Search Results

Creator:

Leonard, Herman, 1923-2010  Search this

Former owner:

National Museum of American History (U.S.). Division of Musical History  Search this

Names:

Armstrong, Louis, 1901-1971  Search this

Baker, Chet  Search this

Bennett, Tony, 1926-  Search this

Blakey, Art, 1919-1990  Search this

Brown, Clifford  Search this

Camero, Candido, 1921-  Search this

Cole, Nat King, 1917-1965  Search this

Cole, Nat King, 1917-1965  Search this

Davis, Miles  Search this

Davis, Miles  Search this

Eckstine, Billy  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

Garner, Erroll  Search this

Getz, Stan, 1927-1991  Search this

Gillespie, Dizzy, 1917-  Search this

Gordon, Dexter, 1923-1990  Search this

Haig, Al, 1924-1982  Search this

Heath, Percy, 1923-2005  Search this

Holiday, Billie, 1915-1959  Search this

Horne, Lena  Search this

Marsalis, Wynton, 1961-  Search this

Monk, Thelonious  Search this

Mulligan, Gerry  Search this

Parker, Charlie, 1920-1955  Search this

Pettiford, Oscar, 1922-1960  Search this

Roach, Max, 1924-2007  Search this

Russell, Curly  Search this

Sims, Zoot  Search this

Sinatra, Frank, 1915-1998  Search this

Stitt, Sonny  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Terry, Clark  Search this

Washington, Dinah, 1924-1963  Search this

Webster, Ben  Search this

Young, Lester, 1909-1959  Search this

Extent:

5.6 Cubic feet (10 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Date:

1948-1993

Summary:

Jazz club photographs by noted Jazz photographer Herman Leonard.

Scope and Contents:

This collection consists of 110 black-and-white photographic prints depicting musicians performing at various American and European jazz clubs between 1948 and 1991. The collection contains mounted and unmounted 11" x 14" and 16" x 20" prints made by Leonard. Artists represented among these photographs are Billie Holiday, Charlie Parker, Dizzy Gillespie, Duke Ellington, Frank Sinatra, Lester Young, Louis Armstrong, Miles Davis, and Thelonious Monk. The photographs are organized into three series: Series 1: 11"x 14" prints, Series 2: 16" x 20" prints, and Series 3: Addenda. The series are arranged alphabetically by performer's last name. Unmatted 16" x 20" prints can be found in box 2 but are listed alphabetically by performer.

Biographical / Historical:

Herman Leonard (1923‑2010) was born in Allentown, Pennsylvania and served as a military photographer in Burma during World War II. He earned his Bachelor of Fine Arts Degree in photography from Ohio University and began working with Yousuf Karsh, a Canadian portraitist. Settling in New York in 1949, Leonard began photographing jazz musicians at various jazz clubs on Broadway and Fifty‑Second Streets, and in Harlem for such publications as Cosmopolitan, Esquire, Life, Look, Playboy, and Time. He later to Paris to begin a fashion and advertising business. He also continued photographing jazz musicians. In 1988 Leonard presented his first exhibition, "Images of Jazz," in London. This show established his reputation as a leading photographer of jazz and sparked further shows and publications.

Provenance:

The Herman Leonard Photographs were donated to the National Museum of American History by Mr. Leonard on December 17, 1991 and in 2006.

Restrictions:

Collection is open for research.

Rights:

The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.

Topic:

Jazz musicians -- United States  Search this

Jazz  Search this

Music -- 20th century  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Citation:

Herman Leonard Photographic Collection, 1948-1993, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0445

See more items in:

Herman Leonard Photographic Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e44f9017-2701-439c-ac51-9916f1092b09

EDAN-URL:

ead_collection:sova-nmah-ac-0445

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-02-24T06:23:47.000Z

YouTube Category:

Entertainment  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_BKRVWwK9f5o

Collection Donor:

Finley, Harry, 1942-  Search this

Container:

Box 18, Folder 9

Type:

Archival materials

Date:

1940s

Scope and Contents:

Includes examples of advertisements from the "Modess…because" campaign.

General Robert Wood Johnson, the son of Company co-founder Robert Wood Johnson, was Chairman and CEO of Johnson & Johnson from 1932 to 1963. Johnson liked to attend advertising strategy meetings, and at one such meeting in the late 1940s, he suggested that the company link its new Modess ad campaign to high fashion and make it different than anything seen before. So the product director and the agency hired some of the era's leading fashion designers to design gowns specifically for the ads, which were modelled by famous fashion models and photographed by well-known photographers in palaces, art museums and other beautiful locations in Europe and the U.S. General Robert Wood Johnson thought the proposed advertising copy was too wordy, which he felt could discourage women who felt uncomfortable reading ads about sanitary protection products. Johnson encouraged the marketing team to limit the copy to a paragraph, or a sentence, or just two words, and he suggested "Modess…because."

Source

"Modess Advertising in the 20th Century: From Silent Purchase Coupons to Empowered Women" (https://ourstory.jnj.com/ last accessed on April 11, 2023).

Collection Restrictions:

Collection is open for research. Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.

Collection Rights:

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

Collection Citation:

Museum of Menstruation Collection, Archives Center, National Museum of American History

See more items in:

Museum of Menstruation Collection

Museum of Menstruation Collection / Series 4: Advertising and Sales Materials

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88471e00f-b5f2-4916-9591-fcdd55c4542a

EDAN-URL:

ead_component:sova-nmah-ac-1586-ref469

Creator:

Cotton Museum at the Memphis Cotton Exchange  Search this

National Cotton Council  Search this

Extent:

38 Cubic feet (91 boxes)

Type:

Collection descriptions

Archival materials

Videocassettes

Slides (photographs)

Scrapbooks

Reports

Programs

Photographs

Photograph albums

Audiotapes

Place:

Memphis (Tenn.)

Date:

1939-1994, undated

Summary:

The Maid of Cotton (MOC) beauty pageant was sponsored by the National Cotton Council, Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans from 1939-1993. The contest was held annually in Memphis, Tennessee until the National Cotton Council and Cotton Council International moved to Dallas, Texas. Beginning with the 1985 pageant (held December 1984) the competition was held in Dallas. The pageant was discontinued in 1993 due to lack of funds, a sponsor, and changes in marketing strategies. The records include files on contestants, photographs, and scrapbooks.

Scope and Contents:

The collection contains the records for the Maid of Cotton pageant (1939-1993) sponsored by the National Cotton Council (NCC), Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans. The collection consists of approximately 38 cubic feet of records created by the NCC in the course of operating the Maid of Cotton contest from 1939 to 1993. The records form the complete archive of this fifty-four year program. The records include administrative files, scrapbooks, photographs, slides, and videotapes.

"One of the main values of the Maid of Cotton collection is its completeness. These are all of the official records of the program, documenting all of its activities throughout its entire existence from 1939 to 1993. As such, it represents a truly unique documentary record and opportunity for research.

Beauty contests have been the subject of serious scholarly study for many years. A search of WorldCat reveals over fifty books on the topic. Scholars have found the subject to be a fruitful springboard from which to study a wide variety of topics, primarily centered around issues of beauty, femininity, culture values, national identity, racism, and feminism.

Beauty pageants serve as symbols that reflect the values of American culture. For example, pageant winners have symbolized the advances made by formerly disenfranchised groups. Vanessa Williams, the first African American to win the Miss America crown (1983), rewrote the definition of beauty in America, and Heather Whitestone, the first deaf Miss America (1995), proved that physical handicaps need not hold anyone back from their dreams. Pageants can provide a focus for the re-examination of our society and culture. The tragic murder of six-year-old Jonbenet Ramsey in 1996 provided a window into what author Susan Anderson calls "the extravagant world of child beauty pageants," that led to public debate about issues of motherhood and adolescence.

In addition, beauty pageants can be viewed in advertising terms: they are the ultimate expression of the tried and true adage that sex sells. All pageants have sponsors and all sponsors want their products to be seen in a positive light. Some sponsors are content to contribute goods and services to the contestants --a new car, a trip to the Caribbean, a fur coat, etc. --so that their generosity can be noted in the publicity surrounding the contest. Others prefer to sponsor the entire program. The Miss Universe contest, for example, was created in 1952 by the Jantzen Company specifically to enable the company to showcase pretty girls wearing its swimsuits. Jantzen abruptly withdrew its previous support of the Miss America pageant when Yolande Betbeze refused to wear a bathing suit during her reign as Miss America 1951. The Maid of Cotton pageant is a highly organized, year-long, very visible public relations program that allows the National Cotton Council to showcase the wonders of cotton through the wonders of young beauty queens. Attractive young women are the perfect vehicle for promoting fashionable fabrics made from cotton.

Cotton --the product at the heart of the Maid of Cotton program --has been central to American economic and political history. NMAH's collecting and research interests reflect this. The Division of Work & Industry contains numerous cotton-related objects and much documentation on the subject. The Archives Center holds several cotton-related collections, including the Peter Paul Haring Papers, 1897-1935, documenting Haring's development of cotton picking machinery; the Lockwood Greene collection of thousands of engineering drawings, many of which were for textile mills; the Robert L. Shurr Script and Scrapbook for a 1939 biographical motion picture on Dr. George Washington Carver; and the Southern Agriculture Oral History Project Records, 1985-1992, which documents modern cotton farming through photography and oral history interviews. In addition, all aspects of cotton production, from farm to factory to finished goods, are documented in several hundred photos in the Underwood & Underwood Agricultural Photonegative Collection, the Underwood & Underwood Glass Stereograph Collection, the Division of Work & Industry Lantern Slide Collection, and the Donald Sultner-Welles Photograph Collection. Cultural aspects of cotton can be discovered in both the Warshaw Collection of Business Americana and in the DeVincent Collection of Illustrated American Sheet Music." (Orr, Craig. "NMAH Collections Committee", memorandum, 2009)

Series 1, Organizational and Pageant Files, 1939-1993, undated., is arranged chronologically by year. Files may contain correspondence, photographs, news clippings, radio commercial scripts, tear sheets, itineraries, trip reports, sheet music, legal documents, waivers, and permissions, and other material related to the Maid of Cotton pageant for that year. Files may also contain subsequent personal information on the Maid of Cotton for that year, for example change of address, news clippings, and the like. This series contains finalist files, trip files and tour report files.

Series 2, Photographs, Slides, and Transparencies, 1939-1994, undated., is arranged chronologically by year. This series contains photographs, slides, and transparencies related to the Maid of Cotton and her travels throughout the United States and overseas. It also contains photographs of the fashions worn by each Maid.

Series 3, Scrapbooks, 1951-1988, contains the scrapbooks created by the National Cotton Council office as well as scrapbooks created by the Maids themselves or others for her. Scrapbooks most often contain news clippings, ephemera, and sometimes correspondence.

Series 4, Audio-Visual, 1991-1993. This series contains video and audio related to the Maid of Cotton. It is currently unprocessed.

Arrangement:

This collection is arranged into four series.

Series 1: Organizational and Pageant Files, 1939-1993, undated

Subseries 1.1: Maid of Cotton files, 1939-1993

Subseries 1.2: Little Miss Cotton, 1956-1963, undated

Series 2: Photographs, Slides, and Transparencies, 1939-1994, undated

Subseries 2.1: Photographic Negatives and Transparencies, 1939-1993, undated

Subseries 2.2: Slides, 1939-1993, undated

Series 3: Scrapbooks, 1951-1988

Series 4: Audio-Visual, 1991-1993, undated

Biographical / Historical:

The Maid of Cotton pageant began in 1939. The annual pageant was sponsored by the National Cotton Council (NCC), Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans. The pageant was held in Memphis, Tennessee, in conjunction with the Carnival until the 1980s.

In mid-December every year the NCC released a list of contestants. Contestants were required to have been born in one of the cotton-producing states: Alabama, Arizona, Arkansas, California, Florida, Georgia, Kentucky, Louisiana, Mississippi, Missouri, New Mexico, North and South Carolina, Oklahoma, Tennessee, Texas or Virginia. They might have also been born in the cotton-producing counties of Alexander, Jefferson, Massac, Pulaski, Williamson or Madison, Illinois or in Clark or Nye counties of Nevada. There were usually twenty contestants each year.

