Search Results

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

12.77 Cubic feet (consisting of 26.5 boxes, 1 folder, 7 oversize folders, 2 map case folders, 1 flat box (partial), plus digital images of some collection material.)

Type:

Collection descriptions

Archival materials

Print advertising

Periodicals

Publications

Advertising cards

Advertising mail

Printed ephemera

Patterns

Catalogues

Designs (textile)

Sales catalogs

Business cards

Legal records

Contracts

Textiles

Trade catalogs

Exhibition catalogs

Advertising

Advertisements

Mail order catalogs

Business records

Designs

Printed material

Labels

Instructional materials

Trademarks

Legal documents

Trade cards

Legislation (legal concepts)

Ephemera

Samples

Manuals

Sample books

Design patents

Advertising fliers

Illustrations

Catalogs

Sales letters

Business letters

Correspondence

Manufacturers' catalogs

Commercial correspondence

Letterheads

Invoices

Photographs

Sales records

Printed materials

Fabrics

Trade literature

Business ephemera

Receipts

Commercial catalogs

Date:

1784-1970

Summary:

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

Scope and Contents:

This material is concentrated on the 19th century United States textile manufacture and trade, and the sale of textiles in the form of bale, bolt, roll, and fabric to commercial vendors or consumers as source material to make other goods. The first series contains day-to-day records of dealers and vendors, plus advertising and marketing material. Artisan and home production of goods are virtually not covered but are a couple of incidental publications related to arts, crafts (rugs, weaving, looms), and more refined work such as tapestry. The import/export of textiles is well represented with a large volume of records, which may also provide some insight into the shipping industry.

There is not much on the infrastructure of the industry in the way of directories, trade journals, trade associations, along with manufacturing and plants, though there are a few examples of each. There are virtually no catalogues, except for a few thin ones that were filed by company name. While not extensive, the sample books and swatches offer a glimpse into product lines. Material types offers limited, specific information on certain varieties such as cotton, wool, linen, rayon, etc. Thread might be incidentally present but is not specifically included since there is already a dedicated subject category for it.

There is a healthy sampling of product labels. A handful of intellectual property related documents cover protections of designs, plus patents and trademarks. There is a small bulk of publications related to tariffs and the wool industry.

Clothing patterns, home economics, sewing and seamstresses, household use of textiles (furniture covering, as a cleaning tool, bedding/pillows, etc.) are not covered within this category. Researchers should also look at any of a number of other Warshaw categories, particularly those related to clothing, hosiery, dry goods, furniture, curtains, etc. for period popularity of certain materials and patterns.

Arrangement:

Textiles is arranged in three subseries.

Business Records and Marketing Material

Genre

Subject

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

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

Rights:

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

Topic:

Trade associations  Search this

Patents  Search this

Cotton textile industry  Search this

Fabrics, including spinning and weaving  Search this

Tapestry  Search this

Cotton  Search this

Textile manufacture  Search this

Textile design -- United States -- History -- 20th century -- Sources  Search this

Textile crafts  Search this

Textile  Search this

Retail trade  Search this

Tapestry -- Design  Search this

Textiles -- India  Search this

Labels -- Design  Search this

Textile fabrics in art  Search this

Textile fibers, Synthetic -- Equipment and supplies  Search this

Cotton picking machinery  Search this

Wool, Artificial  Search this

Cotton manufacture  Search this

Textile fabrics  Search this

Cotton picking  Search this

Textile fabrics -- 20th century  Search this

Textile fibers, Synthetic  Search this

Trademarks -- Design  Search this

Silk industry  Search this

Textile fibers, Synthetic Dyeing  Search this

Textile industry  Search this

Cotton industry  Search this

Tapestry -- Technique  Search this

Cotton growing  Search this

Cotton -- 1890-1910  Search this

Textile mills  Search this

Synthetic fabrics  Search this

Consumer goods -- Catalogs  Search this

Textile industry -- 1900-1910  Search this

Genre/Form:

Print advertising

Periodicals

Publications

Advertising cards

Advertising mail

Printed ephemera

Patterns

Catalogues

Designs (textile)

Sales catalogs

Business cards

Legal records

Contracts

Textiles

Trade catalogs

Exhibition catalogs

Advertising

Advertisements

Mail order catalogs

Business records

Designs

Printed material

Labels

Instructional materials

Trademarks

Legal documents

Trade cards

Legislation (legal concepts)

Ephemera

Samples

Manuals

Sample books

Design patents

Advertising fliers

Illustrations

Catalogs

Sales letters

Business letters

Correspondence

Manufacturers' catalogs

Commercial correspondence

Letterheads

Invoices

Photographs

Sales records

Printed materials

Fabrics

Trade literature

Business ephemera

Publications -- Business

Receipts

Commercial catalogs

Citation:

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

Sponsor:

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

Identifier:

NMAH.AC.0060.S01.01.Textiles

See more items in:

Warshaw Collection of Business Americana Subject Categories: Textiles

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8452a33db-9793-45c0-890c-a0dc6c7e8893

EDAN-URL:

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

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

11.39 Cubic feet (consisting of 25 boxes, 2 folders, 4 oversize folders, 1 map case folder, plus digital images of some collection material.)

Type:

Collection descriptions

Archival materials

Examinations (documents)

Speeches

Catalogs

Trade catalogs

Reports

Sales records

Trade literature

Print advertising

Business cards

Programs

Training manuals

Invoices

Publications

Business records

Advertising cards

Advertising mail

Certificates

Business ephemera

Manuals

Sales letters

Awards

Dance cards

Business letters

Commercial correspondence

Ephemera

Illustrations

Photographs

Sermons

Letterheads

Advertising

Printed ephemera

Catalogues

Theater programs

Report cards

Receipts

Advertising fliers

Legal documents

Scrapbooks

Correspondence

Lesson books

Periodicals

School records

Date:

1745-1973

bulk 1840-1930

Summary:

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

Scope and Contents note:

Most materials present are records and information related to specific schools and institutions and their operations. There are no complete records for any single organization. K-12 public, private schools are represented, as well as colleges, universities, vocational training, plus home study, correspondence courses, Sunday Schools and some religious instruction. HBCUs are not represented, though there may be a general item or two related to one or more of the HBCU schools. There is a sampling of teaching and learning tools such as workbooks, textbooks, and curriculum guides, plus publications for educators. A portion of the material focuses on administration and the profession of education. Student Services and Engagement covers the social aspects of higher education.

Arrangement note:

Schools is arranged in two subseries.

Institutions

By Name

Administration and Records

Genre

Advertisements

Images

Instruction and Learning: Tools and Resources

Post Family Education Records

Serial Publications for Educators and Administrators

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

Some items may be restricted due to fragile condition.

Rights:

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

Occupation:

College administrators  Search this

Educators  Search this

Art teachers  Search this

Topic:

Student activities  Search this

Education, Higher  Search this

Colleges  Search this

College teachers  Search this

Teachers -- 1940-1950  Search this

Fraternal organizations  Search this

Musical productions  Search this

Students  Search this

Education  Search this

Home economics -- Study and teaching  Search this

Dance  Search this

College graduates -- 1840-1860  Search this

Education, Elementary  Search this

High schools -- Alumni and alumnae  Search this

College students -- 1900-1910  Search this

Art  Search this

Music  Search this

Primers  Search this

Vocational education  Search this

Schools  Search this

Teachers  Search this

Mathematics  Search this

Education -- 19th century  Search this

Kindergarten  Search this

Dances  Search this

Classrooms  Search this

Theater  Search this

High school student activities  Search this

Women -- Education  Search this

Universities and colleges  Search this

Lesson plans  Search this

Students -- 1940-1950  Search this

Universities and colleges -- Administration  Search this

Musical performances  Search this

Education -- school buildings  Search this

State universities and colleges  Search this

Students -- 19th century  Search this

Medical colleges -- Faculty  Search this

Commencement ceremonies  Search this

High school athletes  Search this

Cooking  Search this

Medical colleges  Search this

Musicals  Search this

Elementary schools  Search this

Art -- Study and teaching  Search this

Genre/Form:

Examinations (documents)

Speeches

Catalogs

Trade catalogs

Reports

Sales records

Trade literature

Print advertising

Business cards

Programs -- Graduation ceremonies -- 1930-1940

Training manuals -- 20th century

Invoices

Publications

Business records

Advertising cards

Advertising mail

Certificates

Business ephemera

Manuals

Sales letters

Awards

Dance cards

Business letters

Commercial correspondence

Certificates -- School attendance -- 1930-1940 -- Illinois

Ephemera

Illustrations

Photographs

Sermons

Letterheads

Publications -- Business

Advertising

Printed ephemera

Catalogues

Theater programs

Report cards

Receipts

Advertising fliers

Legal documents

Scrapbooks

Correspondence

Lesson books

Periodicals

School records

Citation:

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

Sponsor:

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

Identifier:

NMAH.AC.0060.S01.01.Schools

See more items in:

Warshaw Collection of Business Americana Subject Categories: Schools

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8680d9cf8-955e-43fd-b70a-d3dd90a3f340

EDAN-URL:

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

Choreographer:

Ailey, Alvin  Search this

Photographer:

Mitchell, Jack, 1925-2013  Search this

Dancer:

Allen, Sarita  Search this

Chaya, Masazumi  Search this

DeLavallade, Carmen , 1931-  Search this

DeLoatch, Gary, 1953-1993  Search this

Jamison, Judith  Search this

Roxas, Elizabeth  Search this

Truitte, James  Search this

Tyson, Andre  Search this

Williams, Dudley, 1938-2015  Search this

Wood, Donna, 1954-  Search this

Extent:

16 Linear feet

Type:

Collection descriptions

Archival materials

Modern dance

Dance photography.

Date:

1961-2004

Summary:

Jack Mitchell (1925- 2013) was an acclaimed photographer who began chronicling the work of the Alvin Ailey American Dance Theater in 1961. Alvin Ailey (1931- 1989), one of the most influential African American choreographers of modern dance, dedicated himself and his dance company to creating ballets that not only accelerated the careers of young African American dancers, but also stole the attention of national and international audiences in displaying the racial perspective of dance in the African American experience. This collection serves as Mitchell's documentation of the dance company's evolution while capturing the true idiosyncrasies and physicality of movement through still images. Through Alvin Ailey and Jack Mitchell's partnership, they were able to collaborate and produce a unique production of art, fusing the meaning and movements of dance and the techniques of photography.

