry, his parents and brother Ralph had also immigrated to the United States in 1938. Lony and Harry married in 1943 and lived in New York, New York. Harry attended the City College of New York and obtained a degree in economics. He received his master's in economics from Columbia University. He reportedly sold purse handles before becoming a writer on business and economics for a German language publication. The Bodanskys moved to Kensington, Maryland in 1952 when Harry accepted a job with the Commerce Department. They had two sons, Harvey and Robert. Lony died in 1970 and Harry died on May 21, 2009 and was interred in the Adas Israel Cemetery in Kensington.

References

"Harry Bodansky, economist, activist, 90", obituary, Washington Jewish Week, May 27, 2009.

"Mr. Harry Bodansky", obituary, Hines-Rinaldi Funeral Home, Inc., website, accessed January 31, 2012.
Related Materials:
Objects related to this acquisition, Camilla's purse, clothing, jewelry, examples of her embroidery, and other objects are housed in the Division of Home and Community Life (now Division of Cultural and Community Life). See accession #: 2011.0164.01-2011.0164.48.
Provenance:
Donated to the Division of Home and Community Life, National Museum of American History, Smithsonian by Robert Bodansky in August 2011.
Restrictions:
This collection is open for research use. Researchers must handle unprotected photographs with cotton gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: reproduction fees may apply. All duplication requests must be reviewed and approved by Archives Center staff.
Topic:
World War, 1939-1945  Search this
Citation:
The Gottlieb and Bodansky Family Papers, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1245
See more items in:
Gottlieb and Bodansky Family Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1245
Online Media:

H. Irving Crane Papers

Creator:
Crane, H. Irving  Search this
Extent:
5.5 Cubic feet (12 boxes)
Type:
Collection descriptions
Archival materials
Date:
1927-1950
bulk 1935-1945
Summary:
H. Irving Crane worked as a chemist for Atlantic Research Associates, Inc. (a division of National Dairy Corporation) from 1933-1940s on the production of several products utilizing casein, a protein found in milk. These products include Aralac (a synthetic fiber), Aracide (a fungicide and moth repellent), spray-dried milk, casein paints, and synthetic rubbers. The H. Irving Crane papers document Crane's work as a chemist at Atlantic Research Associates, Inc. and the development of Aralac and Aracide.
Scope and Contents:
The H. Irving Crane papers illuminate the development of casein products in the 1930s-1940s, particularly a fiber and fungicide. The collection is divided into two series:

Series 1, Atlantic Research Associates, Inc., 1927-1950, consists of material relating to Crane's research and experiments while a chemist at ARA. This series is divided into eight subseries:

Subseries 1, Aralac, 1938-1945, illuminates the development, testing, production, and uses of the casein fiber Aralac. Correspondence, memoranda, notes, and reports document the challenges associated with the initial production, dyeing, and adding of chemical washes to Aralac and the use of Aralac in manufacturing of cloth goods. Correspondence between ARA and customers documents the use of Aralac in carpet, military socks, lace, knitting yarn, and hats. Associated fiber samples from the dyeing process and material relating to the treatment of Aralac with Aracide are also included.

Subseries 2, Aracide, 1935-1945, consists of correspondence, memoranda, notes, and reports relating to the anti-fungal agent. Another ARA employee, Laura Adams, produced several reports on Aracide. Correspondence reflects its testing for use in carpets and an attempt to obtain a patent for the fungicide.

Subseries 3, Other products, 1937-1945, contains materials relating to all the products that Crane worked on, including a spray drying process for milk dehydration and casein paints. There is a small amount of documentation of Aralac and Aracide within this subseries.

Subseries 4, Laboratory notebooks, 1937-1945, documents Crane's daily activities on the projects he worked on. Arranged chronologically, test results, notes, graphs, and experimental procedures are recorded within these notebooks. There are significant gaps in the date range listed above.

Subseries 5, Correspondence, memoranda, and reports, 1937-1948, records activities and communication within ARA. Documents written by Crane relate to his work, but many other reports document projects that Crane was not directly involved with. Two letters from F. C. Atwood, the president of ARA, illuminate occurrences within ARA: the potential drafting of Crane into military service for World War II and the reorganization of the company into NARC.

