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.
Do not use original materials when available on reference video or audio tapes.
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:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
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.
Do not use original materials when available on reference video or audio tapes.
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:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Alabama-English, 2433 typed cards in 2 boxes; English-Alabama, approximately 3000 typed and autograph A. cards in 2 boxes. Includes terms written in pencil and marked "(K)," which may be terms in Koasati. Informants are Harden Sylestine and others.
Swanton's arrangement of the Alabama-English section is generally alphabetical, with many terms grouped together by stesm. The cards have been stamped with consecutive numbers 1-2433, and Swanton's order has been preserved. Cards that had been clipped together now have a second number, beginning with 1 for the first in a clipped group (e.g., if cards 25-27 were found clipped together, they would now be numbered 25-1, 26-2, 27-3).
The Alabama-English section (with sequentially numbered cards) contains utterances identifiable by a following number in parentheses. If the number does not begin with zero, apparently if refers to Swanton's page numbers in his rough field notes (M 4151 "second set"). Numbers beginning with zero seem to refer to the"first set," MS 4151-- Karen Lupardus, August 18, 1978.
Biographical / Historical:
The note by Swanton preceding Alabama-English section reads? "The material marked (H) was furnished by an Alabama Indian, Harden Sylestine, who translated in his own way. His translation is usually preserved lest a mistake be made in altering; the material is to be corrected later. This includes all of my Alabama material except 12 pages of text by native informants and a vocabulary which for the most part duplicates what has been given."
Local Numbers:
NAA MS 2435
Place:
Texas Polk County
Other Archival Materials:
Related Collection: Manuscript 4151
Related Collection: Manuscript 7360
Related Collection: Manuscript 7361
Topic:
Language and languages -- Documentation Search this
Indians of North America -- Southern states Search this
Genre/Form:
Dictionaries
Citation:
Manuscript 2435, National Anthropological Archives, Smithsonian Institution
8.45 Cubic feet (consisting of 18 boxes, 5 folders, 8 oversize folders, 1 map case folder, 1 flat box (partial).)
Type:
Collection descriptions
Archival materials
Ephemera
Business ephemera
Date:
circa 1778-1968
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Music 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 of sheet music covers, concert programs, bills, receipts, printed advertisements, import/export documents, business cards, catalogues, songbooks, journals, newsletters, information on music schools and instructors, scattered correspondence on letterhead stationary, photographs, caricatures and lithographs of individual musicians, composers and lyricists of the late 19th and early 20th century. There is material pertaining to Gilbert & Sullivan; images, concert programs, and advertisements for their operettas, including Japanese images from the Mikado. There is biographical information on the Arthur Tams Music Library with catalogues from his collection, business correspondence with G. Schirmer and others and the James Madison Americana Collection. There are unique images of musical instruments, catalogues and advertisements for their manufacturers; mechanical musical instruments, music boxes, phonographs and even a few radio and Muzak programs. This material spans a century, beginning in the 1840's. Its images chronicle the inventions of the automobile and the airplane, and the rapid industrial and life-style changes of that time period.
Arrangement:
The bulk of the material is arranged topically, the rest is organized by company name. Sheet music publishers and musical and mechanical music instrument manufacturers, dealers and importers are in Boxes 1- 7. Boxes 6-7 contain a large amount of information from one particular dealer, the Arthur W. Tams Music Library. Box 8 contains information on manufacturers and dealers of Phonographs and records. Boxes 1-8 are arranged by company name. In the remainder of Box 8 and in Boxes 9- 10, there are programs, concerts tickets and curriculum pertaining to music schools, private instructors of music and voice, music clubs, societies and unions. Boxes 10-13 contain concert programs of musical performances that are organized by their geographic location or type of performance. Under the topic heading solo performances in Boxes 12-13 are handbills , programs and ads for individual performances and music luminaries including Gilbert & Sullivan and Stephen Foster. Box 14 holds general works which consists of images of musical instruments and musicians, correspondence trade cards, patents, import/export documents and hand-written music notation. Related publications are in Boxes 15-17 and are organized by type of material. Songbooks and lyric sheets are in Box 15. Periodical publications including journals and catalogues are in Box 16. The remainder of the related publications are divided by size and grouped into books, notebooks, essays and pamphlets in Box 17.