Scope and Contents:

The Jack Mitchell Photography of Alvin Ailey American Dance Theater Collection is comprised of approximately 10,000 black and white prints of solo and ensemble acts, portraits of principle dancers and various associates of the company, color slides and transparencies for private photo sessions and performances, black and white film strips and their corresponding contact sheets, and reference materials.

Arrangement:

The material in this collection has been kept primarily at the folder level in the order that was declared by the initial owner and photographer, Jack Mitchell. Oversize prints were separated and housed in an associated series in the collection. The order of the material has been organized based on the medium of the material. Each subseries has been organized based on the following:

Series I: Black and White Prints Subseries A: Solo and Ensemble Images and Portraits were organized alphabetically by ballet name. Subseries B: Prints for Jack Mitchell Publication were organized by page number in the publication.

Series II: Color Photography Subseries A: Original Slide Boxes were organized numerically based on Jack Mitchell's label assignments. Subseries B: Color Slides were organized numerically based on subseries A's label assignments. Subseries C: Color Transparencies were organized numerically based on subseries A's label assignments.

Series III: Black and White Negatives Subseries A: Black and White Film Strips were organized chronologically by date. Subseries B: Contact Sheets were organized chronologically by date.

Series IV: Reference Material

OVERSIZE Series I: Black and White Prints were organized chronologically by date.

Biographical / Historical:

Jack Mitchell was born on September 13, 1925 in Key West, Florida. Although he was not in the field of photography, Mitchell's father bought him his first camera when Jack was a teenager. His first published photograph was of actress, Veronica Lake, for a War Bond Tour, a tour issued by the government that promoted debt securities to soldiers to finance military operations and expenditures He enlisted in the United States army and became a photographer in Italy at the end of World War II. In 1949, Ted Shawn, a dancer and choreographer who is respected among the dance community as a pioneer of American modern dance, invited Mitchell to Massachusetts photograph his dancers at his dance center, Jacobs's Pillow. It was during this time where Mitchell's interest and appreciation for moving bodies was realized. In the lifespan of his career, Mitchell created over 150 covers for Dance Magazine1, the New York Times, Time, Life, Newsweek, Rolling Stone, Vanity Fair, and Vogue.2

As Jack Mitchell started to photograph the poses and ballets of the American Ballet Theater throughout the late 1950s, Alvin Ailey saw some of Mitchell's photographs. By 1961, Mitchell had established himself as a distinguished photographer of dance, coining the term, "moving stills". His photographs became the benchmark and standard that other dance photographers measured their work. In November 1961, Ailey invited Mitchell to a performance space in Clark Center, NY, and with his dancers, they performed for Mitchell's camera; some of the photographs from that first photo session can be found in this collection.

Alvin Ailey was born on January 5, 1931 in in Rodgers, Texas, during the Great Depression. As his repertory reflected, the beginning of his life was defined by a tight-knit, predominantly African American folk culture. At age 12, Ailey and his mother, Lula Cooper, moved Los Angeles, California. It is here that he was exposed to the Ballet Russe de Monte Carlo, which led him to study under the Lester Horton Dance Theater, where he danced with Carmen DeLavallade, James Truitte, and Joyce Trisler. After 3 years of performing and training, he was positioned as a choreographer and later became the director of the company when Lester Horton suddenly died in 1953. His influence from Lester Horton, Martha Graham, and Katherine Dunham help to establish his philosophy that "Everything in dancing is style, allusion, the essence of many thoughts and feelings, the abstraction of many moments. Each movement is the sum total of moments and experiences".3 After Horton's death, Ailey went to perform at Ted Shawn's Jacob's Pillow Dance Festival, and then on to New York with his longtime schoolmate and fellow dancer, Carmen DeLavallade, to perform in the 1954 Broadway production of "House of Flowers". The Alvin Ailey American Dance Theater Company was established in 1958.

From the beginning of his journey as a dancer and choreographer, Ailey wanted to show African American experience in his performances. He embedded folk culture in his early works "Revelations" and "Blue Suites". In reflection, before his first South Asian Tour, Alvin expressed, "The cultural heritage of the American Negro is one of America's richest treasures. From his roots as a slave, the American Negro- sometimes sorrowing, sometimes jubilant but always hopeful -has touched, illuminated, and influenced the most preserved of world civilization. I and my dance theater celebrate this trembling beauty."4 "Revelations" was well- received by national and international audiences, Ailey recognized by the dance community as a choreographer with promise and his company and ballets he created were highly anticipated. By 1965, Ailey went from being a dancer to being the company's choreographer. From the onset, Ailey embraced diversity and invited interracial and interdisciplinary perspectives at of the company. He also created ballets for other notable companies including the American Ballet Theatre, Royal Danish Ballet, London Festival Ballet, the Joffrey Ballet, Paris Opera Ballet, and LaScala Opera Ballet.5 He was invited to choreograph Samuel Barber's Anthony and Cleopatra for the Metropolitan Opera at Lincoln Center in 19666, and Leonard Bernstein's Mass for the Kennedy Center for the Performing Arts in 1971.7

As the company embraced racial diversity, Ailey never lost his sense of obligation to the African American community. In 1969, he established the Alvin Ailey American Dance Center, which became the Ailey School, formed the Alvin Ailey Repertory Ensemble, and pioneered programs promoting arts in education, particularly those that benefitted deprived communities. Among his numerous distinctions were the Dance Magazine Award (1975), the NAACP Spingarn Medal (1976), given for "the highest and noblest achievement by an American Negro during the previous year or years"8 , the Samuel H. Scripps American Dance Festival Award (1987), the most prestigious award for modern dance for a lifetime contribution to the field, the Kennedy Center Award (1988) and Honorary Doctorates from Princeton University (1972)9 , Bard College (1977)10 , and Adelphi University (1977). President Barack Obama posthumously awarded Ailey the Presidential Medal of Freedom in 2014, the country's highest civilian honor, in recognition of his contributions and commitments to civil rights and dance in America.11

Through Jack Mitchell and Alvin Ailey's work, they were able to collaborate and create something "rich in historical connotations, the liveliest kind of permanent record of the works of important creators and creations that formed the nucleus of Ailey's remarkable vision of American dance and what it could be"12. Alvin Ailey's reputation for creating eclectic dance methods produced movements and poses that are still studied and idolized today. Mitchell was able to pay homage to many of the world's best dance artists from James Truitte, Carmen DeLavallade, Dudley Williams, Donna Wood, Renee Robinson, Gary DeLoatch, as well as Ailey, through his photography. With Ailey's longstanding and established stature within the dance community, and Mitchell's pronouncement of the detailed through his use of lighting in his photographs, this collection highlights the incredible collaboration between Ailey and Mitchell, and serves as a unique document of one of the world's most renowned American dance company's.

Alvin Ailey's vision for a dance company was dedicated to enriching the American modern dance heritage and preserving African American culture. In a 1989 interview with Dance Magazine, shortly before his death, Ailey discussed how he took pride in knowing that "No other company around [today] does what we do, requires the same range, and challenges both the dancers and the audience to the same degree." Ailey searched for a collaborator that would help him display the value of communicative movement; he found his match in Mitchell. Ailey's influence went beyond the stage and Jack Mitchell's images in this collection document that evolution. With Alvin Ailey's passing in 1989 at age 58 and Jack Mitchell's death in 2013 at age 88, these photographs of Alvin Ailey American Dance Theater Collection serves as one of the few sources of this dynamic dance company, from its early days to an internationally recognized troupe.

Footnotes

2. Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), viii

3. Bruce Weber, "Jack Mitchell, Photographer of the Arts, Dies at 88", The New York Times Obituaries (November 9, 2013): -- http://www.nytimes.com/2013/11/10/arts/jack-mitchell-photographer-of-the-arts-dies-at-88.html

4. Jennifer Dunning, Alvin Ailey: A Life in Dance. (New York; Addison- Wesley, 1996), 123

5. Ibid, 146.

6. Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York: Birch Lane, 1995), 6-7.

7. Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York; Birch Lane, 1995), 7.

8. Ibid.

9. Ibid.

10. Dunning, Jennifer. -- Alvin Ailey: A Life in Dance -- . (New York: Addison-Wesley, 1996), 286.

11. "Bard College Catalogue 2016-17: Honorary Degrees": -- https://www.bard.edu/catalogue/index.php?aid=1205177%26sid=670501

12. Office of the Press Secretary, "President Obama Names Recipients of the Presidential Medal of Freedom" (November 10, 2014): -- https://www.whitehouse.gov/the-press-office/2014/11/10/president-obama-names-recipients-presidential-medal-freedom

13. Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), ix.

General:

COLLECTION LIST OF FEATURED REPERTORY

After Eden, Archipelago, Been Here and Gone, Black Belt, Blues Suite, Butterfly, Caravan, Carmina Burana, Caverna Magica, Chelsea's Bells, Come and Get the Beauty of It Hot, Concert in F, Congo Tango Palace, Crossword, Cry, Dance at the Gym, District Storyville, Divining, Episodes, Escargot, Facets, Fever Swamp, Flowers, Folkdance, Fontessa and Friends, For Bird – with Love, Forgotten Time, Frames, Gazelle, Hermit Songs, Hidden Rites, Hobo Sapiens, How to Walk an Elephant, Hymn, Icarus, Journey, Jukebox for Alvin, Lament, Landscape, Mary Lou's Mass, Masekela Langage, Memoria, N. Y. Export, Op. Jazz, Night Creature, North Star, Opus McShann, Pas de Duke, Passage, Pigs 'n Fishes, Portrait of Billie, Prodigal Prince, Quintet, Rainbow 'round my Shoulder, Revelations, Rift, Roots of the Blues, Sarong Paramaribo , Satyriade, Seven Journeys, Shards, Shelter, Spectrum, Speeds, Speeds, Streams, Suite Otis, The Beloved, The Lark Ascending, The Letter, The Mooche, The River, The Road of the Phoebe Snow, The Stack-Up, The Winter in Lisbon, Three Black Kings, Tilt, Toccata, Treading, Variegations, Vespers

Separated Materials:

There were 3 inscribed copies of "Alvin Ailey American Dance Theater: Jack Mitchell Photographs" originally stored in the collection. One copy of this text can be found in Series IV: Reference Materials with the publication draft, another copy is housed in the National Museum of African American History and Culture Library, and the last copy has been designated to serve as an archival reference text.

Provenance:

Acquired from the Alvin Ailey Dance Foundation, Inc. in 2013.

Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Occupation:

Dancers -- Photographs  Search this

Topic:

Alvin Ailey American Dance Theater  Search this

Choreography -- United States  Search this

Dance  Search this

Dance schools -- United States  Search this

Dance -- Production and direction  Search this

Dance companies  Search this

Dance -- North America  Search this

Genre/Form:

Modern dance -- United States -- 20th century

Dance photography.

Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

Identifier:

NMAAHC.A2013.245

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3812c282c-a067-45e4-9a3b-001b1c51731b

EDAN-URL:

ead_collection:sova-nmaahc-a2013-245

Creator:

Boaz, Joyce  Search this

Hoffman, David  Search this

Hoffman, Iris  Search this

Extent:

0.66 Cubic feet (2 boxes)

Type:

Collection descriptions

Archival materials

Postcards

Picture postcards

Date:

1898-1920

Summary:

Collection documents both negative and positive images of African Americans, primarily on postcards, as drawings, cartoons, and similar art forms collected mostly during the Civil Rights Movement in America.

Scope and Contents:

Collection consists of 932 postcards documenting African American life and culture in American society beginning in the late nineteenth century.

Arrangement:

Collection is arranged in one series.

Biographical / Historical:

Materials were collected between 1946 and 1970 by David and Iris Hoffman and Iris's sister Joyce Boaz. Most of these materials were purchased in antique shops during the early days of the Civil Rights Movement. The Civil Rights Movement was an effort led by black Americans to end institutionalized racial discrimination, disenfranchisement, racial segregation, and the negative portrayal of them in American society. It was the intention of the donors to create a collection that would visually document the historical changes in the way African Americans were treated and perceived in the United States. The Hoffmans and Boaz were able to amass 932 postcards depicting both positive and negative images of African Americans in drawings, cartoons, and similar art forms.

Related Materials:

Materials in the Archives Center, National Museum of American History

Susie Paige Afro-American Greeting Card Collection NMAH.AC.0263

Archives Center Ethnic Imagery Collection NMAH.AC.1138

Victor A. Blenkle Postcard Collection NMAH.AC.0200

Coon Chicken Inn Records and Graham Family Papers NMAH.AC.1153

Warshaw Collection of Business Americana NMAH.AC.0060

Provenance:

The collection was donated by David and Iris Hoffman in December 1987.

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.

Genre/Form:

Postcards -- 1900-1950

Picture postcards -- 20th century -- United States

Citation:

Hoffman/Boaz Postcard Collection, 1898-1920, Archives Center, National Museum of American History, Smithsonian Institution, box X, folder XX, digital image file XXXXXXX.

Identifier:

NMAH.AC.0281

See more items in:

Hoffman/Boaz Postcard Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep831146683-f98e-411e-b1e4-054eec9f402f

EDAN-URL:

ead_collection:sova-nmah-ac-0281

Photographer:

Burch-Brown, Carol  Search this

Names:

Shamrock Bar (Bluefield, W.Va.)  Search this

Kilkelly, Ann  Search this

Extent:

1 Cubic foot (2 boxes )

Type:

Collection descriptions

Archival materials

Photographs

Transcripts

Compact discs

Digital images

Oral history

Interviews

Place:

Appalachian Region

West Virginia -- 1990-2000

Bluefield (W.Va.)

Date:

1997-2003

Summary:

The collection documents a working class "gay" bar, the Shamrock Bar, Bluefield, West Virginia, 1997-2000, through photographs and oral history interviews.

Scope and Contents:

The collection consists of Carol Burch-Brown's photographs (200 photoprints, mostly silver gelatin on fiber-base paper, but including more than a dozen digital prints), copies of tape-recorded interviews (on 26 compact discs), and transcripts of interviews (3 volumes plus a compact disc containing Word files) made at the Shamrock Bar, Bluefield, West Virginia, 1997-2002, documenting a working-class gay bar. The photographs include "drag" performances, pageants, and other activities at the bar. Many show performers applying makeup and donning costumes, including the use of prosthetic breasts. Pictures taken in the bar are often in a soft-focus, slightly blurred, high-contrast, impressionistic style. There are a number of sharp-focus portraits, however, and exterior views of the building, its neighborhood, and the town are sharply focused, detailed documentary images.

Names (usually pseudonyms or stage names) which turn up in the interviews include: Natasha Michaels, Nikki Eaves, Shea West, Cortney Collins, Taylor Made, India Dream, Clinton, Tiffany Aver, Terba Devero, Roxie Morehead, and Dorothy. The performer "Bunny" is actually the photographer's friend and colleague, Ann Kilkelly. Many of these persons are also shown in the photographs, as is Helen Compton.

Note: The audio compact disks are not original recordings, and may be played by researchers directly.

Arrangement:

The collection is divided into three series.

Series 1: Photoprints

Series 2: Text (including transcripts of interviews)

Series 3: Compact discs

Biography:

Carol Burch-Brown is Professor of Art and Humanities at Virginia Tech, Blacksburg, Virginia, and is a photographer, painter, and musician. Photographer and co-author with David Rigsbee, Trailers, University Press of Virginia, 1996.

Historical:

During its heyday, the Shamrock Bar in Bluefield, West Virginia was a gathering place for gays and lesbians. The photographer reported in March 2003, before donating this collection, that Miss Helen Compton, proprietor of the Shamrock, had died and the establishment had been closed.

Other Title:

It's Reigning Queens in Appalachia

Provenance:

Colection donated by Carol Burch-Brown, December 2003.

Restrictions:

Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.

Rights:

Reproduction restricted due to copyright. Requests will be referred to the photographer.

Topic:

Bisexuality  Search this

Working class  Search this

Homosexuality  Search this

Bars (Drinking establishments)  Search this

Gay artists -- Interviews  Search this

Lesbian and gay experience  Search this

Transvestism  Search this

Transvestites  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1990-2000

Transcripts

Compact discs

Photographs -- Digital prints -- 20th century

Digital images

Oral history -- 1990-2000

Interviews -- 1980-2000

Citation:

The Shamrock Bar: Photographs and Interviews by Carol Burch-Brown, 1997-2003, Archives Center, National Museum of American History. Gift of the artist.

Identifier:

NMAH.AC.0857

See more items in:

The Shamrock Bar: Photographs and Interviews by Carol Burch-Brown

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84adec4f5-b063-4386-a233-ab46b9cbb361

EDAN-URL:

ead_collection:sova-nmah-ac-0857

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

Negatives

Videotapes

Notes

Plans (drawings)

Audiocassettes

Correspondence

Digital images

Sound recordings

Contracts

Slides (photographs)

Business records

Video recordings

Audiotapes

Photographic prints

Memorandums

Date:

June 23-July 4, 1999

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 1999 Smithsonian Folklife Festival. 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 5 series.

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Celebrating New Hampshire's Stories

Series 3: Gateways to Romania

Series 4: South Africa: Crafting the Economic Renaissance of the Rainbow Nation

Series 5: Special Events

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 1999 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

As of January 1999, the Smithsonian Center for Folklife Programs and Cultural Studies was renamed the Smithsonian Center for Folklife and Cultural Heritage. The 1999 Festival hosted programs on New Hampshire, Romania, and South Africa. A central theme was the ability of diverse people from three continents, living with incredible societal changes, to use their own deeply held cultural traditions as a means of crafting their own identities, their own stories, their and our very future.

Celebrating New Hampshire's Stories pointed to the many ways people from that fiercely democratic state define their lives. The state's natural bounty is continually expressed in the arts and enjoyed with the help of varied crafts and skills that serve a vibrant recreational and tourism industry. Economic life illustrates ingenuity and a historic continuity with traditional manufacture, both in large corporate workplaces and smaller, high-tech, precision manufacturing shops. Community life reflects a strong investment in the historic preservation of the built environment and participation in institutions such as town meetings, contra dances, and soirées that bring people together just when other forces in society tend to keep them apart. And the life of our nation itself is dramatically shaped by the most contemporary of conversations that traditionally occur in New Hampshire cafes and living rooms during presidential primary campaigns. These stories were recounted to Festival visitors by the participants from New Hampshire.

Gateways to Romania was an apt title for what was, in effect, an opening at the Festival of relationships between the American and Romanian people. The Festival program, and the process of achieving it, represented an important collaboration between Romania and the United States. Following decades of political repression, Romanians at the end of the 20th century were seeking the means of realizing a democratic and humane society. The cultural correlates of such a society are freedom of cultural expression, and the ability to practice and preserve one's traditions as well as create new cultural syntheses. Romania had long been a cultural crossroads with Latinate, Orthodox, Balkan, Germanic, Hungarian, Roma, Turkish, and Jewish influences in music, song, dance, craftsmanship, sacred and culinary arts. The Festival provided both a showcase and a means for culture-rich Romania to use its treasures, for the benefit of its own citizens and to inform Americans about its people and heritage.

South Africa: Crafting the Economic Renaissance of the Rainbow Nation revealed the attempts of thousands of community-based craftspeople to enhance their economic development and civic participation through their artistry. Crafts in South Africa are as diverse as the Rainbow Nation itself, drawing upon the generations-old traditions of indigenous people and those of Asian and European immigrant communities, from functional crafts of everyday use to the arts of survival that developed in townships. For many, crafts have a civic as well as an economic role, expressing the identity of a community while at the same time earning income for a family's livelihood. The Festival was part of an ongoing attempt to build upon the knowledge and skills of local-level artists in order to help build a new nation based upon human and cultural rights and economic opportunity.

The 1999 Festival coincided with the Smithsonian-UNESCO conference, A Global Assessment of the 1989 UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore: Local Empowerment and International Cooperation. At that important meeting, participants called for the creation of an international legal instrument to reinforce the protection of intangible cultural heritage, what later became the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage.

The 1999 Festival took place during two five-day weeks (June 23-27 and June 30-July 4) between Madison Drive and Jefferson Drive and between 9th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured three programs, with special events that included the Ralph Rinzler Memorial Concert.

The 1999 Program Book included schedules and participant lists for each program; essays provided background on the Festival and on each of the programs.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife and Cultural Heritage.