Subseries 6, Reference materials, 1936-1948, is comprised of scientific resources that Crane utilized and created. He reviewed scientific literature, indexed and summarized chemical abstracts, and compiled bibliographies related to the fields of fiber production, casein usage, and anti-fungal agents.

Subseries 7, Photographs, 1937-1941, illustrates ARA company gatherings, staff, and facilities.

Subseries 8, Printed material, 1927-1950, contains advertisements, catalogs, pamphlets, and brochures for assorted chemicals and laboratory equipment that were available to industrial chemists at the time. ARA-produced products represented include Aralac and the paints Aratone, Aralux, and Casein Deep Colors. Additional periodicals and newsletters received by Crane are also included.

Series 2, Biographical Material, 1936-1947, documents Crane's educational background, insurance needs, banking, and time spent at work.

Fiber samples and oversize material have been separated from the collection for preservation concerns. Items separated are identified by folder.
Arrangement:
The collection is arranged into two series.

Series 1: Atlantic Research Associates, Inc., 1927-1950, undated

Subseries 1, Aralac, 1938-1945, undated

Subseries 2, Aracide, 1935-1945, undated

Subseries 3, Other products, 1937-1945, undated

Subseries 4, Laboratory notebooks, 1937-1945, undated

Subseries 5, Correspondence, memoranda, and reports, 1937-1948, undated

Subseries 6, Reference materials, 1936-1948, undated

Subseries 7, Photographs, 1937-1941, undated

Subseries 8, Printed materials, 1927-1950, undated

Series 2: Biographical Material, 1936-1947, undated
Biographical / Historical:
Horace Irving Crane (1912-1984) was born on May 12, 1912. In 1929, he enrolled at the Massachusetts Institute of Technology (MIT) where he earned an undergraduate degree in Chemistry in 1933 and a Ph.D. in Chemistry in 1936.

In 1933, Crane began working at Atlantic Research Associates, Inc. (ARA) in Newtonville, Massachusetts as a chemist. ARA was a division of National Dairy Products Corporation, which was later absorbed by Kraft Foods. ARA specialized in the development of products from casein, a protein found in milk. ARA had manufactured casein-based paints since 1927 and continued to produce other casein products such as glues, plastics, films, and paper coatings. Most of these products were given a name beginning with the prefix "Ara-" taken from the company's name.

Crane and other chemists at ARA began research into the production of a casein fiber in 1937. Aralac was first manufactured at a plant in Bristol, Rhode Island. Patents were granted to the president of ARA, Francis Clarke Atwood, for Aralac ("Method of Making Proteinaceous Fibers" US Patent #2,342,994 and "Method of Treating Fibrous Material and Product Resulting Therefrom" US Patent #2,342,634). In 1941, production moved to a larger plant in Taftville, Connecticut. The production of the fiber was as follows:

First the pH value of the milk was lowered using acid. The protein reached its minimum solubility, and with swelling was precipitated out of the milk as curd. This curd was the raw material for the production of Aralac. The casein (curd) was collected in small creameries as well as large ones. One hundred pounds of milk produced 3.7 pounds of casein, which in turn produced 3.7 pounds of fiber. After the casein arrived at the plant, it was carefully blended with casein from other producers and dissolved in water with proper solvents. Adjustments were made to the viscosity in order to produce a uniform base and ensure the complete removal of foreign materials. The solution became syrup-like and was forced through a spinnerette into a coagulating bath and was carried away. It remained in tow form through a succession of hardening and molecular modifying treatments interspersed at times with washing and drying.

Aralac is in the Azlon class of fibers. Fibers in this class are made from regenerated, naturally-occurring proteins such as milk, corn, soybeans, and peanuts. It was hoped that Aralac would be considered a luxury fiber in direct competition with the best grades of wool. It was introduced just as the United States entered World War II; during the war, Aralac was blended with rayon and acetate for use in civilian dress fabric and in felted hats. It was tested for use in carpet, military socks, lace, and knitting yarn, but was not satisfactory. Due to its low strength and the difficulty in dyeing it, Aralac had a short life. Production of the fiber ended in 1948.