Contestants were judged on personality, good manners, intelligence, and family background as well as beauty and an ability to model. A Top Ten were chosen and then a Top Five, and finally second and first runners up and a winner. Winners served as goodwill and fashion ambassadors of the cotton industry in a five-month, all-expense tour of American cities. In the mid-1950s the tour expanded globally. In the late 1950s a Little Miss Cotton pageant was begun but lasted only until 1963 before being discontinued. In the mid-1980s Dallas,Texas took over the pageant, in conjunction with the NCC and its overseas division, Cotton Council International. In 1986, to bolster interest and participation, the NCC eliminated the rule requiring contestants to be born in a cotton-producing state. The pageant was discontinued in 1993, one of the reasons being that Cotton Inc. stopped contributing scholarship money as well as waning public interest and changing marketing strategies. (pageantopolis.com website accessed April 2012.)

"The National Cotton Council is the official trade association of the cotton industry. The NCC was founded in 1939 to promote the interests of cotton farmers, ginners, brokers, and manufacturers from the Southern, cotton-growing states. Its mission evolved over the years as new uses for cotton and its byproducts have been found; as competition from synthetic fibers developed; as fashion tastes changed; as government regulation increased; and in response to foreign competition in both farming and manufacturing . The NCC website states that its modern-day mission is "to ensure the ability of all U.S. cotton industry segments to compete effectively and profitably in the raw cotton, oilseed and U.S.-manufactured product markets at home and abroad." Throughout its existence, the NCC has been the contact point for issues affecting its members, legislators in Congress, allied agribusiness, and consumers.

One of the first NCC programs undertaken by to promote the versatility and value of cotton to consumers was the Maid of Cotton program, begun in 1939. This consisted of a beauty pageant open to young women born in one of the seventeen southern cotton growing states. The contestants were evaluated on the basis of beauty, personality, poise, good manners, and intelligence; a family background in cotton production was especially helpful. The girls had to apply for selection to compete in the program. At first this was done directly to the Memphis-based program but eventually a system of state Maid of Cotton programs were established, whose winners went on to compete in the national Maid of Cotton contest. The Maid of Cotton received numerous prizes, whose value and variety tended to increase over the years. In the late 1940s, the program added a scholarship prize, probably in emulation of the Miss America contest. The Maid of Cotton pageant was held each December in Memphis as part of that city's Cotton Carnival festivities. The winner was featured prominently on her own float in the Cotton Carnival parade, was feted at prestigious Carnival events, and was treated as royalty wherever she went. Selection as the Maid of Cotton carried a high degree of status and mature ladies in the South to this day proudly identify themselves as such.

The Maid of Cotton's main function, once crowned, was to serve as a goodwill and fashion ambassador for cotton; any publicity she gained was automatically positive publicity for the cotton industry. Accompanied by an NCC-appointed manager, the Maids embarked on an all-expenses-paid tour. The Maids appeared in full regalia at public events such as county fairs, parades, and holiday events; starred in fashion shows featuring all-cotton outfits; gave speeches to local chambers of commerce and other groups; and in general were the attractive personification of the cotton industry wherever they went. At first, the tours concentrated on the cotton states but they were later extended to major cities outside the cotton belt and came to include visits to legislators on Capitol Hill. Beginning in the mid-1950s, the Maids began touring internationally and in the 1970s and 1980s they frequently headed up fashion shows in Asia.

Over time, however, the publicity value of an industry-anointed beauty queen lost its attraction both to the public and --more importantly --to the press. In addition, the role of cotton in the South, particularly in Memphis, declined. In 1986 the contest was moved from Memphis to Dallas. Eventually the cotton industry withdrew its support for the program's scholarships; the 1993 Maid of Cotton was the last to be crowned." (Orr, Craig. "NMAH Collections Committee", memorandum, 2009)

Related Materials:

Materials in the Archives Center

National Cotton Council Records, circa 1960s-1980s (AC1177)

Southern Agriculture Oral History Project Records, 1986-1991 (AC0773)

Provenance:

This collection was donated by the Cotton Museum at the Memphis Cotton Exchange on October 14, 2009.

Restrictions:

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

Rights:

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

Topic:

Beauty contestants  Search this

Cotton textile industry  Search this

Cotton industry  Search this

Beauty contests -- United States  Search this

Genre/Form:

Videocassettes

Slides (photographs)

Scrapbooks -- 20th century

Reports

Programs -- 20th century

Photographs -- 20th century

Photograph albums -- 20th century

Audiotapes

Citation:

Maid of Cotton Records, 1939-1993, undated, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

This collection was processed with a generous donation from Mr. and Mrs. Steven L. and Michelle Pitcher Trulaske, 2010.

Identifier:

NMAH.AC.1176

See more items in:

Maid of Cotton Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f53d73b9-ea20-46d7-a006-fb4122e3ad71

EDAN-URL:

ead_collection:sova-nmah-ac-1176

Author:

Sharf, Frederic A. 1934-  Search this

Author:

Kaish, Morton 1927-  Search this

Huff, Alexandra B  Search this

Subject:

Sharf, Jean S Art collections  Search this

Museum of Fine Arts, Boston  Search this

Physical description:

72 pages illustrations (some color) 28 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

History

Place:

New York (State)

New York

Massachusetts

Boston

New York (État)

Date:

2010

20th century

20e siècle

Topic:

Commercial art--History  Search this

Fashion drawing  Search this

Commercial art  Search this

Art publicitaire--Histoire  Search this

Dessin de mode  Search this

Art publicitaire  Search this

Art--Private collections  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1158693

Artist:

Floyd MacMillan Davis, 1896 - 1966  Search this

Sitter:

Floyd MacMillan Davis, 1896 - 1966  Search this

Gladys Rockmore Davis, 1901 - 16 Feb 1967  Search this

David Edward Scherman, 2 Mar 1916 - 1997  Search this

Janet Flanner, 13 Mar 1892 - 7 Nov 1978  Search this

William Lawrence Shirer, 23 Feb 1904 - 28 Dec 1993  Search this

Ernest Miller Hemingway, 21 Jul 1899 - 2 Jul 1961  Search this

A. J. Liebling, 18 Oct 1904 - 28 Dec 1963  Search this

Merrill Mueller, 1916 - 1980  Search this

Hans Von Kaltenborn, 9 Jul 1878 - 1965  Search this

Richard De Rochemont, 13 Dec 1903 - Aug 1982  Search this

Bill Reusswig, 1902 - 1978  Search this

Ham Green  Search this

Robert Allen Cromie, 1909 - 1999  Search this

Hugh Schuck  Search this

Will Lang, 1914 - Jan 1968  Search this

Lee Miller, 23 Apr 1907 - 21 Jul 1977  Search this

Graham Miller  Search this

Donald MacKenzie, 1918 - 1993  Search this

Robin Duff  Search this

Ralph Morse, 23 Oct 1917 - 7 Dec 2014  Search this

Charles Wertenbaker, 1901 - 1955  Search this

Robert Capa, 22 Oct 1913 - 25 May 1954  Search this

Noel Busch, 1906 - 1985  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 48.3 x 74.3 x 2.5cm (19 x 29 1/4 x 1")

Frame: 68.6 x 94 x 6.4cm (27 x 37 x 2 1/2")

Type:

Painting

Place:

France\Île-de-France\Ville de Paris, Départment de\Paris

Date:

1944

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Headgear\Military  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Home Furnishings\Furniture\Table  Search this

Home Furnishings\Drinking vessel\Glass  Search this

Artwork\Photograph  Search this

Equipment\Smoking Implements\Cigarette  Search this

Home Furnishings\Furniture\Seating\Stool  Search this

Caricature  Search this

Interior\Nightclub  Search this

Symbols & Motifs\Flag\National\United States  Search this

Symbols & Motifs\Flag\National\French  Search this

Symbols & Motifs\Flag\National\British  Search this

Symbols & Motifs\Flag\Nazi  Search this

Container\Bottle\Wine bottle  Search this

Symbols & Motifs\Emblem\Hammer and sickle  Search this

Symbols & Motifs\Flag\National\USSR  Search this

Lee Miller: Female  Search this

Lee Miller: Visual Arts\Artist\Photographer\War photographer  Search this

Lee Miller: Visual Arts\Fashion model  Search this

Lee Miller: Visual Arts\Artist\Photographer\Fashion photographer  Search this

Gladys Rockmore Davis: Female  Search this

Gladys Rockmore Davis: Visual Arts\Artist\Painter  Search this

Donald MacKenzie: Male  Search this

Donald MacKenzie: Journalism and Media\Journalist\Correspondent  Search this

Robert Allen Cromie: Male  Search this

Robert Allen Cromie: Literature\Writer  Search this

Robert Allen Cromie: Journalism and Media\Journalist\Columnist  Search this

Robert Allen Cromie: Journalism and Media\Journalist\Correspondent  Search this

Janet Flanner: Female  Search this

Janet Flanner: Literature\Writer\Novelist  Search this

Janet Flanner: Literature\Writer\Essayist  Search this

Janet Flanner: Journalism and Media\Journalist\Correspondent  Search this

Robin Duff: Male  Search this

Robin Duff: Journalism and Media\Journalist\Correspondent  Search this

Hugh Schuck: Male  Search this

Hugh Schuck: Journalism and Media\Journalist\Correspondent  Search this

A. J. Liebling: Male  Search this

A. J. Liebling: Journalism and Media\Journalist\Reporter\Newspaper  Search this

A. J. Liebling: Journalism and Media\Journalist\Columnist  Search this

A. J. Liebling: Journalism and Media\Journalist\Reporter\Magazine  Search this

A. J. Liebling: Journalism and Media\Journalist\Correspondent  Search this

Ham Green: Male  Search this

Ham Green: Journalism and Media\Journalist\Correspondent  Search this

Merrill Mueller: Male  Search this

Merrill Mueller: Journalism and Media\Journalist\Correspondent  Search this

Bill Reusswig: Male  Search this

Bill Reusswig: Visual Arts\Artist\Illustrator  Search this

Graham Miller: Male  Search this

Graham Miller: Journalism and Media\Journalist\Correspondent  Search this

Floyd MacMillan Davis: Male  Search this

Floyd MacMillan Davis: Visual Arts\Artist\Painter  Search this

Floyd MacMillan Davis: Visual Arts\Artist\Illustrator  Search this

Floyd MacMillan Davis: Visual Arts\Artist\Printmaker\Lithographer  Search this

Richard De Rochemont: Male  Search this

Richard De Rochemont: Literature\Writer  Search this

Richard De Rochemont: Performing Arts\Performing arts director\Film director  Search this

Richard De Rochemont: Performing Arts\Producer\Film producer  Search this

Richard De Rochemont: Performing Arts\Producer\Newsreel producer  Search this

Richard De Rochemont: Oscar  Search this

David Edward Scherman: Male  Search this

David Edward Scherman: Literature\Writer  Search this

David Edward Scherman: Journalism and Media\Magazine editor  Search this

David Edward Scherman: Visual Arts\Artist\Photographer\War photographer  Search this

David Edward Scherman: Literature\Literary critic  Search this

David Edward Scherman: Journalism and Media\Journalist\Correspondent  Search this

Will Lang: Male  Search this

Will Lang: Military and Intelligence\Soldier  Search this

Will Lang: Journalism and Media\Journalist\Reporter\Magazine  Search this

Will Lang: Journalism and Media\Journalist\Correspondent  Search this

Charles Wertenbaker: Male  Search this

Charles Wertenbaker: Journalism and Media\Journalist\Correspondent  Search this

Noel Busch: Male  Search this

Noel Busch: Journalism and Media\Journalist\Correspondent  Search this

Ralph Morse: Male  Search this

Ralph Morse: Visual Arts\Artist\Photographer\War photographer  Search this

Ralph Morse: Journalism and Media\Journalist\Photojournalist  Search this

Robert Capa: Male  Search this

Robert Capa: Visual Arts\Artist\Photographer  Search this

Robert Capa: Visual Arts\Artist\Photographer\War photographer  Search this

William Lawrence Shirer: Male  Search this

William Lawrence Shirer: Journalism and Media\Journalist\Reporter\Newspaper  Search this

William Lawrence Shirer: Literature\Writer\Novelist  Search this

William Lawrence Shirer: Journalism and Media\Broadcast journalist  Search this

William Lawrence Shirer: Literature\Writer\Historical  Search this

William Lawrence Shirer: Journalism and Media\Broadcast journalist\Newscaster  Search this