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:
Music 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: Music, 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).
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Mills 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 subject category- Mills consists primarily of printed advertisements, advertising cards, bills/receipts, handbills, illustrations, pamphlets, catalogues, circulars, scattered correspondence on letterhead stationery from operators of mills and manufacturers of mills and milling equipment.
Within the companies, a variety of types of mills is represented; the largest number is grain and flour mills, others produce yarn or fabric. A few may be related to mining and industrial processes or to other activities which are not clearly identified. A small amount of publications and a few general images are found in the last two folders.
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:
Mills is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Warshaw Collection of Business Americana Subject Categories: Mills, 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).
11.35 Cubic feet (consisting of 20 boxes, 8 folder, 30 oversize folders, 17 map case folders, 3 flat boxes (partial), plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Ephemera
Business ephemera
Date:
1750-1965
undated
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Tobacco Trade and Industry 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 subject category, "Tobacco Trade and Industry," consists of materials related to the tobacco trade and industry. This subject category provides an extensive record of the late nineteenth to mid-twentieth century tobacco industry with materials for consumers, traders, and distributors. It forms part of the Warshaw Collection of Business Americana: Collection Division I: Business Ephemera and Division II: Oversize Materials.
Series 1, Tobacco and Tobacco Related Product Ephemera, 1781-1965, undated, is the largest portion of the tobacco related materials. This series is arranged alphabetically by manufacturer and distributor name. The materials consist of advertising cards, scraps, trade catalogs, price lists, pamphlets, labels, correspondence on letterhead stationery, bills, receipts, illustrations from periodicals, printed advertisements, periodicals, newspaper clippings, broadsides, shipping documents, handbills, premiums, promotional items, announcements, and business cards. The majority of materials are from the late nineteenth to the early twentieth- century and were created primarily for consumers, traders and distributors. Most of the materials are from the East Coast and there is a large amount of undated material. Ethnic imagery and images of women and children are prominently featured in this series. The location of the company is given when known.
Series 2, Patents and Trademarks, 1875-1904, is arranged alphabetically by patent and trademark applicants. With illustrations and descriptions, many patent and trademark documents come from East Coast patent offices during the 1870s. While this series is limited in scope, it provides numerous examples of the patenting of tobacco brand names and other related products. Additionally, it contains many images of minorities, women, and a variety of ethnic imagery.
Series 3, Bills of Lading, 1833-1925, is arranged alphabetically by location with foreign locations comprising one folder. The materials date from the late nineteenth century, and the majority is from the port of Philadelphia, Pennsylvania. This series not only tells a great deal about shipping and importing, but it also provides detailed information about the parties, countries, and people involved in the process of shipping tobacco around the world. Although the collection is somewhat varied, the majority of the bills of lading have date stamps, detailed port information, and information about the imported tobacco itself. Other locations include Maryland, New York, Cuba, and foreign locales.
Series 4, Lithographs, undated, is a series of labels for packages and products arranged alphabetically. It is a great resource for the study of early American advertising. Although most of the product labels are undated, they are probably of the late nineteenth to early twentieth- century. The majority of companies were based in New York, New York.
Series 5, Ephemera and Photographs, 1750-1957, undated, is arranged and organized by type of material. This series is comprised of general images, cigar store Indian images, auction lists, packing for tobacco products, and advertising cards, and contains a wealth of documentation of the American tobacco market. One of the best resources of this series is its collection of cigar bands. There are two photographs within this series, one depicting the exterior of a tobacco shop and another photograph of ladies working with shade grown tobacco, most likely in Connecticut. This series contains a copy of the Burr McIntosh photograph, "Leaves of Desire".
Series 6, Publications, 1742-1962, undated, consist of articles, books, pamphlets, magazines, and periodicals. One of the most useful portions of this series is the anti-tobacco related publications. The series contains tobacco-related articles. In addition to a few articles about tobacco companies, there are publications that contemplate the issues behind smoking. This series also contains tobacco related clippings from magazines and periodicals. Directories are also included in this series. The sheer variety of the material is vast, including essays from The Farm Quarterly and United States government documents. Tobacco is the only unifying factor. Researchers may be interested in La Santa Yerba, a late nineteenth-century book containing verses and other reflections on the tobacco plant itself.