Crane also worked on Aracide, a moth and mildew repellant. Aracide was initially developed as a fungicide for casein paints in 1937, but was also used to prevent moths from infesting Aralac. ARA attempted to obtain a patent for Aracide, but was rejected due to similarities with another patented fungicide.

In addition to Aralac and Aracide, Crane worked on a spray drier to evaporate milk and other assorted ARA projects. In 1945, ARA was reorganized and consolidated into a larger company, National Atlantic Research Corporation.

Following his departure from ARA, Crane worked at Sylvania Electric Products, Clevite Transistor, Computer Controls Corporation, and Honeywell. In 1957, Crane received a patent for methods of treating Germanium in relation to semiconductors (US Patent #2,793,146) while at Sylvania Electric Products.

Crane married his ARA lab technician, Laura Soule, and they raised their children in Massachusetts. He retired in 1977 and died in Vermont on April 7, 1984.
Related Materials:
Materials at the National Museum of American History

The Division of Home and Community Life (now Division of Cultural and Community Life)holds artifacts including a suit made from Aralac (Accession #2006.0096A).
Separated Materials:
Material separated for preservation reasons:

Box 9, Folder 1, Casein fiber --dyeing, undated

Box 9, Folder 2, Aratex, Inc. --Bristol, Rhode Island plant, 1940, undated

Box 9, Folder 3, Aratex, Inc. --Bristol, Rhode Island plant and Aralac --customer contacts, 1941, undated

Box 9, Folder 4, Crane --Memoranda, reports, etc. and Reports --from H. I. Crane & others, 1940, undated

Box 9, Folder 5-6, Reports --from H. I. Crane and others, 1940-1941

Box 10, Folder 1, Oversize papers, 1944

Box 10, Folder 2-4, Reports --from H. I. Crane and others, 1941 and undated

Box 10, Folder 5, [Dyed fiber samples], undated

Box 11, Folder 1-4 , [Dyed fiber samples], undated

Box 12, Folder 1, [Loose fibers that detached from dyed fiber samples], undated

Box 12, Folder 2, [Aralac/rayon blend fabric samples], undated

Box 12, Folder 3-5, [Dyed fiber samples], undated
Provenance:
The collection was donated by Irving Crane's son, Andrew Crane, in 2007.
Restrictions:
Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Chemists  Search this
Chemistry  Search this
Chemical abstracts -- Outlines, syllabi, etc.  Search this
Casein  Search this
Wool, Artificial  Search this
Textile fibers, Synthetic  Search this
Textile fibers, Synthetic -- Equipment and supplies  Search this
Textile fibers, Synthetic -- Laboratory manuals  Search this
Textile fibers, Synthetic -- Testing  Search this
Fungicides -- Testing  Search this
Spray drying  Search this
Synthetic fabrics  Search this
Synthetic fibers industry  Search this
Textile fibers, Synthetic Dyeing  Search this
Citation:
H. Irving Crane Papers, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1119
See more items in:
H. Irving Crane Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1119
Online Media:

Family and Friends Correspondence

Collection Creator:
White, Robert, 1921-2002  Search this
Extent:
(2 folders)
Container:
Box 1, Folder 11-12
Type:
Archival materials
Date:
circa 1930s-1940s
Collection Restrictions:
Use of the original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert W. White papers, 1889-2003 (bulk 1915-2003). Archives of American Art, Smithsonian Institution.
See more items in:
Robert W. White papers
Robert W. White papers / Series 2: Correspondence / 2.1: Family and Friends
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-whiterobe-ref28

To Mr. and Mrs. A. J. Poor

Collection Creator:
Poor, Henry Varnum, 1887-1970  Search this
Container:
Box 2, Folder 26-27
Type:
Archival materials
Date:
1930-1940
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. Use of audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.
See more items in:
Henry Varnum Poor papers
Henry Varnum Poor papers / Series 2: Correspondence / Empty Envelopes
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-poorhenr-ref740
Online Media:

Envelopes Only

Collection Creator:
Cummings, Willard Warren, 1915-1975  Search this
Container:
Box 5, Folder 5-10
Type:
Archival materials
Date:
1930s-1940s
Scope and Contents:
The envelopes were received by the archivist without their original letters. The letters may be included in the chronological correspondence.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Willard Warren Cummings papers, 1911-1997, bulk 1930-1975. Archives of American Art, Smithsonian Institution.
See more items in:
Willard Warren Cummings papers
Willard Warren Cummings papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cummwill-ref37