Hans Von Kaltenborn: Male  Search this

Hans Von Kaltenborn: Journalism and Media\Newspaper editor  Search this

Hans Von Kaltenborn: Journalism and Media\Broadcast journalist\Radio  Search this

Hans Von Kaltenborn: Journalism and Media\Journalist\Correspondent  Search this

Hans Von Kaltenborn: Journalism and Media\Broadcast journalist\Newscaster  Search this

Ernest Miller Hemingway: Male  Search this

Ernest Miller Hemingway: Journalism and Media\Journalist\Reporter\Newspaper  Search this

Ernest Miller Hemingway: Literature\Writer\Novelist  Search this

Ernest Miller Hemingway: Sports and Recreation\Outdoorsman  Search this

Ernest Miller Hemingway: Journalism and Media\Journalist\Correspondent  Search this

Ernest Miller Hemingway: Nobel Prize  Search this

Ernest Miller Hemingway: Pulitzer Prize  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.88.57

Restrictions & Rights:

Usage conditions apply

Copyright:

© Life Magazine

See more items in:

National Portrait Gallery Collection

Exhibition:

20th Century Americans: 1930-1960

On View:

NPG, South Gallery 321

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4d7d33b2b-490a-4574-b43b-243fc94cf956

EDAN-URL:

edanmdm:npg_NPG.88.57

Measurements:

overall-from catalog card: 18 1/2 in x 12 in x 7 in; 46.99 cm x 30.48 cm x 17.78 cm

overall: 18 1/2 in x 12 1/8 in x 7 1/2 in; 46.99 cm x 30.7975 cm x 19.05 cm

overall: 18 3/4 in x 12 1/4 in x 9 in; 47.625 cm x 31.115 cm x 22.86 cm

Object Name:

engine, steam

engine, steam, model

model, steam engine

Date made:

1823

Related Publication:

Maass, Eleanor A.. Greville Bathe's "Theatre of Machines": The Evolution of a Scholar and His Collection

Credit Line:

Bequest of the Estate of Greville I. Bathe

ID Number:

MC.329093

Catalog number:

329093

Accession number:

278175

See more items in:

Work and Industry: Mechanical and Civil Engineering

Family & Social Life

Engineering, Building, and Architecture

Engineering Steam Toys and Models

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a6-8ece-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_847256

Medium:

Plate, Ceramic, Painted

Dimensions:

3-D: 24.8 × 2.9cm (9 3/4 × 1 1/8 in.)

Storage: 30.5 × 30.5 × 5.1cm (12 × 12 × 2 in.)

Type:

ART-Miscellaneous

Country of Origin:

France

Date:

ca. 1780

Credit Line:

Gift of William A.M. Burden

Inventory Number:

A19750698000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv943e9b7fa-e4b9-4184-86c9-4111350de1f0

EDAN-URL:

edanmdm:nasm_A19750698000

Author:

Callan, Georgina O'Hara  Search this

Physical description:

272 p. : ill. ; 27 cm

Type:

Dictionaries

Date:

1986

19th century

20th century

Topic:

Fashion  Search this

Costume--History  Search this

Call number:

GT507.O53 1986X

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_300227

Creator:

Grepke, Donald, 1932-  Search this

Grepke, Carolyn, 1937-1995  Search this

Extent:

70 Cubic feet

Type:

Collection descriptions

Archival materials

Date:

circa 1800s-1998, undated

Summary:

Abstract: Collection consists of over a century of paper dolls documenting their use as advertisements, and depictions of popular culture, fashion trends, family lifestyles, gender roles, ideal communities,and cultural heroes.

Scope and Contents:

Collection consists of paper dolls dating from the 1800s-1998. The bulk of the paper dolls, however, date from the 1900s-1970s. Due to the Grepkes' careful selection, the paper dolls are in excellent condition, most were never used or played with. In addition, most of the sets are complete, with few or no missing pieces. A sustainable amount of the collection remains in original packaging which often included the periodical or comic book in which it was published, the original box, or a folder or booklet. A substantial amount of these paper dolls was commercially produced with examples of hand-made dolls and clothing. Clothing for the dolls is mostly created from paper with examples of cloth, wood, and plastic. Hand colored commercially produced dolls and clothing also exist within the collection. Special features on the dolls could include hair, plastic eyes, photographic faces, and moveable parts.

The artwork aspect of the collection provides potential research use with illustrations by such paper doll artists as Queen Holden, who was renowned for her dolls of the 1930s, and Tom Tierney, who has depicted almost every celebrity of the 20th century in paper doll form. Originals and reproductions of Grace Gebbie Drayton's (1877-1936) Dolly Dingle paper dolls series, which appeared in the Pictorial Review from 1913-1933, are included among the materials. Drayton is well known for her creation and illustration of the "Campbell Kids." She illustrated books and other publications and designed dolls and toys. Frances Tipton Hunter, creator of the "Little Busy Bodies" who appeared in Women's Home Companion in 1922 and 1923, career spanned from the 1920s to her death in 1957. Besides the "Little Busy Bodies" her work also appeared in periodicals including the Saturday Evening Post, The Delineator, Collier's, and Ladies Home Journal.

Not just seen from the perspective of artwork or playthings the serious scholar will be able to focus on a variety of topics related to the dolls. Researchers interested in fashion, popular culture, and images of women, children, or celebrities will find this collection of great value. The collection has a large representation of movie and television stars from the 1930s through the 1950s. In addition, American notions of ideal family sizes, settings, relationships, teenage life, and leisure activities are represented in the collection. Dates of the paper dolls are most often time of publication rather than era they represent.

Arrangement:

The collection is arranged in 14 series.

Series 1, Advertisements, circa 1800-1980, undated

Series 2, Animals, circa 1950-1995, undated

Series 3, Celebrities, circa 1930-1995, undated

Subseries 3.1, Film, circa 1930-1995, undated

Subseries 3.2, Music, circa 1950-1995, undated

Subseries 3.3, Pop Culture, circa 1950-1995, undated

Subseries 3.4, Royalty, circa 1950-1995, undated

Subseries 3.5, Stage and Theater, circa 1930-1950, undated

Subseries 3.6, Television, circa 1950-1995, undated

Series 4, Literature, circa 1920-1995, undated

Series 5, Mass Media, circa 1935-1995, undated

Subseries 5.1, Cartoons, circa 1960-1995, undated

Subseries 5.2, Comic Books, circa 1940-1995, undated

Subseries 5.3, Motion Picture Film, circa 1935-1995, undated

Subseries 5.4, Newspapers, circa 1934-1951, undated

Subseries 5.5, Radio, circa 1940-1955, undated

Subseries 5.6, Television, circa 1950-1995, undated

Series 6, Toys, circa 1890-1990, undated

Subseries 6.1, Paper Dolls, circa 1890-1980, undated

Subseries 6.2, Three Dimensional Dolls as Paper Toys, circa 1910-1990, undated

Series 7, Family, circa 1880-1990, undated

Subseries 7.1, Children, circa 1880-1980, undated

Subseries 7.2, Infants, circa 1920-1970, undated

Subseries 7.3, Family, circa 1930-1950, undated

Subseries 7.4, Teenagers, circa 1910-1990, undated

Series 8, Clothing and Fashion, circa 1890-1995, undated

Subseries 8.1, Bridal, circa 1900-1990, undated

Subseries 8.2, Clothing of the World, circa 1900-1995, undated

Subseries 8.3, Designers, circa 1950-1980, undated

Subseries 8.4, Eras and Historic, circa 1890-1995, undated

Subseries 8.5, Military, circa 1940-1950, undated

Series 9, Historical Figures and Events, circa 1950-1998, undated

Subseries 9.1, African American, circa 1990-1995, undated

Subseries 9.2, Military, circa 1970-1990, undated

Subseries 9.3, Religion, circa 1984-1998, undated

Subseries 9.4, United States Presidents, circa 1970-1995, undated

Subseries 9.5, United States History, circa 1950-1990, undated

Subseries 9.6, Women, circa 1910-1995, undated

Subseries 9.7, World Leaders, circa 1980-1990, undated

Series 10, Holidays and Celebrations, circa 1930-1990, undated

Series 11, Occupations, circa 1900-1995, undated

Series 12, Periodicals, circa 1890-1995

Subseries 12.1, Characters, circa 1900-1995

Subseries 12.2, Periodicals, circa 1890-1995

Series 13, Miscellaneous Materials, circa 1890-1995, undated

Series 14, Publications, 1978-1993

Subseries 14.1, Articles, circa 1980-1990

Subseries 14.2, Books, 1978-1993

Biographical / Historical:

Donald Eugene Grepke (September 18, 1932- April 15, 2005) and Carolyn Joan Moyer Grepke (December 10, 1937- December 19, 1995) began collecting paper dolls in the 1970s in Fort Wayne, Indiana. Donald was born and raised in Fort Wayne where he attended Elmhurst High School, worked at a grocery store filling station, and graduated in 1951. In 1955, he began working at Zollner Corporation, manufacturers of pistons for cars and trucks, and retired on disability in 1989.

Carolyn Joan Moyer was born in Pennville, Indiana. Carolyn's family moved to Fort Wayne when she was four years old and after a few years they moved to Churubusco, Indiana. They returned to Fort Wayne where Carolyn attended North Side High School and graduated in 1956. Carolyn began working at Lincoln National Life Insurance Company after high school and continued to work there until she passed away.

Donald Grepke and Carolyn Moyer married at Trinity United Methodist Church in Fort Wayne, Indiana on March 2, 1957. One child, Randell Lee Grepke, was born to the union on May 5, 1958.

One of Carolyn's favorite toys as a child was paper dolls. One day while reading a publication about antiques, Donald saw an advertisement for an auction which included paper dolls in excellent condition. This began their paper doll collection. Over the next - 20-25 years, while on vacations and weekend drives, they would stop at antique shops, flea markets, and auctions in search of paper dolls. When Carolyn worked on weekends, Don would venture out by himself or with a male friend in search of paper dolls. Their collection grew to over 4,000 paper dolls.

After Carolyn passed in 1995, Don lost interest in collecting paper dolls. He pondered for about three years on what to do with the collection. He decided to donate the collection to the Smithsonian Institution in memory of his wife, where the materials would be available to the public for research and exhibition purposes.

Related Materials:

Archives Center, National Museum of American History

Helen Popenoe Paper Doll Collection (NMAH.AC.1156)

Elinor S. Miller Paper Doll Collection (NMAH.AC.1110)

Ming-Ju Sun Garfinckel's Fashion Drawings (NMAH.AC.0897)

Miss America 1951 Papers (NMAH.AC0888)

Beatrice Litzinger Postcard Collection (NMAH.AC.0530)

Jane and Michael Stern Collection (NMAH.AC.1392)

Sam DeVincent Collection of Illustrated American Sheet Music, Series 9: Domestic and Community Life (NMAH.AC.0300)

Brownie Wise Papers (NMAH.AC.0509)

Edward J. Orth Memorial Archives of the World's Fair (NMAH.AC.0560)

Division of Cultural and Community Life, National Museum of American History

Division holds a collection of paper dolls.

Provenance:

The collection was donated to the Archives Center, National Museum of American History, Smithsonian Institution, by Donald Grepke in memory of his wife Carolyn Grepke in December 2000.

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:

Paper dolls  Search this

Dolls  Search this

Citation:

The Carolyn and Donald Grepke Paper Doll Collection, 1800s-1998, undated, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0752

See more items in:

The Carolyn and Donald Grepke Paper Doll Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86b115168-77de-49bc-a925-9e6679e7ada4

EDAN-URL:

ead_collection:sova-nmah-ac-0752

Creator:

Sklarek, Norma Merrick, 1926-2012  Search this

Names:

American Institute of Architects  Search this

Gruen Associates  Search this

Covington, Garnett K.  Search this

Davis, Carolyn Armenta, 1944-  Search this

Diamond, Katherine  Search this

Donaphin, Alexa Barnes  Search this

Grant, Bradford C.  Search this

Gruen, Victor, 1903-1980  Search this

Harney, Henrietta  Search this

Hermanuz, Ghislaine  Search this

Hinton-Lee, W. Chris  Search this

Hutchinson, Louise Daniel  Search this

LeGendre, Laurette  Search this

Love-Stanley, Ivenue  Search this

Mills, Marlene E.  Search this

Moseley-Olaleye, Joyce  Search this

Pelli, Cesar  Search this

Schwartz, Robert (Robert E.)  Search this

Siegel, Margot  Search this

Sklarek, Rolf  Search this

Sutton, Sharon E., 1941-  Search this

Tyler, Kathryn B.  Search this

Washington, Roberta  Search this

Williams, Paul R., 1894-1980  Search this

deJongh, Donna  Search this

Extent:

4.8 Cubic feet

Type:

Collection descriptions

Archival materials

Correspondence

Place:

Brooklyn (New York, N.Y.)