Center for Folklife and Cultural Heritage

Richard Kurin, Director; Richard Kennedy, Deputy Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian Folkways Recordngs; James Early, Director, Cultural Heritage Policy; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Chair, Research & Education; D.A. Sonneborn, Assistant Director, Smithsonian Folkways Recordings; Betty J. Belanus, Marjorie Hunt, Diana Baird N'Diaye, Peter Seitel, Curators, Folklorists, Education and Cultural Specialists; Carla M. Borden, Program/Publications Manager; John W. Franklin, Program Manager; Cynthia Vidaurri, Coordinator, Latino Cultural Resource Network; Jeffrey Place, Archivist; Stephanie Smith, Assistant Archivist; Arlene L. Reiniger, Program Specialist; Charlie Weber, Media Specialist; Stanford Carpenter, Roland Freeman, Dan Goodwin, Nancy Groce, Yanique Hume, Ivan Karp, Alan Lomax, Worth Long, René López, Kate Rinzler, Lynnell Thomas, Nilda Villalta, Fellows & Research Associates

Folklife Advisory Council and Folkways Advisory Council

Michael Asch, Phyllis Barney, Jane Beck, Don DeVito, Pat Jasper, Ella Jenkins, Jon Kertzer, Barbara Kirshenblatt-Gimblett, John Nixdorf, Bernice Johnson Reagon, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos

National Park Service

Robert Stantion, Director; Terry Carlstrom, Director, National Capital Region

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:

Smithsonian Folklife Festival records: 1999 Smithsonian Folklife Festival 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 to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk art  Search this

arts and crafts  Search this

Folk festivals  Search this

Folklore  Search this

Folk music  Search this

Food habits  Search this

World music  Search this

Genre/Form:

Negatives

Videotapes

Notes

Plans (drawings)

Audiocassettes

Correspondence

Digital images

Sound recordings

Contracts

Slides (photographs)

Business records

Video recordings

Audiotapes

Photographic prints

Memorandums

Citation:

Smithsonian Folklife Festival records: 1999 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1999

See more items in:

Smithsonian Folklife Festival records: 1999 Smithsonian Folklife Festival

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk54acb764f-9e1d-40fe-b176-e988eeab61f7

EDAN-URL:

ead_collection:sova-cfch-sff-1999

Creator:

ONE DC (Organizing Neighborhood Equity)  Search this

Extent:

23.35 Linear feet (45 boxes, 21.1 GB)

Type:

Collection descriptions

Archival materials

Correspondence

Digital images

Electronic records (digital records)

Brochures

Annual reports

Administrative records

Financial records

Minutes

Petitions

Place:

United States of America -- District of Columbia -- Washington

Date:

1987-2014

Summary:

This collection, which dates from 1987-2014, documents the work and activities of the non-profit organization ONE DC (an acronym that stands for Organizing Neighborhood Equity), as well as the records when it operated under the name Manna CDC (1997-2006). The collection includes correspondence, meeting minutes, newsletters, annual reports, tenant petitions, brochures, Articles of Incorporation, and community mapping initatives.

Historical note:

ONE DC was founded in 1997 as Manna CDC, a community development corporation and subsidiary of Manna Inc. (a non-profit affordable housing developer) in the midst of neighborhood change in the Shaw area of Washington, DC. In 2006, Manna CDC separated from its parent company, Manna, Inc., to become an independent organization know as ONE DC. Over the past two decades, ONE DC has done extensive work supporting tenants' rights, cultivating neighborhood leadership, and pushing for equitable development across the District of Columbia.

Provenance:

Donated by One DC on February 01, 2017.

Restrictions:

Use of the materials require an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Rights:

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

Topic:

Nonprofit organizations  Search this

Housing  Search this

Urban planning and environment  Search this

Community development  Search this

Community activists  Search this

Gentrification  Search this

Genre/Form:

Correspondence

Digital images

Electronic records (digital records)

Brochures -- 20th century

Annual reports -- 20th century

Administrative records

Financial records

Minutes -- 20th century

Petitions

Citation:

ONE DC Records, Anacostia Community Museum Archives, Smithsonian Institution, gift of ONE DC.

Identifier:

ACMA.06-090

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7416ef8e7-45a3-482a-8cdb-7984ec7ac7eb

EDAN-URL:

ead_collection:sova-acma-06-090

Creator:

DeVincent, Sam, 1918-1997  Search this

Names:

WOWO (radio station).  Search this

Extent:

260 Cubic feet (approximately 1244 boxes)

Type:

Collection descriptions

Archival materials

Lithographs

Sound recordings

Phonograph records

Papers

Photographic prints

Sheet music

Photographs

Date:

1790-1980s

Summary:

Primarily published sheet music, plus some related ephemera. Originally included 781 boxes of American sheet music and assorted clippings, articles, photographs, etc.; also 93 boxes of 33-1/3 RPM phonograph records, 30 boxes of 45 RPM records, and 20 boxes of 78 RPM records

Scope and Contents:

Sam DeVincent organized his collection topically and the present organization is built upon his basic system. In the course of processing this huge collection organized into hundreds of topics, a set of more encompassing topical headings have been developed. For example, the series designation "transportation" gathers together DeVincent's topical headings of "automobiles," "railroads," "bicycles," etc. Each of these larger, conceptual, headings is considered a series and is given a series number. Transportation is series number 1. Each series will be described separately and a composite index will lead researchers into the appropriate series. Terminology is consistent with Library of Congress Subject Headings whenever possible.

Within each series, the topical headings used by DeVincent, or a heading of similar level and type, receive sub-series numbers. For example, "railroads" is part of series 1, transportation, and is given the sub-series number 7. Therefore, "railroads" is designated as 1.7.

All of the sheet music has been placed in folders (from 1 to 45 items per folder) and given a letter of the alphabet. Within each folder, the music is arranged alphabetically by song title. A researcher searching the index for the song Wabash Cannonball (note that very few song titles are indexed) would be directed to "1.7 V." The researcher would then turn to the railroad section of the container list (1.7) and look for folder V and read the folder description.

Most of the sheet music is either a solo piano or a piano/vocal arrangement. There are very few orchestral or band parts and very little music for instruments other than piano. When the word "instrumental" is used in folder descriptions and titles, the music referred to has no lyrics and is for solo piano. Music for other instruments or ensemble parts will be mentioned explicitly in the folder description and usually indexed. Also, duplicates have not been kept in the file unless the sheet is particularly old or fragile (in which case one duplicate was kept if available). Sheets with slightly different covers, different ink colors, or variations in advertising matter are not considered duplicates.

In addition to the sheet music, the collection includes ephemera files corresponding to each series. These files contain items such as lists of sheet music, DeVincent's correspondence with other collectors, wire service printouts received at the radio station where he worked, his notes to be used for cross-indexing ("see also" references), and miscellaneous items relating to the topic. Some materials kept by DeVincent have not been incorporated into the ephemera files, for example most of the popular magazines, Fort Wayne Indiana newspaper clippings about non-musical topics, and some advertising matter.

The ephemera files are numbered with the same series and sub-series numbers as the sheet music. For example bicycles are 1.3 in both the music and ephemera files. A description of the ephemera file follows the sheet music container list. It is followed by an index to the entire series. Many topical headings not directly concerned with the topic of the series are indexed (for example "Women, images of" is an important topic in the bicycle sub-series). The author of each series description made the decisions about topics for indexing.

Series 1: Transportation:

Dates -- circa 1800-1980

Contents -- Series 1: Transportation contains circa 3,900 pieces of sheet music documenting the development of and popular attitudes towards transportation technology in the United States.1.1: Aeronautics1.2: Automobiles1.3: Bicycles1.4: Boats and Boating1.5: Horse-Drawn Vehicles1.6: Motorcycles1.7: Railroads1.8: Urban Transportation1.9 Ephemera

Series 2: Armed Forces:

Dates -- circa 1810-1980

Contents -- Series 2: Armed Forces contains circa 3,400 pieces of sheet music and song folios documenting the military history of the United States; there are only a handful of foreign imprints. 2.1: Pre-Civil War2.2: Civil War2.3: Pre-World War I2.4: World War I2.5: World War II2.6: Post -World War2.7: Naval History2.8: Marine CorpsEphemera

Series 3: African-American Music:

Dates -- circa 1828-1980

Contents -- Series 3: African-American Music contains circa 7,800 pieces of sheet music and folios dating from the 1820s to the 1980s; most of the material dates from after 1890. 3.1: Minstrel Shows and Blackface Entertainers3.2: Uncle Tom's Cabin3.3: African-American Folk-songs and Spirituals3.4: Songs about African-American/Vocal Ragtime3.5: Instrumental and Ragtime Music3.6: Ragtime Composers and Publishers3.7: Blues and Jazz Music3.8: Composers and PerformersEphemera

Series 4: Songwriters:

Dates -- 1817-1982

Contents -- Series 4: Songwriters: The song sheets associated with each songwriter in this series are generally arranged in the following order: General Songs; Ethnic Songs; Armed Conflict Songs or other Topical Headings; Ragtime; Instrumental; Musical Theater Production Songs; Motion Picture Production Songs; Specialized Song Sheets/Editions; Professional/Artist Copy Song Sheets; and Folios/Volumes. List: 4.1 - 4.217Ephemera

Series 5: Politics and Political Movements:

Dates -- circa 1817-1982

Contents -- Series 5: Politics and Political Movements contains circa 1,565 pieces of sheet music and song folios documenting the political history of the United States. 5.1: Patriotic Music5.2: Politicians and Political Figures5.3: Politics and Political Parties5.4: Ku Klux Klan5.5: Prohibition and Temperance5.6: Trade Union5.7: Women's RightsEphemera

Series 6: Moving Pictures and Movie Stars:

Dates -- 1911-1986

Contents -- Series 6: Moving Pictures and Movie Stars: 6.1 Academy Award Songs6.2 Child Stars6.3 Dance Folios6.4 Disney Productions and Other Cartoon Movies6.5 Female Stars6.6 Male Stars6.7 Movie Music6.8 Silent Films6.9 Songs About the MoviesEphemera

Series 7: Sports:

Dates -- 1834-1983

Contents -- Series 7: Sports contains 1,254 pieces of sheet music and song folios. Most of the sheet music is either piano or piano/ vocal arrangements. 7.1: Baseball, 1860-19767.2: Boxing, 1893-19827.3: Fishing, 1847-19627.4: Football, 1894-1978; undated7.5: Gambling and Games of Chance, 1891-19807.6: Golf, 1893-19537.7: Horse Racing, 1899-19687.8: Hunting, 1834-19517.9: Ice Skating, 1861 -1978; undated7.10: Olympics, 1932-19837.11: Ping Pong, 1901-19027.12: Roller Skating, 1871-1980; undated7.13: Skiing, 1908-19717.14: Sleighs and Sledding, 1846- 1967; undated7.15: Sports, Miscellaneous, 1866-19777.16: Tennis, 1893-1914, 1951Ephemera

Series 8: Geography:

Dates -- 1794-1987

Contents -- Series 8: Geography is divided into three sections: the United States, Foreign Countries, and Natural Features. The more than 13,000 sheets date from 1830-1987 and include undated sheets that are probably earlier. The series comprises 33 cu. ft. 8.1-8.49: United States, 1830-1987 (States)8.50-8.51: United States, 1830-1987 (U. S. Regions)8.53-8.89: Foreign Countries, 1794-1982 (Afghanistan - Italy)8.90-8.126: Foreign Countries, 1794-1982 (Japan - Vietnam) & (Foreign Regions)8.127-8.128: Natural Features, 1834-1980Ephemera

Series 9: Domestic and Community Life:

Dates -- 1827-1986; undated

Contents -- Series 9: Domestic and Community Life documents family, love, marriage, home, and social organizations. It does not include Health or Business items, which are included in separate series. Certain issues, such as women's rights, are in Series 2: Politics and Political Movements. 9.1: Adult Family Members, 1836-1985; undated9.2: Children, 1855-1971; undated9.3: Dolls, Stories, Toys, 1860-1984; undated9.4: Songs About and Images of Men and Women, 1828-1972; undated9.5: Home, Neighborhood, and Immigrants/Refugees, 1830-1980; undated9.6: Love, 1827-1982; undated9.7: Marriage, 1829-1976; undated9.8: Friendship and Social Organizations, 1838-1982; undated9.9: Age, Death, and Dying, 1834-1951; undated9.10: Domestic Art and Clothing, 1843-1978; undated9.11:Albums, Lockets, and Memories, 1857-1952; undatedEphemera

Series 10: Sacred Music and Religious Themes:

Dates -- 1822-1986, undated

Contents -- Series 10: Sacred Music and Religious Themes contains approximately 4,000 pieces of sheet music, much of which is traditional Christian music, but also documents popular attitudes towards religion in the United States. Note that the Christmas and Easter subseries include their secular aspects. 10.1, Adam, Eve, and Eden, 1882-197110.2, Angels, 1849-1961, undated10.3, Bells and Chimes, 1848-1956, undated10.4, Biblical Characters and Stories, 1876-1986, undated10.5, Cathedral, Chapel, Church, 1866-1966, undated10.6, Choir, 1880-193710.7, Christmas, 1828-1984, undated10.8, Devil and Satan, 1865-1979, undated10.9, Easter, 1872-1975, undated10.10, Evolution, 1925-196310.11, Heaven, 1866-1975, undated10.12, Inspirational Singers, 1868-197710.13, Madonna, The Virgin Mary, 1855-1953, undated10.14, Miracles, 1929-195910.15, Mormons, 1895-1933, undated10.16, Paradise, 1900-1925, undated10.17, Pilgrim, 1868-1938, undated10.18, Psalms, 1884-1980, undated10.19, Quakers, 1899-1940, undated10.20, Rosary, 1897-195310.21, General Sacred Songs, 1822-1982, undatedEphemera, 1899-1986

Series 11: Entertainment:

Dates -- 1841-1984, undated

Contents -- Series 11: Entertainment contains more than 12,500 pieces of sheet music and other materials documenting the development of and popular attitudes towards entertainers and entertainment in the United States. Note that movies and some musical entertainment are also covered in Series 6, Moving Pictures and Movie Stars, and in Series 16, Country, Western, and Folk Music. Blind musicians and performers are in Series 17. 11.1: Early Troupes & Bandmasters, 1841-1944, undated11.2: Dance Bands and Orchestras, 1905-1964, undated11.3: Novelty Bands, 1901-195211.4: Male Singers (Individual), 1846-198111.5: Female Singers (Individual), 1845-197111.6: Duos and Groups (Male and Mixed), 1903-198111.7: Female Duos and Groups, 1896-196611.8: Child Entertainers, 1852-1927, undated11.9: Impersonators, 1904-198211.10: Actors and Comedians, 1853-198211.11: Theater, 1873-1973, undated11.12: Juke Box, Nickelodeon, 1923-198111.13: Phonograph, Records, Tapes, 1878-197111.14: Radio, Transistor, Wireless, 1898-198411.15: Television, 1931-198711.16: Circus, Fair, Zoo

Series 12: Plants and Animals:

Dates -- 1831-1984, undated

Contents -- Series 12: Plants and Animals contains approximately 4,000 pieces of sheet music and other materials documenting the development of and popular attitudes towards plants and animals in the United States. 12.1, Trees, 1833-1969, undated12.2, Plants and Flowers, 1840-1979, undated12.3, Animals, 1831-1984, undated12.4, Fish, Mermaids, and Aquatic Species, 1832-1978, undated12.5, Birds, 1834-1976, undated12.6, Insects and Spiders, 1853-1968, undated

Series 13: Agriculture, Business, and Law:

Dates -- 1827-1985, undated

Contents -- Series 13, Agriculture, Business, and Law contains approximately 3,300 pieces of sheet music and other materials documenting the development of and popular attitudes towards business, commerce, farming and food, finances, labor, law, and social order in the United States. The series comprises nine cubic feet, plus two boxes of ephemera. 13.1, Business and Jobs, 1927-1982, undated13.2, Farming, Food, and Tobacco, 1836-1986, undated13.3, Finances and Valuables, 1841-1982, undated13.4, Law and Social Order, 1858-1972, undated13.5, Public Services and Utilities, 1836-1984, undatedEphemera, 1901-1987, undated

Series 14: Calendar, Time, and Weather:

Dates -- 1811-1980, undated

Contents -- Series 14, Calendar, Time, and Weather contains approximately 1,800 pieces of sheet music, documenting attitudes toward and consequences of natural events. The four seasons comprise the larger part. 14.1, Years, 1880-1945, undated14.2, Seasons, 1850-1978, undated14.3, Months, 1855-1978, undated14.4, Days of the Week, 1853-196514.5, Clocks and Time, 1844-1967, undated14.6, Weather, 1911-1980, undatedEphemera, 1952-1982, undated

Series 15: Holidays and Celebrations:

Dates -- 1847-1982, undated

Contents -- Series 15, Holidays and Celebrations contains approximately 500 pieces of sheet music and other materials documenting the development of and popular attitudes towards holidays, celebrations, and travel in the United States. Note that Christmas items are in Series 10, Sacred Music and Religious Themes, subseries 7. 15.1, Holiday, Travel, Vacation, 1866-198215.2, Carnival, 1847-1937, undated15.3, Mardi Gras, 1892-1958, undated15.4, Masquerade, 1900-1973, undated.15.5, Halloween, 1853-1962, undated.15.6, Thanksgiving, 1853-1974, undated.15.7, New Year, 1852-1970, undated15.8, Park, 1869-1969, undated15.9, Picnic, 1854-1964, undated15.10, Rolling Chairs, 1905-1923, undatedEphemera

Series 16: Country, Western, and Folk Music:

Dates -- 1839-1986, undated

Contents -- Series 16: Country, Western, and Folk Music, contains approximately 11,500 pieces of sheet music and other materials documenting the development of and popular attitudes towards country, western, and folk music in the United States. The dates always refer to copyright of the music and not to the subject on the cover, songwriter's life, or other events. There are 78 boxes of sheet music and 16 boxes of ephemera. 16.1, Individual Male Entertainers, 1911-1983, undated16.2, Individual Female Entertainers, 1902-1986, undated16.3, Duos and Groups, 1910-1981, undated16.4, The West, 1939-198416.5, Barn Dance, Fiddle Tunes, and "Turkey in the Straw," 1878-197516.6, Blues, Feuding, Hillbilly, Honky Tonk, and Yodeling, 1885-1975, undated16.7, Miscellaneous Songs, 1913-198316.8, Folios, 1914-1969Ephemera --subseries 1-7 and subseries 9-10

Series 17: The Human Condition--Physical, Mental, Behavioral:

Dates -- 1833-1987

Contents -- Series 17, The Human Condition--Physical, Mental, Behavioral contains approximately 1,000 pieces of sheet music and other materials documenting the development of and popular attitudes towards the human condition in the United States. 17.1, Physical Health, 1833-1982, undated17.2, Happiness, 1845-1978, undated17.3, Crazy, Foolish, 1904-1973, undated17.4, Rubes, 1888-1938Ephemera

Series 18: Dance:

Dates -- 1812-1978, undated

Contents -- Series 18, Dance contains approximately 3,330 pieces of sheet music and other materials documenting the development of and popular attitudes towards dance in the United States. 18.1, General Songs about Dance, 1882-1967, undated18.2, Ballroom Dancers and Dance Institute, 1840-1951, undated18.3, Charleston, 1923-196418.4, Fox Trot, 1913-193218.5, Galop, 1842-1924, undated18.6, Gavotte, 1874-1978, undated18.7, Jigs and Reels, 1891-1951, undated18.8, Lancers, 1857-1903, undated18.9, Maxixe, 1913-1914, undated18.10, Mazurka, 1854-1940, undated18.11, Minuet, 1875-1968, undated18.12, One Step, 1910-192118.13, Polka, 1845-1975, undated18.14, Quadrilles, 1831-1883, undated18.15, Redowa, 1853-1908, undated18.16, Schottische, 1850-1944, undated18.17, Skirt Dance, 1891-1893, undated18.18, Square Dance, 1926-196418.19, Tango, 1909-195218.20, Three Step, 1903-191318.21, Two Step, 1894-192518.22, Varsova, 1851-1917, undated18.23, Waltz, 1812-1968, undated18.24, Folios, 1888-1953, undatedEphemera

Series 19: Art and Literature:

Dates -- 1830-1977, undated

Contents -- Series 19, Art and Literature contains approximately 860 pieces of sheet music and other materials documenting popular attitudes towards art and literature in the United States. 19.1, Art and Artists, 1839-1977, undated19.2, Cover Artists and Early Lithograph Covers, 1830-1931, undated19.3, Photography, 1848-196619.4, Carving and Whittling, 1906-194719.5, Books, Diary, and Stories, 1849-198319.6, Poets and Poetry, 1836-1969, undated Ephemera Index

Series 20: Newspapers:

Dates -- 1844-1968, undated

Contents -- Series 20, Newspapers, 1844-1968, contains materials documenting the business of and popular attitudes towards newspapers in the United States. 20.1, Songs about Advertising, the News and the Press20.2, Songs published by Newspapers or about serialized stories20.3, Songs about Newsboys and Newsgirls20.4, Cartoons, Cartoonists, and Comics20.5, Newspaper and Magazine SupplementsEphemera

Series 21: Musical Instruments:

Dates -- 1824-1981 and undated

Contents -- Series 21, Musical Instruments, 1824-1981, undated, contains approximately 4,900 pieces of sheet music and other materials documenting the development of and popular attitudes towards the playing of music in the United States. Numerous teaching manuals are included.21.1, Accordion, 1902-1964, undated21.2, Banjo, 1853-1975, undated21.3, Cello, 1891-1935, undated21.4, Clarinet, 1905-1958, undated21.5, Concertina, 1905-1941, undated21.6, Cornet, 1848-1924, undated21.7, Double Bass, 1939-195521.8, Drums, 1867-1971, undated21.9, Fiddle, 1893-1981, undated21.10, Flute, 1847-1936, undated21.11, Guitar, 1824-1977, undated21.12, Harmonica, 1904-1974, undated21.13, Harp, 1866-1976, undated21.14, Hurdy Gurdy, 1899-196921.15, Mandolin, 1843-1954, undated21.16, Music Boxes, 1848-1979, undated21.17, Organ, 1856-1973, undated21.18, Saxophone, 1907-195321.19, Tambourine, 1854-196021.20, Trombone, 1906-195721.21, Trumpet, 1904-1945, undated21.22, Ukulele, 1915-1964, undated21.23, Violin, 1843-1957, undated21.24, Zither, 1970-1951, undated21.25, Various Instruments, 1835-1968, undatedEphemera

Series 22: American Indian:

Contents -- Series 22: American Indian

Dates -- 1899-1975

Series 23: Universe:

Contents -- Series 23: Universe

Dates -- 1842-1970

Series 24: Education:

Contents -- Series 24: Education

Dates -- 1834-1964

Series 25: Vocal:

Contents -- Series 25: Vocal

Series 26: General Sheet Music:

Contents -- Series 26: General Sheet Music

Series 27: Gypsies:

Contents -- Series 27: Gypsies

Series 28: Opera:

Contents -- Series 28: Opera

Series 29: Piano:

Contents -- Series 29: Piano

Series 30: Marches and Quicksteps:

Contents -- Series 30: Marches and Quicksteps

Series 31: Dialects:

Contents -- Series 31: Dialects

Series 32: Christopher Columbus:

Contents -- Series 32: Christopher Columbus

Series 33: Reveries:

Contents -- Series 33: Reveries

Series 34: Indiana Publishers:

Contents -- Series 34: Indiana Publishers

Series 35: Sam DeVincent Personal Papers:

Contents -- Series 35: Sam DeVincent Personal Papers

Series 36: Folios and Songbooks:

Contents -- Series 36: Folios and Songbooks

Series 37: Other Materials:

Contents -- Series 37: Other Materials

Dates -- 1853-1976

Additional Topical Series:

An updated list of DeVincent topical series is available via the Smithsonian finding aid portal.

Arrangement:

The collection is arranged into topical series.

Biographical note:

Sam DeVincent was born January 8, 1918 and lived in Fort Wayne, Indiana for most of his life. DeVincent collected sheet music and related materials during most of his lifetime. His interest included both the music and the cover art. Because he had little money to support his collecting, DeVincent gathered most of his material through careful searches and travel.

DeVincent and his wife used much of the music he collected in their musical group "Nancy Lee and the Hilltoppers." The group performed regularly on radio station WOWO in Fort Wayne, Indiana, from 1945 to 1955. After 1955 (and the emergence of rock and roll), "Nancy Lee and the Hilltoppers" played only once a week on the radio station. At this time, Mr. DeVincent worked as an all-night disc jockey at WOWO. In 1960 he became music director and music librarian at the station. His position as music librarian helped him to add to his collection, especially the phonograph recordings (many promotional copies are included).

DeVincent retired from WOWO in 1983. He and his wife continued to perform publicly including a weekly radio show on WOWO. The National Museum of American History acquired the DeVincent collection in the spring of 1988. Sam DeVincent passed away November 29, 1997.

Materials in Other Organizations:

Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana

The Sam DeVincent Collection of American Sheet Music contains approximately 24,000 pieces of sheet music, songbooks, and folios. DeVincent arranged his collection into categories based on either personal names of musicians or performers or on subjects he defined that were as diverse as the American Red Cross and Halloween. The Lilly Library has maintained this arrangement.

All the sheet music in the DeVincent collection is listed in the IN Harmony: Sheet Music from Indiana: Lilly Library web site. Digitized images are available for some items.

Materials in the Archives Center, National Museum of American History:

Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)

Provenance:

This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Musical revue, comedy, etc  Search this

Music -- United States  Search this

Music -- Performance  Search this

Transportation -- Music  Search this

Ragtime music  Search this

Musicians  Search this

Armed Forces -- Music  Search this

Country music  Search this

Music -- 20th century  Search this

Music -- African-American  Search this

Music -- 18th century  Search this

Music -- 19th century  Search this

Politics -- Music  Search this

Genre/Form:

Lithographs

Sound recordings

Phonograph records

Papers

Photographic prints

Sheet music

Photographs -- 19th century

Citation:

The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0300

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85004ad89-10d9-4f8e-aecc-60a0451a3399

EDAN-URL:

ead_collection:sova-nmah-ac-0300

Creator:

Procter & Gamble Company  Search this

Leyendecker, J. C., 1874-1951  Search this

Smith, Jessie Willcox, 1863-1935  Search this

Elliott, Elizabeth Shippen Green  Search this

Extent:

10 Cubic feet (30 boxes)

Type:

Collection descriptions

Archival materials

Advertisements

Photomechanical reproductions

Date:

1883-1998

Summary:

Print advertisements covering almost the entire history of Ivory Soap, including advertisements designed by artists including Jesse Wilcox Smith, Elizabeth Shippen Green, and J. C. Leyendecker.

Scope and Contents:

The collection consists of print advertising and publications covering almost the entire history of Ivory Soap. Researchers may use this collection to examine the evolution of advertising strategies and techniques from the very early days of mass-produced brand-name consumer products to the present. From the beginning, Ivory advertisements proclaimed the product's "99 and 44/100%" purity, its ability to float, and its versatility. The collection, however, is much more than a glimpse into advertising history. It is an extremely rich resource for a wide range of cultural studies. Ivory advertising was primarily aimed at women, and it contains many images of women, babies, and young children. The depictions reflect contemporary attitudes toward class structure, race, immigrants and residents of other countries, cleanliness, and domestic relationships. The advertisements often play upon the guilt of women, suggesting that their main concerns should be their husbands, children, and dishpan hands. Many advertisements associate cleanliness with social and religious propriety, physical fitness, and athleticism. There also are many images of men and women performing every-day tasks in gender-defined situations.

Arrangement:

The collection is arranged into two series.

Series 1: Ivory Soap Products Advertisements, 1883-1998, undated

Series 2: Publications, 1883-1969, undated

Biographical / Historical:

In 1837, candle maker William Procter and soap maker James Gamble formed a partnership in Cincinnati, Ohio, to sell their products. The new company prospered, and by 1859 Procter & Gamble sales reached one million dollars. Contracts with the United States Army during the Civil War to supply soap and candles increased Procter & Gamble's customer base and reputation. In 1879, James Norris Gamble, son of the founder, developed an inexpensive pure white soap. A factory worker who forgot to shut off the soap-making machine when he left for lunch inadvertently improved the product. When he returned, the soap mixture was frothy due to the air that had been whipped into it, and the resulting soap cakes floated in water. There was immediate demand for the "floating soap." After considering many names for the new product, Harley Procter, son of the founder, finally named the soap "Ivory" after Psalms 45:8: "All thy garments smell of myrrh and aloes and cassia, out of the ivory palaces whereby they have made thee glad." Chemical analyses of the soap in 1882 revealed that 56/100 of the ingredients were not pure soap. Harley Procter subtracted that amount from one hundred and the slogan "99 and 44/100% pure" was born. The first ads appeared in 1882 in The Independent, a weekly newspaper.

Innovations in production, distribution, and market research contributed to Procter & Gamble's success. Procter & Gamble also developed other products such as Ivory Flakes, Chipso (the first dishwasher soap), and Crisco. By 1945, Procter & Gamble had become a nearly $350 million company. The company also was an innovator in advertising, developing creative print advertisements aimed at different target groups, sponsoring radio shows and comic strips, and airing its first television commercial (for Ivory Soap) during the first televised major league baseball game. Procter & Gamble is now a global company, selling more than 250 products, including Ivory Soap, to five billion customers in 130 countries.

Related Materials:

Several collections in the Archives Center have materials relating to Ivory Soap. The J. Walter Wilkinson Papers contain art he created for Ivory Soap advertisements. The Ivory Soap 1940 Essay Contest Collection consists of documents relating to the contest and its winner, Helen Nixon. The Procter & Gamble Product Packaging Collection, 1940s-1970s, includes Ivory brand products. The Warshaw Collection of Business Americana's "Soap" subject category contains documents relating to Procter & Gamble and other manufacturers. About twenty-five per cent of the advertisements in this collection are reproduced in the Archives Center's digital image library.

Separated Materials:

Artifacts donated to the Division of Medicine and Science.

Provenance:

Procter & Gamble donated this collection to the Archives Center, National Museum of American History, Smithsonian Institution on October 24, 2001.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

advertising  Search this

Soap  Search this

Genre/Form:

Advertisements -- 20th century

Photomechanical reproductions

Advertisements -- 19th century

Citation:

Ivory Soap Collection, 1883-1998, undated; Archives Center, National Museum of American History. Gift of Procter & Gamble.

Identifier:

NMAH.AC.0791

See more items in:

Ivory Soap Advertising Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88550648b-e85c-4b62-9ccb-f8e6872e4a86

EDAN-URL:

ead_collection:sova-nmah-ac-0791

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

14.07 Cubic feet (consisting of 26.5 boxes, 9 folders, 39 oversize folder, 3 map case folders, 4 flat boxes (2 full, 2 partial), plus digital images of some collection material. )

Type:

Collection descriptions

Archival materials

Ephemera

Business ephemera

Date:

1798-1977

Summary:

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

Scope and Contents:

This material consists primarily of periodicals (serial publications), including trade literature, educational, general interest, and leisure publications marketed to children, youths, and adults, plus related subscription information, and advertising information.

It dates from 1811-1966 but the bulk of the material dates from 1850-1920. The periodicals relate to a number of different interest groups including women, children, men, and family. Subjects include farming, the home, horses, advertising, art, railroads, hotels, food, literature, religion, medicine, mining, architecture, fashion and current events. While the majority of these periodicals are directed toward consumers, there are also a number of specialized professional and business publications. The periodicals are arranged alphabetically by title. Much of the material consists of subscription information directed to readers and information for advertisers including receipts, circulars cards and letters. Individual copies of the publications are listed with their date(s) of issue. Most of these were issued monthly; others weekly or quarterly.