Pullman Palace Car Company Collection

Creator:
Pullman Palace Car Co.  Search this
Pullman, George M., 1831-1897  Search this
Names:
Lincoln, Robert Todd  Search this
Extent:
8 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Correspondence
Drawings
Date:
1867-1982
bulk 1900-1930
Summary:
Records of the Pullman Company, manufacturers and operators of railroad sleeping cars. Pullman also manufactured hospital and dining cars at its Chicago facilities. Dating from 1867 to 1982 (bulk 1900-1930s), the collection includes background materials, correspondence, financial, personnel and operating records, drawings and photographs.
Scope and Contents:
The collection consists of materials from 1867-1982 (bulk 1900-1930s), and includes background materials, correspondence, financial records, operating records, personnel records, drawings, and photographs. Of note is the documentation of hospital cars and instructions for porters. The collection is not a complete record of the Pullman Palace Car Company's activities.

Series 1, Historical Background, 1867-1982, contains newspaper clippings and articles about the Pullman Palace Car Company and George Pullman. Also included is a 318-page typescript titledThe History of the Sleeping Car 1923, by Charles S. Sweet; documentation on how Pullman cars were named; and other histories of the Pullman Company including its hospital cars and maquetry design.

Series 2, Correspondence, 1912-1960, consists primarily of documentation about the sale of cars and equipment by Pullman Palace Car Company to specific railroad companies. The correspondence details the cost per car and in some instances, leasing costs, operating costs, and other relevant statistical and financial information about the transactions. There is some consolidated data on cars sold to the railroads as well as summary data on the type of car sold, name of car, selling price, purchasers, and the date the sale was approved. The correspondence is organized chronologically within Pullman Company correspondence wrappers which were used to maintain the correspondence in a uniform manner and in consecutive date order.

Correspondence about hospital cars contains information on the rental of Pullman cars to the United States government as well as letters discussing specifications for building hospital unit cars for the United States Army. There is one folder of miscellaneous correspondence with individuals seeking copies of photographs from the company and/or offering their historical writings about the company.

Series 3, Financial Records, 1875-1930, consists primarily of details of cost documentation created by the Pullman Company's Manufacturing Department. The cost sheets are arranged chronologically and represent an itemized financial breakdown of costs by material, labor, extra equipment, sundries, and recapitulation for a variety of Pullman cars. The cover sheet for work orders notes the lot number, plan number, type of Pullman car (e.g. baggage, parlor, private) being manufactured or serviced/repaired, to whom the order belongs, and associated dates. For example, one private, steel car for Mr. D. J. Reid or general service parlor car for Southern Railway.

Series 4, Operating Records, 1875-1972, consists of records used by the company for daily operations, particularly instructions for porters as well as repair logbooks, volumes detailing car building completion, published supplements noting specific changes to cars, correspondence, reports, newspaper clippings, and lists of cars built by Pullman and cars withdrawn from service. Also included is the Illustrations Accompanying the Report of the Engineer-in-chief, H.C. Mais, on Observations on Railways Made During His Tour in 1883. Henry Coathupe Mais (1827-1916) was an English born civil engineer who spent most of his career in Australia. Mais toured railways and other works in Europe and America. His lengthy report with many detailed illustrations was printed in 1884 as a parliamentary paper. Some report pages were moldy and have been separated. These pages include: the index, pages 1-7; page 58; and pages 98-111.

The reports found in the "general file" include Sleeping, Parlor and Lounge Equipment (1945) and Pullman Passenger Survey A Continuing Study--Part II, (1955). The latter report by McFarland, Aveyard and Company studied attitudes and opinions of Pullman passengers. There is a typescript of a presentation made by George W. Bohannan of the Pullman Company to the American Association of Passenger Traffic Officers (1964).

The records documenting the completion of cars are bound volumes arranged chronologically. The volumes detail lot number, plan numbers, date of order, type of car, account name, date of delivery, destination route, estimate price, cost price, and contract price. In some instances, new information was glued or taped into the volume. The repair books capture the date, name of car, yard, name of porter, and date shipped.