Harlem (New York, N.Y.)

Los Angeles (Calif.)

Date:

1944-2008

Scope and Contents:

The Norma Merrick Sklarek Archival Collection documents the prestigious and groundbreaking career of one of the early women architects who also broke ground for African American architects as well. The collection highlights Sklarek's journey and accomplishments as she paved the way for future women architects and architects of color. The collection is comprised of family records, resumes, business ephemera, photographs, correspondence, publications, clippings, architectural drawings, as well as her many awards and accolades.

Arrangement:

The materials in this collection have been separated into eight series. The materials have been ordered and organized based on the content and chronology. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.

Biographical / Historical:

Norma Merrick Sklarek was a renowned architect and a woman of firsts who broke racial and gender barriers earning her place in the male-dominated world of architecture. She was the first Black woman member and esteemed fellow of the highly respected architectural professional organization, American Institute of Architects (AIA). Norma was distinguished in her career for leading challenging assignments and managing large, complex construction projects.

Norma Merrick was born April 15, 1926 to Dr. Walter Ernest Merrick, and Amelia (Amy) Willoughby in Harlem, New York City, New York. Her parents had emigrated from Trinidad, though her father was born in St. Vincent, West Indies. Norma's parents were a part of the first significant Caribbean immigration waves to the United States in the early 20th century. Arriving just a year before her birth, her parents saw possibility and education there. Her father, Walter attended Howard University and eventually became a physician. While her mother, Amy worked as a seamstress in a factory to make ends meet as Walter "wasn't much of a businessman" as described by Norma in an oral history interview. He practiced medicine in Harlem, New York. Norma stated that her father often served as a physician to African American celebrities such as Hazel Scott, Ethel Waters and Art Tatum. Walter was also a talented musician and carpenter that supported his daughter's love of art and math and encouraged her to pursue a career in architecture.

Around 1940, Norma was enrolled at the prestigious Hunter College High School for the intellectually gifted and "Ivy League-bound" young women. Excelling academically, Norma attended Barnard University, the prestigious women's college formerly administered by Columbia University. She attended Barnard initially in order to gain a year of a liberal arts education so that she could be accepted into then-known Columbia University School of Architecture. In 1947, she met and married, Dumas Flagg Ransom, law student at nearby Wagner University. She subsequently gave birth to her first son, Gregory Merrick Ransom shortly thereafter. She graduated from Columbia in 1950 with a Bachelor of Architecture (B.Arch.) degree. She was one of only two women and the only African American in her graduating class.

Despite her Columbia University pedigree, her race and gender made it predictably difficult to obtain employment. Norma easily recalls in an oral history interview later in life that she was turned down by nineteen prospective employers. It was on the twentieth interview with the Department of Public Works (DPW) that she was hired as a junior draftsperson for New York City. She passed her architecture licensing examination in 1954 becoming the first Black woman believed to be licensed to practice architecture in New York. Despite a poor recommendation from her DPW supervisor, she worked briefly at Katz, Waisman, Blumenkranz, Stein and Weber as a junior associate. She felt stifled and unchallenged and left that firm to do some rendering coloring work with notable New York architect, Bob Schwartz. In 1955, she started working at notable architectural firm, Skidmore, Owings, and Merrill (SOM) in New York City where she was given larger-scale projects. At the same time, she taught architecture courses at New York City Community College (presently called the New York City College of Technology) located in Brooklyn, NY. She was the school's first woman faculty member. It was also during her tenure at SOM that Norma joined AIA and inadvertently became the organization's first African American woman member. She was a member of the Council for the Advancement of the Negro in Architecture, a New York-based group. During all this groundbreaking work, Norma was a twice-divorced mother of two sons with the birth of her second son, David Merrick Fairweather from her union with Benjamin Fairweather. Norma depended on the assistance of her family in raising her sons while she worked and advanced her career.

In an effort to advance her career, Norma moved to Los Angeles, California to work with architectural firm, Gruen Associates in 1960. A requisite for an architect in California, Norma became the first Black woman to be a licensed architect in the state. Gruen Associates, founded by visionary Austrian architect Victor Gruen, was notable for their pioneering work with shopping malls and multi-use buildings. At Gruen, in 1965 she earned the director of architecture position where she was responsible for hiring and overseeing multiple staff members as well as serving as project manager on several high-profile projects for the firm.

Her projects included the high-rise multi-use building California Mart (1963), now known as California Market Center; skyscraper Fox Plaza (1966) in San Francisco and some of Norma's most notable work for Gruen, The Pacific Design Center (1975), a multi-use facility utilized by the California's bustling apparel and fashion industry. Norma's contributary design is affectionately known by California's locals as the "Blue Whale." Norma worked on the latter project with Gruen's lead architect at the time, Cesar Pelli, known for some of the world's tallest buildings, most notably World Finance Center (Brookfield Place) in New York City. Pelli also shared his credit with Norma for her exemplary contribution to the renovation and redesign of the San Bernardino City Hall (1972) in California as well as their work on the U.S. Embassy (1976) in Tokyo, Japan. While at Gruen, Norma married Rolf Sklarek, a fellow architect at the firm. She also taught architecture courses at the University of California Los Angeles (UCLA) and the University of Southern California (USC). At UCLA, she was the first African American member of the faculty.

In 1980, she was finally recognized for all of her trailblazing and innovative work, when she became the first African American woman elected to the AIA College of Fellows. The highest honor within the architecture profession. This prestigious award gave her assurance that she could take her career to another level. She departed Gruen for Welton Becket & Associates, a prominent California firm renowned for iconic music and cultural centers, including the iconic Capitol Records building in Los Angeles. Norma was appointed as the vice president of the firm and lead project manager on one of her most notable works, Terminal One at the Los Angeles International Airport. She was recognized for the timely completion of the project as preparation for the influx of travelers to Los Angeles the for the 1984 Olympic Games. Norma also suffered the loss of her husband, Rolf Sklarek, the same year.

It was her work from the Los Angeles Airport project that empowered Norma to break yet another barrier. 1985 proved to be significant year as she became first African American woman to found and co-own a woman-owned architectural firm. Norma collaborated with fellow veteran architects Margot Siegal and Katherine Diamond to create Siegel-Sklarek-Diamond (SSD). SSD was one of the largest woman-owned architecture firms at the time. Their largest project was the Tarzana Promenade, a 90,000 sq. ft. medical and retail center, and the remodel and renovation of the Lawndale Civic Center; both located in California. Norma also designed work for the proposed Marva Collins Preparatory School in Compton, CA. The school was named after seminal educator, Marva Collins that had revolutionized education for low-income students in a crime-ridden area in Chicago, Ill. The hope was the replicate Collins' important work for children in Compton.

Being a new firm amidst the prevalence of racism and sexism within the profession left SSD at a disadvantage. Their projects were mainly residential and smaller commercial projects that didn't bring the income and accompanying challenges like larger scaled projects. Sklarek left SSD in 1989 for Jerde Partnership, an established innovator in the design and construction of shopping malls around the world. Norma was hired as the principal on the project management for the design and construction of the Mall of America. Located in Bloomington, Minnesota, it is considered to be the largest shopping mall in United States.

In 1992, Norma retired from the profession but did not resign herself to stop working. Norma became an active advocate in broadening the profession to include more women and people of color. She focused her work on teaching, lecturing, and mentoring. Over the years, she served as faculty and lecturer at several universities including UCLA, USC, University of Iowa, Kansas State University, California Polytechnic as well as her alma mater Columbia University. In an effort to inspire Black architects, Norma regularly lectured at HBCUs including Howard University, Hampton University, Tuskegee University, and Southern University.

Sklarek's work was recorded and recognized by the black press and publishers, such as her being included in Ebony magazine as early as 1958, in their article on "Successful Young Architects." In 2008, the AIA awarded her with the Whitney M. Young, Jr. Award that recognizes architects who represented the profession's responsibility to address social issues. She also served on multiple professional boards and committees, such as the California Architects Board, Professional Qualifications Committee, California State Board of Architectural Examiners, the AIA National Ethics Council and many more.

On February 6, 2012, Sklarek died in the Pacific Palisades, California at the age of 85. She was survived by her husband Cornelius Welch, whom she married in 1985; her son, David Merrick Fairweather, stepdaughter Susan Welch as well as three grandchildren. She was predeceased by her son Gregory Merrick Ransom in 2006.

Historical Timeline

1926 -- Norma Merrick was born to Amy Willoughby and Walter Merrick in Harlem, New York.

1944 -- Graduated from Hunter College High School, New York, NY

1944-1945 -- Attended Barnard College, New York, NY

1945-1950 -- Attended Columbia University in New York City earning a bachelor's degree in architecture (B.Arch.).

1947 -- Married Dumas Flagg Ransom and had son, Gregory Merrick Ransom. They later divorced.

1950 -- Married Elwyn (Benjamin) Fairweather and had son, David Merrick Fairweather. They later divorced.

1950-1955 -- Worked at the Department of Public Works, New York, NY

1954 -- Licensed in the state of New York; believed to be the first black woman architect licensed in New York

1959 -- First African American woman member of the American Institute of Architects (AIA).

1955-1960 -- Worked at Skidmore, Owings, and Merrill in New York, NY

1957-1960 -- Architecture faculty member at New York City Community College, Brooklyn, NY

1960 -- Married Francis "Harry" Pena in New York, NY. Moved to California and began working at Gruen Associates and served as the Director of Architecture until 1980.

1962 -- First African American woman architect licensed in California

1963 -- Sklarek coordinated the design and construction of the California Mart, Los Angeles, CA.

1966 -- Sklarek coordinated the design and construction Fox Plaza in San Francisco, CA.

1967 -- Sklarek divorced Pena and married Rolf Sklarek, a fellow architect at Gruen Associates.

1970 -- Sklarek coordinated the design and construction of the Park Center Commercial Complex in San Jose, CA .

1972-1973 -- Sklarek coordinated the design and construction of the San Bernardino, City Hall in San Bernardino, CA.

1973 -- Sklarek coordinated the design and construction of Commons-Courthouse Center in Columbus, IN.

1973-1978 -- Served as faculty member in the UCLA School of Architecture and Urban Planning

1976 -- Sklarek coordinated the design and construction of the U. S. Embassy in Tokyo, Japan.

1978 -- Sklarek coordinated the design and construction of Pacific Design Center in Los Angeles, CA.

1980 -- First African American woman fellow of the AIA

1980-1985 -- Worked as VP and project manager at Welton Becket & Associates in Santa Monica, CA

1984 -- Sklarek working with Welton Becket Associates coordinated the design and construction of Terminal One at the Los Angeles International Airport, Los Angeles, CA. Rolf Sklarek died in February.

1985 -- Sklarek along with Margot Siegal and Katherine Diamond formed their own firm, Siegel- Sklarek-Diamond. Sklarek married Dr. Cornelius Welch.

1989 -- Left the Siegel-Sklarek-Diamond and joined The Jerde Partnership, in Venice, CA, as the principal project manager.

1989-1992 -- Sklarek coordinated the design and construction of the Mall of America in Minneapolis, MN.

1992 -- Retired from The Jerde Partnership

2003-2007 -- Served as commissioner on the California State Board of Architectural Examiners

2008 -- Awarded American Institute of Architects' Whitney M. Young Jr. Award

2012 -- Norma Merrick Sklarek died in the Pacific Palisades, California at the age of 85.

Provenance:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of David Merrick Fairweather and Yvonne Goff

Restrictions:

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

Rights:

The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.

Topic:

Architecture  Search this

Photographs  Search this

Business  Search this

Design  Search this

Women  Search this

Japan -- Tokyo  Search this

Entrepreneurship  Search this

African diaspora  Search this

Education  Search this

Gender  Search this

Identity  Search this

Genre/Form:

Correspondence

Citation:

Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.