Periodicals provide valuable information about the customs, styles and attitudes of the times and places in which they appear. Many feature elaborate illustrations and photographs by well-known practitioners and articles and stories by notable persons. Advertisements provide insight into social customs, commercial practices, and the evolving complexity of life in the last half of the 19th century and the first half of the 20th century.

The first group of materials, Periodicals, consists of copies of periodicals and related materials including receipts, circulars, subscription information, advertising information, letters, notes, and cards; arranged alphabetically by title.

Subscription Agencies and Dealers in Periodicals includes advertising circulars, price lists, and order forms arranged alphabetically by name of company.

Related Materials contains miscellaneous printers and publishers, samples of cover designs, and export/import documents

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

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

Rights:

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

Genre/Form:

Ephemera

Business ephemera

Citation:

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

Sponsor:

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

Identifier:

NMAH.AC.0060.S01.01.Periodicals

See more items in:

Warshaw Collection of Business Americana Subject Categories: Periodicals

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83e740b22-1be0-477e-8440-794e0c56adc5

EDAN-URL:

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

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

2.98 Cubic feet (consisting of 6 boxes, 3 folders, 9 oversize folders, 2 map case folders, plus digital images of some collection material. )

Type:

Collection descriptions

Archival materials

Business ephemera

Ephemera

Date:

1813-1940

Summary:

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

Scope and Contents:

This collection consists of a great variety of materials, including business correspondence, bills and receipts, advertisements, order forms, business and advertising cards, labels, bookmarks, calendars, formulas, handbooks, pamphlets, price lists, leaflets, display cards, postcards, circulars, packaging, toilet albums, and labels. Many of the products are perfumes or colognes; others include shaving creams, hair preparations, manicure supplies, soaps, creams and lotions, powders, makeup, and bath products. Foot preparations, dental care products, deodorants, medications, starch, oils and spices, and brushes are also present. Most of these products are for the use of female consumers. Trade materials are directed toward scalp specialists, hairdressers, dermatologists, beauty culturist and manicurists. There are a number of materials from female-owned establishments. Other materials include publications, such as catalogues produced by manufacturers for consumers, and publications for the trade. Cosmetic appliances, formulas, labels, trademarks and patents, and import/export documents are also present. Most of this material dates from the late 19th to the early 20th century.

Images of women and of flowers predominate in this collection. Most of the women are Anglo American with a few others such as Turkish, Asian, Scots, Brazilian, Swiss, Egyptian and African American.

Arrangement:

Arranged into three subseries

Subseries 1: Manufacturers, Distributors, and Retailers, circa 1830-1960

Subseries 2: Publications, circa 1850-1940

Subseries 3: Related Materials, circa 1890-1934

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

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

Rights:

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

Topic:

advertising -- Cosmetics  Search this

Cosmetics  Search this

Cosmetics industry  Search this

Genre/Form:

Business ephemera

Ephemera

Citation:

Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

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

Identifier:

NMAH.AC.0060.S01.01.Cosmetics

See more items in:

Warshaw Collection of Business Americana Subject Categories: Cosmetics

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82935e08b-fe06-440e-809c-6fb8b33d6174

EDAN-URL:

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

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

2.56 Cubic feet (6 boxes, 1 folders, 2 oversize folders, plus digital images of some collection material)

Type:

Collection descriptions

Archival materials

Business ephemera

Ephemera

Children's books

Date:

1828-1961

Summary:

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

Scope and Contents note:

The Children subject category consists primarily of publications, images, ephemera, and business memorabilia relating to children. Much of the material is geared for children, but there are also materials for parents and the general public. While there are items in the collection that are from the 20th century, the bulk of the materials are from the late 19th century.

Arrangement:

Children is arranged in four subseries:

Subseries 1: Publications for Children, 1828-1961

Subseries 2: Images of Children, 1874-1930

Subseries 3: Miscellaneous Materials Relating to Children, 1883-1931

Subseries 4: Companies, 1846-1933

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

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

Rights:

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

Topic:

Children  Search this

Children's furniture  Search this

Children's clothing  Search this

Children's literature  Search this

Genre/Form:

Business ephemera

Ephemera

Children's books

Citation:

Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

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

Identifier:

NMAH.AC.0060.S01.01.Children

See more items in:

Warshaw Collection of Business Americana Subject Categories: Children

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85b79a00f-6ce3-4f91-a7b5-72201ea24ac4

EDAN-URL:

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

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

2.8 Cubic feet (consisting of 6 boxes , 1 folder, 4 oversize folders, plus digital images of some collection material. )

Type:

Collection descriptions

Archival materials

Menus

Date:

1852-1965

Summary:

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

Scope and Contents:

Menus consists of approximately 700 menus from restaurants, principally within the United States. The material dates from 1852 to 1963, with the bulk of the material from 1880s to the 1920s. Most menus are from dining establishments and includes day-to-day fare and pricing, plus some special menus. Some are standard issued menus, others are souvenir menus. Prix fixe and a la carte menus are both present. A number of the menus are from railway and shipboard travel. Special event menus often contain additional details or listings of persons honored or attending, with some including background information. Menus are predominantly paper, but a few examples are printed on textiles or wood and a couple are leather bound. Menus may have decorative covers; some are embossed, hand-painted or decorated with ribbon or gilt. There are a few menus printed on satin ribbon. Menus from ships, railroads and the Christmas menus from the United States Hotel in Boston, Massachusetts offer good examples of decorative covers.

Arrangement:

The collection is arranged into six subseries.

Blank Menus

Events and Celebrations

Holidays

In Transit, Travel-Based

Location

Named Honoree

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

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

Rights:

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

Topic:

Dining  Search this

Food  Search this

Dining cars  Search this

Dinners and dining  Search this

Railroads -- Dining-car service  Search this

Holidays  Search this

Diners -- United States  Search this

Restaurants  Search this

Genre/Form:

Menus -- 20th century

Menus -- 1940-1950

Menus

Citation:

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

Sponsor:

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

Identifier:

NMAH.AC.0060.S01.01.Menus

See more items in:

Warshaw Collection of Business Americana Subject Categories: Menus

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fadca543-954b-4c50-bf22-48217845b974

EDAN-URL:

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

Former owner:

Patterson, Malvern Courtney  Search this

Patterson, Malvern Courtney Mrs.  Search this

Willingham, William A.  Search this

Willingham, William A., Mrs.  Search this

Harrison, Robert  Search this

Harrison, Robert Mrs.  Search this

Rawles, James W.  Search this

Rawles, James W. Mrs.  Search this

Provenance:

James River Garden Club  Search this

Garden restoration:

Garden Graces  Search this

Terraforma  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Robin Hill (Richmond, Virginia)

United States of America -- Virginia -- Henrico -- Richmond

Scope and Contents:

The folder includes worksheets and other historical information.

General:

The brick walled formal garden rooms within the 4.5 acre property Robin Hill pay homage to the gardens created on this site by earlier owners - but not until the current owners undertook significant recovery and restoration. In 1915 there was a one hundred acre farm known as Hillcrest with a Tudor style mansion overlooking the James River and historic Kanawha Canal. The pleasure gardens were laid out on crossing axes with brick paths and statuary placed in niches, in the style of the country place movement of the early 20th century. Much of the land was sold to developers as the city of Richmond grew, and the property was reduced to seven acres. During a subsequent owners' forty year tenure the façade of the house was transformed to look like a farmhouse, using brick and white stucco. Brick walls, paths and edging were added as well as truckloads of enormous trees and new garden beds and borders, and another 2.5 acres were sold. But despite prodigious planting the gardens were not tended and many mature trees and shrubs were choked out by English ivy and other vines. It was left to the current owners to dig out the overgrowth, rediscovering the hardscape structure and features of the garden rooms, and to restore crumbling brick walls and arches. New plantings replaced old yews, hollies, camellias, magnolias and other trees and shrubs as necessary, and perennial and annual flowers, particularly white flowers, were added.

The garden rooms at Robin Hill lie to the south of the house and terrace with distinct lawns enclosed by mixed evergreen and deciduous borders and a hedge of mature camellia sasanqua. Alongside the largest upper lawn but separated from the lawn by a brick wall there are ten rectangular beds planted with perennial and annual flowers that spill over the irregular bluestone or basket weave brick walkways. A concrete birdbath sits in the center of these garden beds on the axis that crosses the upper central lawn and leads to a pavilion, approached via a brick walkway between hedges of hydrangea and camellia. To one side of this cross axis there is an American holly grove while on the other side there is a woodland and small pond. At the far end of the lower central lawn on the main axis there is a wall fountain and pool with a gazebo set to one side. The axial design and plant materials used in the gardens of Hillcrest and Robin Hill suggest that landscape architects Warren Manning and Charles Gillette may have worked on this property but no conclusive records have been found.

The James River Garden Club was established in 1915 during meetings at Hillcrest, and owner Juanita Massie Patterson served as its first president. The club dedicated their 1923 book Historic Gardens of Virginia to Mrs. Patterson.

Digital images include copies of lithographs from a 1940s book owned by Mrs. William A. Willingham.

Persons associated with the garden include: Mr. and Mrs. Malvern Courtney Patterson (former owners, 1905-circa 1930); Mr. and Mrs. William A. Willingham (former owners, circa 1930-1947); Mr. and Mrs. Robert Harrison (former owners, 1947-1989); Mr. and Mrs. James W. Rawles (former owners, 1989-1991); Garden Graces (garden restoration, 2011-2012); Terraforma (garden restoration, 2011-2012).

Related Materials:

Robin Hill related holdings consist of 1 folder (35 digital images)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- Virginia -- Richmond  Search this

Collection Citation:

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

Sponsor:

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

Identifier:

AAG.GCA, File VA450

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6d5bd6e3d-2c51-45b2-afd0-c75f9c63ad14

EDAN-URL:

ead_component:sova-aag-gca-ref18900

Provenance:

Founders Garden Club of Dallas  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

United States of America -- Texas -- Dallas County -- Dallas

The Dana and Lee Moore Garden (Dallas, Texas)

Scope and Contents:

21 digital images (2021) and 1 file folder.