Series 5, Personnel Records, 1873-1979, includes a payroll list for the General Ticket Department, 1876; instructions for passengers with cholera, 1873; reward notices for an 1878 robbery; instructional manuals for Pullman porters; photographs of Pullman Company employees working, and general correspondence, 1896-1979; ancedotes about Pullman porters; an obituary for George Arthur Kelly, an executive vice president for the Pullman Company; articles and newspaper clippings about porters and conductors, particularly the Society for the Prevention of Calling Pullman Car Porters "George." Started in 1916, the Society for the Prevention of Calling Pullman Car Porters "George" was founded by George W. Dulany, Jr., an Iowa lumber merchant. Dulany organized the society for fun after hearing passengers call every porter George. The society became a hobby and there were no meetings, dues, or activities associated with his work. Dulany's campaign was solely to have passengers use a porter's correct name or simply call them "porter."

Series 6, Drawings, 1907-1939 and undated, contains bound volumes arranged chronologically of records of tracings of drawings for Pullman cars. The volumes detail the negative number, date, type of car, job number, and remarks.

Series 7, Photographs, 1932-1950s and undated, consists primarily of black-and-white copy prints (8" x 10") documenting employees, especially porters, passengers, and hospital cars. Many of the hospital cars depict both the exterior and interior, but none with patients. The passenger photographs are almost exclusively interior images of persons dining, sleeping, playing cards, and in general seating areas. The Southern Pacific dining car photographs are original prints and bear the Pullman Car Company embossed stamp and unique number. This range of photographs is (Pullman photograph #32867 to #32873) and the images depict exterior and interior views of the dining cars. There is one album of ninety-nine photographs taken by Ricardo Villalba (active 1860-1880) in Peru. The album was made for W.W. Evans, Esquire in 1875. The images depict landscapes, bridges, train tracks, railroad cars, railroad engines, and buildings, such as the Pano Cathedral.
Arrangement:
The collection is divided into seven series:

Series 1, Historical Background, 1867-1982

Series 2, Correspondence, 1912-1960

Series 3, Financial Records, 1875-1930

Series 4, Operating Records, 1875-1972

Series 5, Personnel Records, 1873-1979

Series 6, Drawings, 1907-1939 and undated

Series 7, Photographs, 1932-1950s and undated
Biographical / Historical:
George M. Pullman (1831-1897) developed the railroad passenger sleeping car service into a major 19th century industry. He created the Pullman Palace Car Company in 1867. George Pullman was succeeded as president of the company by Robert Todd Lincoln, President Abraham Lincoln's son, who served until 1911. In 1900, after buying competing companies, the firm was reorganized as the Pullman Company.

The idea for specially designed sleeping cars came to Pullman while traveling from Buffalo to Westfield, New York in 1854. He altered existing railroad cars in September, 1858, for service on the Chicago and Alton Railroad. They first sleeping car built to Pullman's specifications was the "pioneer," which carried part of the Lincoln funeral party from Chicago to Springfield, Illinois in 1865. In 1867 "hotel cars" were introduced. These sleeping cars, equipped with kitchen and dining facilities, eliminating the need for trains to stop at stations for passengers to buy food. In 1868, Pullman built the "Delmonica," devoted to restaurant purposes. The Pullman firm also built streetcars and trolleys.

In 1880 George Pullman built the town of Pullman, just south of the city of Chicago along the Illinois Central Railroad line, as the site for his manufacturing plant. Intended as a model manufacturing town, it had 12,000 residents in 1893. It suffered from the usual company town problems and was annexed to Chicago in 1889. In the wake of the depression of 1893 Pullman reduced wages for its workers by 25% or more. The American Railway Union, lead by Eugene V. Debs, sought to bring wage issues to arbitration but Pullman refused. In June, 1894 some 4,000 employees struck the company gaining support from thousands of railroad workers who refused to handle trains with Pullman cars. President Grover Cleveland sent federal troops to Chicago in July and after a period of sporadic violence the strike was over by the end of the summer.