Identifier:

NMAAHC.A2018.23

See more items in:

Norma Merrick Sklarek Archival Collection

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3a3fe2658-01c7-4c61-ac80-f808b2a24380

EDAN-URL:

ead_collection:sova-nmaahc-a2018-23

Collection Creator:

Sklarek, Norma Merrick, 1926-2012  Search this

Container:

Box 1, Folder 15

Type:

Archival materials

Text

Date:

1992

Collection Restrictions:

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

Collection Rights:

The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.

Collection Citation:

Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.

See more items in:

Norma Merrick Sklarek Archival Collection

Norma Merrick Sklarek Archival Collection / Series 7: Published Materials, 1965-2004 (Bulk: 1980-1993) / 7.2: Clippings, 1956-2004

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3f5922de1-cfdc-44be-9eb5-6ce9d3c90b16

EDAN-URL:

ead_component:sova-nmaahc-a2018-23-ref114

Editor:

Giese, Francine  Search this

Volait, Mercedes  Search this

Varela Braga, Ariane 1978-  Search this

Physical description:

xvi, 224 pages illustrations 27 cm

Type:

Books

History

Place:

Western countries

Occident

Naher Osten

Date:

2020

19th century

20th century

19e siècle

20e siècle

Topic:

Islamic art--Appreciation  Search this

Islamic art--Private collections  Search this

Art--Collectors and collecting--History  Search this

Art islamique--Appréciation  Search this

Art islamique--Collections privées  Search this

Art--Collectionneurs et collections--Histoire  Search this

Art--Collectors and collecting  Search this

Ausstellung  Search this

Islamische Kunst  Search this

Kunst  Search this

Orientalismus  Search this

Rezeption  Search this

Sammeln  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1145798

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:

Fried, Frederick, 1909-1994  Search this

National Carousel Association.  Search this

Fried, Mary Hill  Search this

Extent:

36 Cubic feet (89 boxes, 10 map-folders)

Type:

Collection descriptions

Archival materials

Photographs

Advertisements

Clippings

Blueprints

Books

Auction catalogs

Design drawings

Date:

circa 1662-1999, undated

Scope and Contents:

Collection primarily documents American folk art collected by Frederick Fried (1908-1994) and his wife Mary McKensie Hill Fried (1914-1988). It includes photographic materials, newspaper clippings, magazine articles, research files, lecture notes, unpublished manuscripts, brochures, drawings, printed advertisements, blueprints, books, patents, correspondence, trade literature, sheet music, auction catalogs, oral history interviews, and commercially recorded music. Of particular interest is the material relating to carousels. There is a substantial amount of material relating to New York architecture, wood carvings, show figures, weathervanes, mechanical and coin operated machines, amusement parks, the circus, tattoos and lesser-known folk arts. The collection is arranged by subject or genre in the order maintained by Frederick and Mary Fried.

Arrangement:

Series 1, Professional Materials, 1930-1995, undated

Subseries 1.1, Lectures, 1968-1989, undated

Subseries 1.2, Research Notes, 1962-1975, undated

Subseries 1.3, Published and Unpublished Materials, 1960-1990, undated

Subseries 1.4, Exhibitions, 1966-1985, undated

Subseries 1.5, Correspondence, 1945-1995, undated

Subseries 1.6, Office Files, 1930-1991, undated

Series 2, Sculptors and Ship Carvers, 1855-1987, undated

Series 3, Ship Carving Reference Files, 1875-1990, undated

Series 4, Show Figures, 1847-1989, undated

Subseries 4.1, Carvers, 1847-1987, undated

Subseries 4.2, Reference Files, 1864-1989, undated

Series 5: Carousels, 1851-1999, undated

Subseries 5.1, Reference Files, 1851-1990, undated

Subseries 5.2, Manufacturerst, 1854-1999, undated

Subseries 5.3, Carvers, undated

Subseries 5.4, Foreign, 1902, undated

Subseries 5.5, Organizations, 1974-1991, undated

Subseries 5.6, Museum Collections, 1959-1989, undated

Series 5.7, Sites, 1962-1991, undated

Series 6, Charles W. Parker Company, 1904-1905; 1922-1924, undated

Subseries 6.1, Glass Plate Negatives, 6x8, 1904-1905, undated

Subseries 6.2, Glass Plate Negatives, 8x10, 1922-1924, undated

Series 7, Amusements Parks, 1917-1992, undated

Series 8, Amusement Industry, 1662-1994, undated

Subseries 8.1, Companies, 1903, undated

Subseries 8.2, Reference Files, 1662-1994, undated

Series 9, Circus, 1902-1992, undated

Series 10, Architectural Ornaments, 1832-1988, undated

Subseries 10.1, Residential Architecture, 1899-1985, undated

Subseries 10.2, New York City Municipal Parks, 1968-1988, undated

Subseries 10.3, South Street Seaport, 1965-1970, undated

Subseries 10.4, New York Civic Sculpture, 1832-1977, undated

Subseries 10.5, Architectural Ornamentation, 1873-1985, undated

Series 11, Weathervanes, 1854-1981, undated

Series 12, Automatic, Coin Operated, and Vending Machines, 1960-1980, undated

Series 13, Banner Paintings and Painters, 1892-1999, undated

Series 14, Folk Arts, 1783-1999, undated

Subseries 14.1, Reference Files, 1831-1988, undated

Subseries 14.2, Clocks and Watches, 1869-1876; 1976, undated

Subseries 14.3, Eagles, 1843-1989, undated

Subseries 14.4, Musical Instruments, 1963-1999, undated

Subseries 14.5, Painters and Paintings, 1950-1990, undated

Subseries 14.6, Signs and Symbols, 1974, 1976, undated

Subseries 14.7, Other Materials, 1872-1988, undated

Subseries 14.8, Miscellaneous, 1783-1954, undated

Series 15: Photographic Materials, 1832-1988, undated

Subseries 15.1, Photographs and Contact Sheets, 1940-1984, undated

Subseries 15.1.1, America's Forgotten Arts, undated

Subseries 15.1.2, Artists in Wood, undated

Subseries 15.1.3, General, 1940-1984, undated

Subseries 15.2, Slides, 1832-1987, undated

Subseries 15.3, Negatives, undated

Subseries 15.4, Glass Plate Negatives, undated

Subseries 15.5, Snapshots, 1964-1988, undated

Subseries 15.5.1, Artists, Manufacturers, and Dealers, undated

Subseries 15.5.2, Museum Collections, 1964, undated

Subseries 15.5.3, Parks or Other Locations, undated

Subseries 15.5.4, Private Collections, 1987-1988, undated

Subseries 15.5.5, General, 1983-1988, undated

Series 16, Audiovisual Materials, 1940-1991, undated

Subseries 16.1, Audiocassette Tapes, 1971-1988, undated

Subseries 16.1.1, Lectures, 1974-1986, undated

Subseries 16.1.2, Interviews, 1971-1984, undated

Subseries 16.1.3, Music, 1972-1988, undated

Subseries 16.2, Audiotapes, 1940-1977, undated

Subseries 16.2.1, Lectures and Performances, 1969-1973, undated

Subseries 16.2.2, Interviews, 1940-1976, undated

Subseries 16.2.3, Conferences and Meetings, 1973-1977

Subseries 16.2.4, Music, 1956, undated

Subseries 16.2.5, Other, undated

Subseries 16.3, Videotapes, 1982-1991, undated

Biographical / Historical:

Frederick P. Fried was born December 11, 1908 in Brooklyn, New York. He grew up in the Williamsburg section of Brooklyn where his father owned a clock business across the street from Charles Carmel, a carousel carver. Fried acquired a fine-arts education in the 1930s with an emphasis on sculpture. He served with the Air Force during the Second World War. After a successful military career, Fried worked as art director in several fashion agencies. He met Mary McKenzie Hill, an academically trained artist in one of the studios.

Mary McKenzie Hill was born in 1914 in Baltimore, Maryland. She graduated from the Maryland Institute of Fine Arts. After graduation, she spent a year abroad studying before she returned to the United States to work as a fashion illustrator in Baltimore and New York. During World War Two Hill was a draftsman for a firm of architects.

Fried and Mary Hill married in 1949. The couple had two children Robert Hazen and Rachel. Around 1953 Fried began to collect architectural ornaments in New York. Fried served as the art director for Bonwit Teller in New York City from 1955-1962. He left the fashion world in 1962 to pursue his passion for collecting and writing full time. Fried published his first book, Pictorial History of Carousels in 1964. In 1967, Fred and Mary Fried purchased a forty-acre farm in Bristol, Vermont where the family spent their summers.

In 1968, Fried led a national campaign to preserve the Titanic Memorial Lighthouse (Seamen's Church Institute at South Street). He also became active in politics and served as the campaign manager for a New York State senator. His interest in Indian cigar store figures resulted in his publication Artists in Wood: American Carvers of Cigar Store Indians, Show Figures and Circus published in 1970. The focus of the book was Samuel Anderson Robb a New York wood carver. Fried co-founded the National Carousel Association in 1973. In 1978, Fried wrote America's Forgotten Folk Art with his wife Mary. This publication covered subjects such as carousels, banner painting, scarecrows, beach sand sculpture, tattoos, cast iron toys, amusement park architecture and trade signs.

Fried's collecting goal was to first preserve artifacts and to then make them available through his writings and exhibitions. His most treasured relics were the items he salvaged from the ruins of Coney Island. Fried referred to such artifacts as the uncelebrated arts. He became one of the founders of the Anonymous Arts Recovery Society a group of individuals who saved architectural ornaments from the wreckers' balls. In addition, he was one of the founders of the National Carousel Round Table which was created to preserve hand-carved merry-go-rounds. As a result of his collecting, research and writing Fried became recognized as the authority on carousels, coin-operated machines, and cigar store figures. He served as a consultant to many Museums; in particular as chief consultant on American Folk Art for the Smithsonian Institution.

Frederick and Mary Hill worked together in many ways to document, collect, preserve and increase the awareness about primarily the folk arts. Mary McKenzie Hill Fried passed away in 1988 at the age of seventy-four. Frederick P. Fried died July 1994 at the age of eighty-six.

Related Materials:

Materials in the Archives Center, National Museum of American History

E. Howard Clock Company Records (NMAH.AC.00776)

M. Francis Misklea Carousel Collection (NMAH.AC.0665)

Archives Center Carousel Collection (NMAH.AC.0675)

Messmore and Damon, Incorporated Company Records (NMAH.AC.0846)

Anthony W. Pendergast Collection (NMAH.AC.0882)

Frank Paulin Photoprints (NMAH.AC.1373)

Wurlitzer Company Records (NMAH.AC.0469)

Industry on Parade (NMAH.AC.0507)

Reel #191, Craftsmen of the Carousel, 1954. Manufacturing merry-go-rounds for amusement reports. Arrow Development Co., Mountain View, California.

Provenance:

Collection a bequest of the Frederick Fried Estate.

Rights:

Reproduction restricted due to copyright or trademark. Fees for commercial reproduction.

Occupation:

Wood-carvers  Search this

Topic:

Periodicals  Search this

Merry-go-round art  Search this

Signs and signboards  Search this

Weather vanes  Search this

Coin-operated machines  Search this

Architecture -- Details  Search this

Amusement ride equipment industry  Search this

Amusement rides  Search this

Folk art  Search this

Merry-go-round  Search this

Figure sculpture -- United States  Search this

Genre/Form:

Photographs -- 20th century

Advertisements

Clippings

Blueprints -- 20th century

Books

Auction catalogs

Design drawings

Citation:

Frederick and Mary Hill Fried Folk Art Archives, circa 1662-1999, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0528

See more items in:

Frederick and Mary Hill Fried Folk Art Archives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86ee1b419-6b88-4312-8172-ee9f05d72195

EDAN-URL:

ead_collection:sova-nmah-ac-0528

Author:

Gong, Jianpei  Search this

Physical description:

215 pages color illustrations 37 cm

Type:

Books

History

Pictorial works

Place:

China

Shanghai

Shanghai (China)

Date:

2015

20th century

Topic:

Art, Chinese  Search this

Calendar art  Search this

Calendar art--History  Search this

Commercial art--History  Search this

Women in art  Search this

Civilization  Search this

Commercial art  Search this

Fashion  Search this

Hai pai wen hua--Yan jiu  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1077998

Collector:

Sultner-Welles, Donald H. (Sultner, Donald Harvey), 1914-1981  Search this

Printer:

Janus, Allan  Search this

Interviewee:

Hanfstaengl, Erna  Search this

Names:

Baltimore Symphony Orchestra  Search this

Chautauqua Institute  Search this

Colonial Williamsburg Foundation  Search this

Holland-America Cruises  Search this

Hitler, Adolf, 1889-1945  Search this

Extent:

87.6 Cubic feet (331 boxes, 2 map-folders)

Type:

Collection descriptions

Archival materials

Passports

Photographs

Travelogs

Receipts

Ephemera

Files

Filmstrips

Lecture notes

Personal papers

Silver-dye bleach process

Contracts

Notebooks

Prints

Press releases

Ships' passenger lists

Project files

Magnetic tapes

Posters

Postcards

Vertical files

Dye destruction process

Travel diaries

Letters (correspondence)

Professional papers

Bank statements

Correspondence

Audiotapes

Series 12.