General:

The six garden rooms-one enclosed in an Orangerie-were designed and built in conjunction with the architect of the house from 2013 to 2019 within an urban quarter acre property. The gardens employ classic principals of symmetry, axial relationship, scale and proportion and are inspired by French, Italian and 20th century American examples. Tall hedges define the space of each garden, starting with nine-foot laurel in the arrival court that is paved with Belgian limestone cobbles. Lions set on antique limestone bases mark the entrance to the fountain promenade. The fountain, an amalgamation of styles, sits between three-foot wide pathways to the front stairs, bordered by boxwood hedges and azalea.

The terrace at the back of the house overlooks the pool and a tall magnolia hedge at the perimeter of the property. The same laurel hedging, prunus caroliniana bright and tight, is used along the sides of the pool court, and allows glimpses of the flower garden and the Orangerie. The square flower garden has checkered paving of limestone and synthetic grass with four large Versailles boxes holding limelight hydrangea standards and seasonal flowers. Azalea adds color and a carved stone bench sits on the axis of the Orangerie and pool court hedge opening. The pool court can be entered from the flower garden or the Orangerie between tall laurel topiary columns. The slate gray plaster of the pool blends with crushed oyster shell and limestone paving. Two circa 1920 lion statues have been fitted with water jets that feed into the pool.

The Orangerie has Paladian style glazing, full spectrum UV lighting and automated watering for the heirloom citrus trees in Versailles boxes. Jasmine vines wrap the building that is surrounded by laurel hedges. All aspects of the gardens and the buildings were the result of close coordination between the landscape designers, Matthew and Heather Murray, and the architect Alex Eskenasy.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Formal gardens  Search this

Orangeries  Search this

Gardens -- Texas -- Dallas  Search this

Collection Citation:

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

Sponsor:

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

Identifier:

AAG.GCA, File TX209

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb69240f9f8-c25b-4c14-991e-826e88c9d6fb

EDAN-URL:

ead_component:sova-aag-gca-ref33298

Photograph by:

Unidentified  Search this

Subject of:

Ernie Fields, American, 1904 - 1997  Search this

Unidentified Man or Men  Search this

Unidentified Woman or Women  Search this

Owned by:

Eddie Faye Gates, American, 1934 - 2021  Search this

Medium:

digital

Dimensions:

File size (overall): 51.33 MB

Type:

portraits

digital images

digital media - born analog

Place depicted:

Tulsa, Tulsa County, Oklahoma, United States, North and Central America

Date:

early to mid 20th century

Topic:

African American  Search this

American South  Search this

American West  Search this

Instrumentalists (Musicians)  Search this

Jazz (Music)  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Eddie Faye Gates, Tulsa OK, author, historian, community activist

Object number:

2014.117.40

Restrictions & Rights:

No Known Copyright Restrictions

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Eddie Faye Gates Collection, Tulsa, Oklahoma

Classification:

Media Arts-Photography

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd532d99d95-6d88-45d3-806d-73668a395929

EDAN-URL:

edanmdm:nmaahc_2014.117.40

Maker:

Mbunda artist  Search this

Medium:

Wood, plant fiber

Dimensions:

H x W x D: 43.2 × 26.7 × 15.4 cm (17 × 10 1/2 × 6 1/16 in.)

Type:

Mask

Geography:

Zambia

Date:

Early 20th century

Topic:

male  Search this

Credit Line:

Gift of Udo and Wally Horstmann and museum purchase

Object number:

2019-8-15

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys75035a8ea-10f1-4f48-84e5-9b11455ea4d8

EDAN-URL:

edanmdm:nmafa_2019-8-15

Maker:

Mbunda artist  Search this

Medium:

Wood

Dimensions:

H x W x D: 28.4 × 21 × 12.4 cm (11 3/16 × 8 1/4 × 4 7/8 in.)

Type:

Mask

Geography:

Zambia

Date:

20th century

Topic:

male  Search this

Credit Line:

Gift of Udo and Wally Horstmann and museum purchase

Object number:

2019-8-16

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys735415513-4af9-453e-bb63-f5d08a4a504f

EDAN-URL:

edanmdm:nmafa_2019-8-16

Architect:

van der Gracht, Ides  Search this

Landscape architect:

Shipman, Ellen Biddle, 1869-1950  Search this

Creator:

Little Garden Club of Rye--provenance.  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Medway Plantation,(Goose Creek, South Carolina)

United States of America -- South Carolina -- Berkeley County -- Goose Creek

Scope and Contents:

The folder includes worksheets, site plans, plant lists, and photocopies of articles.

General:

Medway Plantation comprises 6700 acres of longleaf and loblolly pine, live oaks, tupelo, swampland and lakes as well as the oldest masonry house in South Carolina. An ornamental garden with irregularly-shaped beds and serpentine paths, known as Miss Lou's garden, was redesigned in the 1930s by Ellen Biddle Shipman. The earlier garden was described as a bird sanctuary and nursery growing anise and Chinese bay trees, azaleas, fringe trees, roses, flowering almond, lilacs, spireas, myrtle, and yellow Jessamine, with wisteria growing up into deciduous trees. The surplus from Miss Lou's garden was planted in long borders alongside three shallow brick terraces, and along paths that led to a schoolhouse on the property. The current drive to the house has double borders of live oak trees hung with Spanish moss that were first planted after the Civil War. In the 1930s architect Ides van der Gracht designed a greenhouse with stepped gables, echoing that feature from the house, and added serpentine brick walls surrounding a garden of flowers and vegetables, on the site of the historic kitchen garden. Prior to the Civil War rice was cultivated at Medway Plantation, followed by cotton and the current crop, timber.

Medway Plantation was first organized as a land grant to Johan (or Jan) van Aerssen in the last quarter of the 17th century. He started the original house which during its long history was burned and rebuilt, nearly abandoned and used only as a hunting lodge, and finally renovated. The house has unusual stepped gables in the Dutch style, reflecting the van Aerssen heritage. After van Aerssen's death circa 1867 and the remarriage of his widow, Sabina de Vignon to Thomas Smith in 1689, the property came into the prominent South Carolina Smith family.

In the early days land parcels routinely were acquired and sold and the dimensions of Medway Plantation changed frequently, finally ending up at 6700 acres under the ownership of Sidney J. and Gertrude S. Legendre in the 20th century, who had purchased and annexed neighboring plantations. Before her death in 2000 Gertrude Legendre put the property in a non-profit foundation with a conservation easement to preserve the pine forests, wetlands, and wildlife. It is recognized as a breeding site for endangered red-cockaded woodpeckers, bald eagles, wood ducks and wintering ring-necked ducks, and provides habitat for deer, turkey and quail.

Persons associated with the garden include Johan van Aerssen (former owner and builder of original house, 1686-circa 1688); Sabina de Vignon, (former owner, 1688-1689); Thomas Smith and members of the Smith family (former owners, 1689-1701); Edward Hyrne (former owner, 1701-1711); Peter Gaillard Stoney and family (former owners, 1833-1930); Sidney J. and Gertrude Sanford Legendre (former owners, 1930-1993; Ides van Waterschoot van der Gracht (architect, 1930s); Ellen Biddle Shipman (landscape architect, 1930s).

Related Materials:

Medway Plantation related holdings consist of 2 folders (2 35mm slides (photographs), 34 digital images)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- South Carolina -- Goose Creek  Search this

Collection Citation:

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

Sponsor:

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

Identifier:

AAG.GCA, File SC082

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6eef92d46-4ed6-41e2-8ee9-f17ee6b00d50

EDAN-URL:

ead_component:sova-aag-gca-ref12480

Preservation architect:

Chandler, Joseph Everett  Search this

Gardener:

Tennis, Lawrence  Search this

Sculptor:

Seamans, Beverly Benson  Search this

Former owner:

Kent, John H. B.  Search this

Peach, Benjamin F.  Search this

Peach, Adelaine L.  Search this

Daniels, Alanson L.  Search this

Daniels, Frances Pomeroy  Search this

Amory, John S.  Search this

Amory, Mary B.  Search this

Landscape architect:

Shipman, Ellen Biddle, 1869-1950  Search this

Provenance:

North Shore Garden Club of Massachusetts  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Old Farm (Wenham, Massachusetts)

United States of America -- Massachusetts -- Essex -- Wenham

Scope and Contents:

The folder includes worksheets, photocopies of articles, historical images, and biographical and other information.

General:

Old Farm has a sunken and enclosed garden designed in 1912-1913 by Ellen Biddle Shipman in the Colonial Revival style to complement the 17th century farm house, described as a cloistered space within the more than one hundred acres of fields and woodlands that comprise this property. The garden was one of Shipman's earliest documented professional commissions, a rectangular plot sub-divided by stone and gravel walks into smaller rectangular beds surrounded by a low dry stone wall. At the far end there is a stone apse or excedrae with room for outdoor seating and a lily pond, now dry. Shipman's original stone terrace directly behind the house, stone walkway down the middle of the garden, and stone steps that lead up to the excedrae have grown over with grass and the American elm trees that shaded the enclosed garden have been replaced by other mature trees. The flower beds have been retained in their original shapes and siting, and have three distinct seasons of blooms: first daffodils, followed by irises, phlox and peonies, then fall asters.

The original 17th century house had rooms on either side of the chimney in front with a lean-to rear section. In the late 19th century the rear section was raised to two stories, and in the early 20th century the house was restored by preservation specialist Joseph Everett Chandler. Ellen Biddle Shipman added trellises for vines and a garden in front of the house planted with boxwood, roses and oleander.

Persons associated with the garden include: John H. B. Kent (former owner, 1836-1910); Benjamin F. and Adelaine L. Peach (former owners, 1899-1910); Alanson L. and Frances Pomeroy Daniels (former owners, 1910-1933); John S. and Mary B. Amory (former owners, 1933-1961); Ellen Biddle Shipman (landscape architect, 1912-1913); Joseph Everett Chandler (preservation architect, 1915); Lawrence Tennis (gardener, 2004- ); Beverly Benson Seamans (1928-2012) (sculptor).

Related Materials:

Old Farm related holdings consist of 1 folder (3 35mm slides (photographs); 15 digital images)

Additional materials also located in the Benjamin Howe Conant Collection of Photographs, Wenham Museum, Wenham, Massachusetts; Ellen McGowan Biddle Shipman archive #1259, Carl A. Kroch Library Division of Rare and Manuscripts Collection, Cornell University , Ithaca, New York

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- Massachusetts -- Wenham  Search this

Collection Citation:

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

Sponsor:

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

Identifier:

AAG.GCA, File MA611

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6c40427c7-9295-4e38-9c08-e7a7467c0021

EDAN-URL:

ead_component:sova-aag-gca-ref17687