In later years the Pullman company introduced several innovations. It built lighter, articulated cars of alloy steel beginning in 1936. The following year, it introduced the roomette car with eighteen enclosed private rooms. In 1956 Pullman introduced the dome sleeper car with an upper deck observation level. The United States anti-trust suit against Pullman Manufacturing and Operating Company resulted in a 1944 decision requiring a separation of car building and car operation activities. Pullman sold its sleeping car service, transferring its operating unit to a group of fifty-nine railway firms in 1947.

George Pullman introduced two notable practices. First, rather than operating railroads, his firm leased sleeping cars to the railroads and provided the complete services on them, including supplying porters, conductors, dining staff, and food and linens. Second, Pullman named each of his sleeping and dining cars rather than assigning them numbers. This was intended to enhance the company's image by creating a personality for the car. Different categories of names signified different categories of cars and geographical names also helped to promote travel to the areas in which they operated.

Arthur Detmers Dubin assembled these Pullman Company materials. Dubin was born in 1923 in Chicago, Illinois. He began his architectural education at the University of Michigan in 1941 but was interrupted by World War II, and he served with distinction in the United States Army until 1946. After completing his studies in 1949, Dubin joined his father's and uncle's architectural firm, Dubin and Dubin, as a second--eneration architect. The leadership of the firm soon passed to Arthur and his brother, Martin David, and in 1965 they were joined by John Black and in 1966 by John Moutoussamy. Arthur's life--ong interest in trains and transportation and their implications for architecture is evident in transit stations commissions and service on transportation--elated advisory boards (Dubin was a member of the Illinois Railroad Commission), as well as in his writings and personal collections. Dubin was an avid train enthusiast and collector.

References

Art Institute of Chicago, Chicago Area Architects Oral History Project
Related Materials:
Materials in the Archives Center

Pullman Palace Car Company Photographs (NMAH.AC.1175), contains photographs of Pullman cars: freight, passenger, private and street railway/rapid transit cars. The bulk of the collection contains approximately 13,500 original glass plate negatives, film negatives, and copy prints.

Industry on Parade (NMAH.AC.0507) contains Reel #99, Servicing Sleepers, 1952. The Pullman Coach Company, Chicago, Illinois.

Materials In Other Organizations

Art Institute of Chicago

Bombardier Corporation

California State Railroad Museum

Chicago Historical Society

Arthur Dubin Collection at Lakeforest College

Illinois Railway Museum

Newberry Library, Pullman Company Archives

The Pullman Company archives consists of 2,500 cubic feet of records from the Pullman Company and Pullman heirs. The collection is comprised of business archives of the Pullman Palace Car Company from 1867 and include records of the entire firm up to the 1924 split into operating (sleeping car operation, service, and repair) and manufacturiung companies. From 1924 to 1981 the records chronicle the activities of the operating company only.

Pennsylvania State Archives

Pullman State Historic Site

Pullman Technology (Harvey, Illinois)

Smithsonian Institution Archives, Arthur D. Dubin Papers (83-015; 83-076; 83-101)

South Suburban Genealogical & Historical Society (South Holland, illinois)
Provenance:
Collection materials were donated by Arthur D. Dubin in 1980 and on January 30, 1986. Additional materials were donated by Lorrain Douglass, Kiara S. Winans and Kristin Peterson on April 3, 2012.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Hospital cars  Search this
Hotel car  Search this
Roomette car  Search this
Dining cars  Search this
Labor relations  Search this
Railroads -- Dining-car service  Search this
Sleeping car  Search this
Strikes and lockouts  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1930-1940
Correspondence -- 1930-1960
Drawings
Citation:
Pullman Palace Car Company Collection, 1867-1982, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0181
See more items in:
Pullman Palace Car Company Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0181
Online Media:

Schultz, Andi

Collection Creator:
Cramer, Konrad, 1888-1963  Search this
Container:
Box 2, Folder 49
Type:
Archival materials
Date:
circa 1920s
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:
Konrad and Florence Ballin Cramer papers, 1897-1964. Archives of American Art, Smithsonian Institution.
See more items in:
Konrad and Florence Ballin Cramer papers
Konrad and Florence Ballin Cramer papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cramkonr-ref114

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