Clippings

Card files

Concert programs

Dye destruction photoprints

Biography files

Awards

Business records

Birthday cards

Date:

circa 1790-1981

bulk 1945-1980

Scope and Contents:

This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.

The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.

The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.

The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.

The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.

A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.

Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).

Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).

Arrangement:

The collection is arranged into eleven series.

Series 1: Personal Papers, 1923-1981

Series 2: Professional Papers, 1954-1980

Series 3: Lecture Materials, 1952-1980

Series 4: Biographical Materials, 1954-1980

Series 5: Transparencies, 1947-1980

Series 6: Photoprints, 1913-ca. 1980

Series 7: Photonegatives, 1929-1981

Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979

Series 9: Audio Tapes, 1947-1980

Series 10: Miscellaneous, 1947-1980

Series 11: Steve Eyster Addenda, 1937-1980

Biographical / Historical:

Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast. It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.

Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.

Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.

Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.

1914 -- April 13, born York, Pennsylvania.

1929 -- In Detroit at Lewis Institute to overcome a speech impediment.

1932 -- To University of Pennsylvania.

1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.

1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).

1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).

1938 -- Summer at home, and Picketts (PA), Camp Pratt.

1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).

1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).

1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).

1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.

1943 -- Summer trip to Mohonk (NY).

1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).

1945 -- Summer: To Winnepesauke (ME), Woodstock (NY), Ogunquit (ME), Bridgeport (CT).

1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).

1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.

1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.

1949 -- Singing tour of North and South Carolina.

1950 -- Summer trip to South.

1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.

1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.

1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.

1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.

1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.

1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.

1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.

1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.

1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.

1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.

1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.

1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.

1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.

1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.

1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.

1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.

1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.

1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.

1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.

1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.

1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.

1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.

1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.

1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.

1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.

1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.

1979 -- To England; Florida.

1980 -- To Florida.

1981 -- March 25: Sultner dies of cancer, York, Pennsylania.

Introduction:

The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.

The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.

This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.

Restrictions:

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

A small number of letters and photographs are restricted until the year 2031. Identification list in box.

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:

Portraits -- 20th century  Search this

Lecturers  Search this

Photographers  Search this

Gardens -- Photographs -- 1300-1980  Search this

Architecture -- Photographs -- 1300-1980  Search this

Travel photography -- 1950-2000  Search this

Genre/Form:

Passports

Photographs -- Black-and-white negatives -- Acetate film

Travelogs

Receipts -- 20th century

Ephemera

Files

Filmstrips

Lecture notes

Personal papers -- 20th century

Silver-dye bleach process

Contracts

Notebooks

Prints

Press releases

Ships' passenger lists

Project files

Magnetic tapes

Posters

Postcards

Vertical files

Dye destruction process

Travel diaries

Letters (correspondence) -- 20th century.

Professional papers

Bank statements

Correspondence -- 1930-1950

Photographs -- Phototransparencies -- 20th century

Audiotapes -- 1940-1980

Series 12. -- Cibachrome (TM)

Photographs -- 20th century

Clippings

Card files

Concert programs

Dye destruction photoprints

Biography files

Awards

Business records

Birthday cards

Identifier:

NMAH.AC.0145

See more items in:

Donald H. Sultner-Welles Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c00c15e0-d905-4a3c-ab89-6fbd2f9c5f7d

EDAN-URL:

ead_collection:sova-nmah-ac-0145

Collector:

Orth, Edward J.  Search this

Exhibition Collectors Historical Organization  Search this

Names:

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

Extent:

130 Cubic feet (417 boxes, 25 map-folders)

Type:

Collection descriptions

Archival materials

Souvenirs

Photographs

Pamphlets

Guidebooks

Exhibition posters--1930-1940

Diaries

Ephemera

Film transparencies

Motion picture film

Posters

Place:

Flushing Meadows Park (New York, N.Y.)

New York (N.Y.)

Date:

1835-2000, undated

Summary:

Collection documents the 1939 New York World's Fair in Flushing Meadows, New York. Also includes material relating to other fairs, the Exhibition Collectors Historical Organization (ECHO), New York City tourism and The Walt Disney Company.

Scope and Contents:

Collection primarily documents the conception, planning, construction, management, and operations of the 1939 New York World's Fair located in Flushing Meadows, New York. Materials provide historical context and cultural significance as recorded in publications, artwork, photographs, ephemera, postcards, maps, plans, exhibitor's literature, souvenirs, and motion picture film. Most of the materials were primarily created for people who attended the fair. Some of the materials include scrapbooks created by fair visitors to document their experiences. There is a significant amount of material relating to other fairs, New York tourism, the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society. Other forms of entertainment such as festivals, the Olympic games, and Disney World are also found among these materials. There is little information relating to Edward Orth's personal and professional life as a city planner. The collection is arranged into eleven series.

Arrangement:

The collection is arranged into eleven series.

Series 1, Edward J. Orth Personal Papers, 1915-1989, undated

Subseries 1.1, Correspondence, 1939-1989

Subseries 1.2, Other Materials, 1915-1989, undated

Series 2, Exhibition Collectors Historical Organization (ECHO) and World's Fair Collector's Society, Incorporated Records, 1942-1990, undated

Subseries 2.1, General Information, 1960-1988, undated

Subseries 2.2, Correspondence, 1942-1990, undated

Subseries 2.3, Classified and Wanted Advertisements, 1956-1988, undated

Subseries 2.4, Financial Records, 1976-1989

Subseries 2.5, Newsletters, 1969-1988, undated

Subseries 2.6, Membership Materials, 1970s-1989, undated

Series 3, New York World's Fair, Incorporated Records, 1900-1988, undated

Subseries 3.1, Administrative Files, 1900-1977, undated

Subseries 3.2, Amusement Zone, 1937-1940, undated

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

Subseries 3.4, Community Interest Zone, 1939-1949, undated

Subseries 3.5, Food Zone, 1939-1975

Subseries 3.6, Government Zone, 1939-1940

Subseries 3.7, Production and Distribution Zone, 1939-1940

Subseries 3.8, Transportation Zone, 1939-1940

Subseries 3.9, Ephemera, 1938-1988, undated

Series 4, Photographic Materials, 1939-1968, undated

Subseries 4.1, General, 1939-1940, undated

Subseries 4.2, Amusement Area, 1939-1940, undated

Subseries 4.3, Business Systems Zone, 1939-1940, undated

Subseries 4.4, Communications Zone, 1939-1940, undated

Subseries 4.5, Community Interest Zone, 1939-1940, undated

Subseries 4.6, Food Zone, 1939-1940, undated

Subseries 4.7, Government Zone, 1939-1940, undated

Subseries 4.8, Production and Distribution Zone, 1939-1940, undated

Subseries 4.9, Transportation Zone, 1939-1940, undated

Subseries 4.10, Miscellaneous, 1939-1940, undated

Subseries 4.11, Oversize Photographs, 1939-1940, undated

Subseries 4.12, Color Slides, 1939-1940, undated

Subseries 4.13, Color Transparencies, 1940-1942, undated

Subseries 4.14, Edward Orth, 1967-1968

Series 5, Scrapbooks, 1938-1981

Series 6, Postcards, 1906-1985, undated

Subseries 6.1, Amusement Area, 1939-1940, undated

Subseries 6.2, Business Systems Zone, 1939-1940, undated

Subseries 6.3, Communications Zone, 1939-1940, undated

Subseries 6.4, Community Interest Zone, 1939-1940, undated

Subseries 6.5, Food Zone, 1939-1940, undated

Subseries 6.6, Government Zone, International, 1939-1940, undated

Subseries 6.7, Government Zone, Federal and States, 1939-1940, undated

Subseries 6.8, Production and Distribution Zone, 1939-1940, undated

Subseries 6.9, Transportation Zone, 1939-1940, undated

Subseries 6.10, General, 1940, undated

Subseries 6.11, By Type, 1906-1985, undated

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

Subseries 7.1, Magazines, 1922-1988, undated

Subseries 7.2, Newspaper Articles, 1935-1989, undated

Subseries 7.3, Other Publications, 1937-1989, undated

Subseries 7.4, Other Subjects, 1962-1989

Series 8, Materials Relating to Other Fairs, 1851-2000, undated

Subseries 8.1, Great Exhibition of the Works of Industry of All Nations or Crystal Palace Exhibition, 1851

Subseries 8.2, Exhibition of the Industry of All Nations, 1853-1853

Subseries 8.3, International Exhibition of Arts, Manufactures, and Products of the Soil and Mine or Centennial International Exhibition, 1876

Subseries 8.4, World's Columbian Exposition or Chicago World's Fair, 1893

Subseries 8.5, Exposition Internationale D'Anvers, Antwerp, Belgium

Subseries 8.6, Tennessee Centennial and International Exposition, 1897

Subseries 8.7, Trans-Mississippi and International Exposition, 1898

Subseries 8.8, Expositions, 1901

Subseries 8.9, Louisiana Purchase Exposition, 1906

Subseries 8.10, Jamestown Tercentennial Exposition, 1907

Subseries 8.11, Alaska, Yukon, Pacific Exposition, 1909

Subseries 8.12, Panama-California Exposition, 1915-1916

Subseries 8.13, Bronx International Exposition of Science, Arts, and Industries, 1918

Subseries 8.14, Sesquicentennial Exposition, 1926

Subseries 8.15, Barcelona International Exposition, 1929

Subseries 8.16, L'Exposition Coloniale, Paris, 1931

Subseries 8.17, Olympics, 1932

Subseries 8.18, A Century of Progress International Exposition, 1933

Subseries 8.19, Expositions, 1933-1935

Subseries 8.20, Expositions, 1936-1937

Subseries 8.21, Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1937

Subseries 8.22, Golden Gate International Exposition, 1939

Subseries 8.23, Festival of Britain, Britain, London, United Kingdom, 1951

Subseries 8.24, Milan Fair, 1955

Subseries 8.25, Exposition Universelle et venti Internationale de Bruxelles, 1958

Subseries 8.26, American National Exhibition, 1959

Subseries 8.27, New York's World Fair, 1961-1977, undated

Subseries 8.28, Century 21 Exhibition, 1961-1962

Subseries 8.29, International and Universal Exposition or Expo 67, 1967

Subseries 8.30, Long Beach, California, 1967-1968

Subseries 8.31, HemisFair 68, 1968

Subseries 8.32, Expo 70 or Japan World Exposition, 1970

Subseries 8.33, Expo 74 or International Exposition on the Environment

Subseries 8.34, Expo 75 or International Ocean Exposition, 1975

Subseries 8.35, American Revolution Bicentennial, 1776-1976, 1976

Subseries 8.36, Queen's Bicentennial Festival, 1975-1976

Subseries 8.37, Plovdiv International Exhibition of 1981 or Expo 81

Subseries 8.38, Kobe Port Island Exposition or Portopia 81, 1981

Subseries 8.39, Knoxville International Energy Exposition or 1982 World's Fair, 1982

Subseries 8.40, Louisiana World Exposition, 1984

Subseries 8.41, Games of the XXIII Olympiad, 1984

Subseries 8.42, The International Exposition, Tsukuba, Japan or The International Science Technology Exposition, 1985

Subseries 8.43, Queen's Festival, 1985

Subseries 8.44, 1986 World Exposition on Transportation and Communication or Expo 86, 1986

Subseries 8.45, World Expo 88, 1988

Subseries 8.46, Universal Exposition of Seville or Expo 92, 1992

Subseries 8.47, Expo 2000, 2000

Subseries 8.48, Other Events and Celebrations, 1886-1989

Subseries 8.49, Combined Fairs, 1968-1994

Subseries 8.50, General information about world's fairs, 1964-1980

Series 9, Ephemera, 1892-1989, undated

Subseries 9.1, New York and New York World's Fair, 1892-1989, undated

Subseries 9.2, Other States and Countries, 1835, 1939, undated

Subseries 9.3, Motion Picture Film and Entertainment, 1937-1981, undated

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

Subseries 10.1, Moving Images, 1939, 1964-1965, undated

Subseries 10.2, Sound Recordings, undated

Series 11, Oversize, 1835-1992, undated

Biographical / Historical:

Biographical / Historical

Edward Joseph Orth grew up with a strong interest in history, particularly the history of the 1939 New York World's Fair. Orth's visit to the fair as a twelve-year-old boy led to a life-long passion of collecting. At the time of his death, he had amassed enough materials to fill two homes in California. Orth also collected materials from several other fairs. In addition, he saved some of the records of the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society.

Orth was born April 19, 1927, to Andrew Joseph Orth and Florence Minnie Gordon Orth in Glendale, New York. In the 1930s, the Orth family lived in several locations in New York including Ridgewood, Brooklyn, Glendale, and Queens. The home that made the most impact in young Orth's life came in 1935 when the family moved to St. Albans, Queens seven miles from Flushing Meadow Park, the future site of the 1939 fair. Sadly in 1939 there were several deaths in the family including three grandparents. The severe loss of life limited family social activities but a drive by the future site of the fair provided Orth a glimpse of the Trylon and Perisphere. He would later remark that the sight appeared to be magic. In the summer of 1939, he went to the fair with his classmates from Public School 136. The next summer Orth and his father purchased a 10-admission ticket from an elementary school in Hollis, Queens, New York. He saved every souvenir and any information he could find about the fair. He filled scrapbooks with images from newspapers and postcards from the Curt Teich and Manhattan Postcard companies. When his family moved from an apartment to a house, he acquired a fair bench which was kept in the backyard.

In 1941, Orth attended Newton High School in Elmhurst, and Queens, New York. The high school offered a college preparatory program with heavy emphasis on mathematics, science, mechanical drawing, and workshop courses. Orth's education and training combined with the knowledge he gained from motion picture films viewed at the fair, including Thomas Edison's "The City of Light," Ford Motor Company's "Road of Tomorrow," "Democracy," and General Motors' "Futurama" provided the foundation and inspiration for a career in architecture and landscaping. He ultimately became a city planner for the state of California. By 1943, Orth was exploring used magazine and bookstores in New York City to acquire more fair materials before enlisting in the United States Army in 1945. Upon his discharge he resumed buying and trading fair postcards. From 1948-1953, Orth attended the University of California and the University of Connecticut where he studied architecture and landscape design. During these years he posted advertisements in various publications in his continued pursue for fair materials.

In March 1953, Mr. Orth moved to Los Angeles, California. There he formed lasting friendships with other collectors. By 1967, Orth and several of his closest friends including Peter Warner, Oscar Hengstler, David Oats, Larry Zim, and Ernest Weidhaas conceived the idea of a fair collector's organization. By the summer of 1968, the group had formally created the Exhibition Collectors Historical Organization (ECHO).

As time passed Orth became increasing concerned about the welfare of his collection. He wanted it to go to a museum rather than be sold in parts. In his will he stipulated that the collection would be given to the Smithsonian Institution upon his death. Jon Zackman, former Smithsonian employee, interviewed Orth's brother George and fair collector Peter Warner. Orth and Warner corresponded and traded objects over many years. Mr. Orth primarily covered the west coast area while Peter Warner was his east coast counterpart. Edward Orth died on September 6,1989 in Los Angeles, California at the age of sixty-two.

Related Materials:

Materials in the Archives Center

New York World's Fair Collection, NMAH.AC.0134

Landor Design Collection, NMAH.AC.0500

Warshaw Collection of Business Americana, Subject Category, World Expos, NMAH.AC.0060

Larry Zim World's Fair Collection, NMAH.AC.0519

Alice R. Hillis World's Fair Film, NMAH.AC.0531

Borden Company 1939 New York World's Fair Collection, NMAH.AC.1063

Memories of the New York World's Fair, NMAH.AC.0592

Archives Center World Expositions Collection, NMAH.AC.0825

Daniel H. Meyerson World's Fair Collection, NMAH.AC.0745

Division of Community Life World's Fairs Collection, NMAH.AC.1132

Princeton University Posters Collection, NMAH.AC.0433

Hills Bros. Coffee Company, Incorporated Records, NMAH.AC.0395

Smithsonian Speech Synthesis History Project, NMAH.AC.0417

Messmore and Damon Company Records, NMAH.AC.0846

Thomas Norrell Railroad Collection, NMAH.AC.1174

William L. Bird Holidays on Display Collection, NMAH.AC.1288

Wurlitzer Company Records, NMAH.AC.0469

Victor A. Blenkle Postcard Collection, NMAH.AC.0200

Materials at Other Organizations

New York Public Library The New York World's Fair 1939 and 1940 Incorporated Records, 1935-1945, MssCol 2233.

New York City 1939 World's Fair architectural drawings, circa 1935. Museum of the City of New York. Museum of the City of New York.

New York City 1939 World's Fair Collection, 1939-1940. Museum of the City of New York. New York World's Fair 1939/40 Collection. Queens Museum.

1939 New York World's Fair Postcards, Identifier: 1972-320, Audiovisual Collections Repository, Hagley Museum & Library

Separated Materials:

Materials at the National Museum of American History

Artifacts from the collection include several thousand souvenirs and examples of memorabilia commemorating the fair to include buttons and badges, ceramics, glassware, clothing, costume jewelry, coins and medals, commemorative spoons and flatware, toys and games, and philatelic material which are all part of the Division of Home and Community Life's holdings (now Division of Cultural and Community Life).

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

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

Topic:

Exhibitions -- 1930-1940 -- New York (State) -- New York  Search this

World's fairs  Search this

Amusement parks--History  Search this

Amusement parks--New York (State)--History  Search this

Architecture--Exhibitions  Search this

Architecture--New York (State)--New York  Search this

Architecture--United States--Designs and plans  Search this

Burlesque shows--New York (State)--New York--1930-1940  Search this

Business history Business enterprises--United States--History  Search this

Chicago's Century of Progress  Search this

Construction and civil engineering  Search this

Construction industry--United States--Management--History  Search this

Corporate culture--History  Search this

Corporate culture--United States  Search this

Engineering--History--20th century  Search this

Exhibition buildings – New York (State) – New York  Search this

Exhibition buildings--1920-1940  Search this

Exhibitions -- Design  Search this

Fairs -- New York (State) -- New York -- History  Search this

Fashion--History--20th century  Search this

Flushing Meadows-Corona Park (New York, N.Y.)--History  Search this

Food in popular culture--New York (State)--New York  Search this

Graphic arts--United States--History--20th century  Search this

International exhibitions  Search this

International Exhibitions Bureau  Search this

Lighting, Architectural and decorative--History--20th century  Search this

Technology -- United States -- History -- 20th century  Search this

Transportation--New York Metropolitan Area--Planning  Search this

Transportation--New York (State)  Search this

United States --Foreign relations --1933-1945  Search this

Urban parks--United States--History  Search this

Urban design  Search this

World War 1939-1945 -- Economic aspects -- United States  Search this

Consumerism  Search this

Consumers--History--20th century  Search this

General Motors Corporation  Search this

Grand Central Parkway extension  Search this

Organizational behavior--United States--History  Search this

Public relations--History  Search this

New York World's Fair Commission  Search this

Queens (New York, N.Y.) Buildings, structures, etc.  Search this

Genre/Form:

Souvenirs -- 1930-1940

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1930-1940

Pamphlets -- 1930-1940

Guidebooks -- 1930-1940

Exhibition posters--1930-1940

Diaries

Ephemera -- 20th century

Film transparencies

Motion picture film

Posters -- 1930-1940

Citation:

Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0560

See more items in:

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

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep808504c62-92bb-48b1-8a76-f9d279516c33

EDAN-URL:

ead_collection:sova-nmah-ac-0560

Creator:

Adams, Joe, 1922-  Search this

Morehead, Howard, 1926-2003  Search this

Names:

Charles, Ray, 1930-2004  Search this

Extent:

1 Cubic foot (3 boxes and 1 oversize folder)

Type:

Collection descriptions

Archival materials

Photographs

Letters (correspondence)

Scrapbooks

Date:

1948-1980

Summary:

Photographs, scrapbooks, and other materials documenting the career of Joe Adams, a Los Angeles radio announcer and movie and television actor, who later became Ray Charles's manager.

Scope and Contents:

The collection is comprised of photographs, correspondence, certificates, magazines and scrapbooks of newspaper clippings dating from 1947-1980. The materials document Adams's career in radio and film, as well as touching upon his military experience with the Tuskegee Airmen. Various documents and newspaper features depict Adams's relationship with a multitude of local and national celebrities; of particular note is the long list of musicians represented, such as Ella Fitzgerald and Frank Sinatra. Public figures, including several former mayors of Los Angeles and members of law enforcement, also appear.

The collection also includes magazines featuring articles on Adams and other celebrities and public figures. Adams appears in many advertisements for a variety of products that sponsored his radio shows. There are photographs, programs and advertisements for the movies, shows and plays in which Joe Adams appeared, including Disc Jockey and Carmen Jones. There is correspondence from public relations employees during the Ray Charles tour and from other radio personalities and journalists. There are also several certificates given in appreciation for Adams's community service. Newspaper articles and photographs feature "Joe Adams Day," declared by the mayor of Los Angeles, and document Adams's overseas USO tour to entertain the men and women of the Armed Forces, which was also broadcasted on Armed Forces Radio.

Series 1, Photographs, circa 1947-1980; undated, documents Joe Adams's personal and professional life. The photographs are arranged by subject, including Adams's work in radio and film, his public appearances, celebrities, Joe Adams Day, his work with the military and his later years. There is some overlap among the subject categories. The majority of the photographs cannot be dated. Featured programs, places, organizations and celebrities include the 7th United States Infantry Division, Emma Adams, Jim Ameche, Armed Forces Radio, Milton Berle, Eugene Biscailuz, Ruth Bowen, Fletcher Bowron, Tom Bradley, Tommy Butler, California Artichoke Foundation, Ray Charles, Nat King Cole, Paul Compton, Billy Daniels, Disc Jockey, the movie, Egyptian Shriners, Duke Ellington, Ella Fitzgerald, Suzette Gomez, Amos Green, Lionel Hampton, Eddie Harbin, Shirley Haven, Hollywood Foreign Correspondents Association, Lena Horne, Jamaica, the Broadway play, Joe Adams Day, Danny Kaye, KDAY radio, Korea, KOWL Radio, Joe Lewis, Julie London, Nellie Lutcher, Will Martin, Clarence Metcalf, Husky Miller, MGM Studios, Roy Milton, David "Fathead" Newman, One Night Stand radio program, Pantages Nightclub, Pigalle Nightclub, Pub of Pittsburg, Pa., Lillian Randolph, Willis Reed, "Sugar Ray" Robinson, Kenny Rogers, Timmie Rogers, Ruth Bowen Agency, Wylie "Captain Death" Seldon Jr., Lionel "Chico" Sesma, George "Geo" Shearing, Frank Sinatra, "Star of Stars" Charity Show, Barry Sullivan, The Trenier Twins, The Tuskegee Airmen, USO, Viscount Airlines, Ches Washington, Dinah Washington, and Ben Webster.

Series 2, Scrapbooks, circa 1947-1954; undated, consists of newspaper articles, photographs, advertisements, and playbills. The scrapbooks document Adams's start in radio, his permanent appointment to KOWL, his service in the military and the inner-city community, his unique perspective and his philanthropy. They contain newspaper advertisements for Adams's radio shows on KOWL and the Armed Forces Radio Broadcasts. The scrapbooks include advertisements for his television shows as well as events and benefits where Adams was the featured emcee. Ink drawings of Adams used to advertise various products also appear in the newspaper articles. There are news stories on Joe Adams Day, a bus accident involving Lionel Hampton, the release of Ray Charles's song "Georgia" (1979), and advertisements for the movies Carmen Jones and The Manchurian Candidate. Numerous photographs document Adams's broadcasts and musical performances domestically and abroad as well as his interactions with many celebrities in the musical world. Aside from some newspaper clippings that include the date of publication, the contents of the scrapbooks are not dated. Featured programs, places, organizations and figures include Emma Adams, Ira Adams, Don Allen, Armed Forces Radio, Pearl Bailey, George A. Baron, Count Basie, Harry Belafonte, Irvin Berman, Eugene Biscailuz, Manny Borun, Fletcher Bowron, Charley Browning, Carmen Jones, the movie, Ray Charles, Club de Lisa, Arthur Croghan, Clay Cunningham, Dorothy Dandridge, Sammy Davis Jr., Warren Dorn, Billy Eckstine, Egyptian Shriners, Bob Ellis, Kay Francis, Robert D. Funk, Georgia (by Ray Charles), Lee Gillette, Golden Grooves radio show, Curley Hamner, Lionel Hampton, Hunter Hancock, Addie Hansen, Leon Helflin, Billie Holiday, H. Claude Hudson, Jamaica, the Broadway play, Al Jarvis, Herb Jeffries, Joe Adams Day, Leon King, KOWL Radio, June Kristy, Chuck Landis, Mauri Lyn, The Manchurian Candidate, MGM Studios, Husky Miller, Lucky Millinder, Tim Moor, Otto Preminger, Paul Price, Lillian Randolph, Leonard J. Roach, Caesar Romero, Nina Russell, Lionel "Chico" Sesma, Jerry Simons, Mike Thompson, Sonny Tufts, Sarah Vaughan, T-Bone Walker, Dinah Washington, Leon H. Washington Jr. and Artie Wayne.

Series 3, Other Materials, 1948-1980; undated, includes magazines, correspondence, certificates and newspaper articles. The magazine cover stories are dedicated to fashion or to public figures such as John F. Kennedy, but they each contain a feature on Joe Adams and his involvement in the broadcast industry and the jazz music scene. There are fashion photographic spreads using musical stars that Adams knew well such as Nat King Cole. Two certificates thank Adams for community service to the Hollywood Canteen and the Hollywood Junior Chamber of Commerce (the "Out of this World series" celebrity baseball game). The correspondence is from other members of the broadcasting industry and pertains to matters in and outside of the business realm. The series also contains publicity concerning Ray Charles's tour through South Africa and the story of how Adams came to be his manager. Aside from magazines and newspaper clippings where the date of publication is featured, the majority of these materials are not dated. Featured programs, places, organizations and figures include Ami Artzi, Eddie Chamblee, Ray Charles, The Ray Charles Band, Nat King Cole, Madi Comfort, The Cotton Club, Arthur Croghan, Hilary Falkow, Roberta Flack, Joe Greene, Hollywood Canteen, Hollywood Junior Chamber of Commerce, Lena Horne, Charlotte Moton Hubbard, Karen Hutchinson, Jamaica, the Broadway play, Lyndon B. Johnson, James Earl Jones, Danny Kaye, John F. Kennedy, Lew Lauria, Robert Lewis, Sonny Liston, Paul R. McClure, Ricardo Montalban, Willa Moultrie, Lee Harvey Oswald, Breau Palmer, and Jack Ruby.

Arrangement:

The collection is divided into three series.

Series 1, Photographs, circa 1947-1980

Series 2, Scrapbooks, circa 1947-1954; undated

Series 3, Other Materials, 1948-1980; undated

Biographical / Historical:

Joe Adams was born on April 11, 1924. A native of Los Angeles, California, he wanted to work in radio at a very young age. Despite the racial discrimination that existed in the radio and television industry, Adams pressed on, practicing public speaking in vacant lots. He also gained confidence serving domestically as a pilot with the 332nd Tuskegee Airmen Fighter Group during World War II. After his time in the service, Adams was able to get occasional radio work at Hollywood stations such as KFWB, KPAS, KFOX, and KGFJ. In 1946, Adams got the chance to host a fifteen minute radio show at KOWL. He also married his wife, Emma Millhouse, that year.

Within two years, Joe Adams was hosting the number one-rated live radio show in Los Angeles, and the show had expanded from fifteen minutes to five hours. Adams was also able to sign on fifty-six sponsors for his show, a number previously unheard of. This was the beginning of a career that would last for more than twenty years.

During the 1940s and 1950s, Adams garnered success both on the radio, the small screen, and the big screen. He had two television shows, Adams Alley and Joe Adams Presents, made famous for the many music and film stars that Adams featured. Some of the celebrities Adams hosted included Jerry Lewis, Duke Ellington, The Trenier Twins, Ella Fitzgerald, Billie Holiday and Count Basie. Ellington played two themes for Adams's shows, "Take the 'A' Train" and "Smada" ("Adams" backwards). Both songs were written by jazz great, Billy Strayhorn. In 1954, Adams fronted a band that was part of the first USO tour to entertain troops stationed in Korea. Among the band members was actress-turned-singer, Shirley Haven.

Adams opened a nightclub, Pigalle, which was wildly popular in Los Angeles. In addition to being one of the first radio personalities to do a simulcast radio and live show by appearing live at the Paramount Theater in downtown Los Angeles, Adams was the first African American to be featured in an on-air, West Ccoast network radio show.

Adams appeared in nearly thirty movies, including the hit Carmen Jones (1954), where he played Husky Miller, and the original version of The Manchurian Candidate (1962). In 1958, Adams became the first African American to receive the Foreign Correspondents Award for Outstanding New Actors from the Hollywood Foreign Correspondents Association. The Foreign Correspondents Award would later be called The Golden Globe. In 1957, Adams retired from radio and television to star in the Broadway play, Jamaica, with Lena Horne and Ricardo Montalban.

Adams made many famous friends during his career in broadcasting and film; one of the best known was Ray Charles. After inviting Adams on tour in 1959, Charles asked Adams to become his manager. Adams agreed (although to date, Adams humorously claims, he was never formally hired), and he managed Charles until the musician's death in 2004. Adams helped position Charles for fame through such venues as a long line of Pepsi commercials and the creation of both a Ray Charles studio and a company. Adams even arranged for Charles to tour in South Africa, and he served as both the producer of the Ray Charles Show and the wardrobe designer for Charles and his backup singers, the Raelettes.

Adams also acquired expertise outside the broadcasting and music business. He became a licensed commercial pilot and an authority in law. His philanthropy and his tireless work for African Americans and inner-city communities have been recognized by many organizations, from the Egyptian Shriners to the Urban League. Even his home town of Los Angeles has recognized Adams's efforts, making March 14th the official "Joe Adams Day."

Sources

The National Visionary Leadership Project. "Joe Adams." http://www.visionaryproject. org/adamsjoe (accessed June 20, 2008).

Ray Charles Official Website. "Joe Adams." http://www.raycharles.com/the_legacy_ joe_adams.html (accessed June 28, 2008).

Separated Materials:

The Division of Culture and the Arts (now Division of Cultural and Community Life) holds artifacts related to this collection, including three jackets and one blue tuxedo worn by Joe Adams during his onstage career with Ray Charles and two scripts from the movie The Manchurian Candidate (1962) and the Broadway musical, Jamaica. See accession number 2005.3098.

Provenance:

Collection donated by Joe Adams.

Restrictions:

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

Rights:

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

Topic:

Radio broadcasting  Search this

African American radio stations  Search this

Broadcasting  Search this

Genre/Form:

Photographs -- 20th century

Letters (correspondence) -- 20th century.

Scrapbooks -- 20th century

Citation:

Joe Adams Papers, 1948-1980, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0908

See more items in:

Joe Adams Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a1f68ff1-dd98-4bda-b939-cb868246f73e

EDAN-URL:

ead_collection:sova-nmah-ac-0908

Creator:

Mathis, Nathaniel, 1946- (barber, motivational speaker)  Search this

Interviewer:

Ruffins, Fath Davis  Search this

Extent:

5.5 Cubic feet (18 boxes, 1 oversize folder)

Type:

Collection descriptions

Archival materials

Awards

Certificates

Correspondence

Interviews

Oral history

Black-and-white photographic prints

Videotapes

Place:

Washington (D.C.) -- Small business -- 20th century

Date:

1946-2004

bulk 1970-2004

Summary:

Nathaniel Mathis is a Washington, D.C., hairstylist, inventor, motivational speaker, and entrepreneur. His papers document his business life and community involvement.

Scope and Contents:

The collection documents the work of a hairstylist, inventor, entrepreneur, and public figure whose career reflects significant changes in the African American community in the later 20th century. It is rich in visual imagery created by and for this community. Business papers, correspondence, publicity, photographs, awards and certificates documenting Mathis's work as a highly regarded barber and hairstylist in Washington, D.C., and as member of the D.C. Board of Barbering and Cosmetology are included. Business papers offer insight into the workings of a small privately-owned business. Numerous publicity items and photographs offer evidence of African American style and fashion in New York and Washington, D.C., from the late 1960s through today. Additional material documents Mathis's activities as a community activist, motivational speaker and distance runner. The collection also includes photographs, oral history interviews, and audio-visual materials.

Arrangement:

The collection is arranged into ten series.

Series 1: Biographical Information and Activities, 1946-2001, undated

Series 2: Beauty Business Documents and Advertising, 1969-2002, undated

Series 3: Publicity, 1963-2002

Series 4: Washington, D.C. Barbering and Cosmetology Boards, 1966-1997, undated

Series 5: Correspondence, 1967-2002, undated

Series 6: Awards and Certificates, 1969-2001, undated

Series 7: Photographs, 1966-1989, undated

Series 8: Video Materials, 1983-2002, undated

Series 9: Audio Tapes, 1998-2004, undated

Series 10: Memorabilia, 1992-1998, undated

Biographical / Historical:

"Nat Mathis (b. 1946) is a native Washingtonian. He is a man of many talents and measures his success in many ways: innovative hairstylist, entrepreneur, inventor, community activist, motivational speaker and distance runner. Mathis opened his first barber shop in 1969. He is the winner of many national and international hairstyling awards and competitions and was the first African American to win the International Hair Styling competition in Cairo, Egypt in 1981. Mathis was among the first African American hairstylists to embrace and popularize the Afro and, later, cornrows -- hairstyles which many view as expressions of black empowerment. Mathis himself seldom expresses a political ideology of hair, but by 1970, Nat was known among his many satisfied clients and peers as "the Bush Doctor" for his expertise in Afro style and maintenance. He has styled hair for many celebrities; made numerous television appearances; and has been a stylist for several productions at the Kennedy Center, and for two major motion pictures, including Nixon, for which he re-created period hairstyles. He is active in community affairs, gives motivational speeches throughout the Washington, D.C., area, and is particularly interested in mentoring young people. He currently operates a barber shop adjacent to his home in Capitol Heights, Maryland."

*Biographical information provided by Nat Mathis's Official Website, "A Man of Many Talents." http://www.natmathis.com (accessed 02 August, 2006).

Separated Materials:

Mr. Mathis donated three of his patented barbering vests (See Accession # 1998.0114) to the Division of Home and Community Life (now Division of Cultural and Community Life).

Provenance:

Collection donated to the Archives Center, National Museum of American History by Nathaniel Mathis on April 9, 1998.

Restrictions:

The copllection is open for research.

Physical Access: Researchers must handle unprotected photographs with gloves.

Technical Access: Series 8, Video materials and Series 9, Audiotapes may not be used by researchers unless reference and viewing copies are made available.

Rights:

Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use. The Archives Center does not own rights to the patent, trademark or any related interest in the artifacts.

Topic:

African American barbers  Search this

African American beauty operators  Search this

Barbers  Search this

Barbering  Search this

Barbershops -- Equipment and supplies -- 1970-2000 -- Washington (D.C)  Search this

Beauty culture  Search this

Hair  Search this

Hairdressing of African Americans -- 1970-2000 -- Washington (D.C.)  Search this

Inventors  Search this

Motivation -- Public speaking -- 1970-2000  Search this

Public speaking -- 1970-2000  Search this

Genre/Form:

Awards

Certificates

Correspondence -- 1970-2000

Interviews -- 1980-2000

Interviews -- 2000-2010

Oral history -- 1990-2000

Black-and-white photographic prints -- Silver gelatin -- 1950-2000

Videotapes

Citation:

Nathaniel Mathis Collection of Barbering and Beauty Culture, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0641

See more items in:

Nathaniel Mathis Collection of Barbering and Beauty Culture

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c5b4bd0f-53cd-4a97-b4ba-930fe65c5330

EDAN-URL:

ead_collection:sova-nmah-ac-0641