Brand Name Index:
The following is a list of brand names for various tobacco products and related names that appear on this list is a compilation of those found on materials in the vertical document boxes. It is not a complete list of all the brand names for tobacco. The list is intended to assist researchers locate desired materials when only the brand name is known.
Brand Name -- Manufacturer/Dealer
Adonis -- Waldorf-Astoria Sugar Company
A. Hussey -- Leaf Tobacco Company
All Red Scrap -- Spaulding & Merrick
Alligator -- Pierre Lorillard
Almighty Dollar -- Roig & Langsdorf, LTD.
American Eagle -- Barker, K.C. & Company
Anglo-Egyptian -- Anderson, John & Company
Ante Fine (Cut) -- Pierre Lorillard
Apollo Egyptian -- Crescent Tobacco Company
Ateshian Bagdad -- Ateshian Company
Bagdad -- Pierre Lorillard
Bag Pipe -- Pierre Lorillard
Banner -- Banner Company
Banner -- American Tobacco Company
Bay State -- Brewer, Clarks & Sons
Bee -- Pierre Lorillard
Beech-Nut -- Pierre Lorillard
Belle of Turkey -- Pierre Lorillard
Between the Acts -- Pierre Lorillard
Between the Acts -- Thomas Hall Company
Bibber Cigarettes -- American Tobacco Company
Bijou -- S. Busnitz & Company
Birdseye -- British-American Company
Birdseye -- Akhbar Shah
B & L -- S. Busnitz & Company
Black Bird -- Baumann-Ashley Company
Black Joe Dark Plug -- American Tobacco Company
Black & Tan -- Pierre Lorillard
Black & Tan -- Annen Tobacco Company
Blended Stock -- American Tobacco Company
Blot -- Pierre Lorillard
Blue Peter -- Blue Peter Company
Bock y Ca -- Benson & Hedges
Boot Jack -- John Finzer
Boss Bite -- Pierre Lorillard
Brand M -- S. Monday & Son
Briar -- Spaulding & Merrick
Bright Sweet Emerald -- Pierre Lorillard
Briggs -- Pierre Lorillard
Brotherhood -- Pierre Lorillard
Buffalo Head -- Bland Tobacco Company
Bull Durham -- American Tobacco Company Smoking Tobacco
Bull's Eye -- Pierre Lorillard
Bull's Eye -- Peerless (Kimball)
Buzz Long -- Pierre Lorillard
Cabana -- Brewer, Clark & Sons
Cabanas -- Benson & Hedges
Cabarga -- Brewer, Clark & Sons
Cameo -- W. Duke & Son
Canada -- American Tobacco Company
Canoe -- Spence
Cap Sheaf -- Pierre Lorillard
Capadura -- R.C. Brown & Company
Capadura De La Reina -- R.C. Brown & Company
Capadura Olivette -- R.C. Brown & Company
Capadura Patience -- R.C. Brown & Company
Capital -- G.W. Gail
Captive -- Pierre Lorillard
Catlin's Twin Sisters -- American Tobacco Company
Cavendish -- Pierre Lorillard
Century -- Peter Lorillard
Challenge -- Pierre Lorillard
Chesterfield -- Ligget & Myers
Circassian Girls -- Pierre Lorillard
Clay, Henry -- Benson & Hedges
Climax -- Peter Lorillard
Clipper -- American Tobacco Company
Coca -- Drummond
Comet -- Pierre Lorillard
Common Sense -- American Tobacco Company
Conchas -- Brewer, Clark & Sons
Consols -- Consolidated Co.
Continental Cubes -- Continental Tobacco Company
Cools -- Brown & Williams Company
Cork (Number 1) -- Benson & Hedges
Cork Tip #2 -- Benson & Hedges
Cornucopia -- American Tobacco Company
Corona -- Brewer, Clark & Sons
Crown -- Benson & Hedges
Cute -- Merchants Cigar Factory
Dainties -- Allen & Ginter
Dainties -- American Tobacco Company
Defiance -- D. Hirsch
Derby -- Felener, F.W. Company
Diamond -- Allen & Ellis
Dixie -- Dixie Allen & Ginter
Dogtail -- Peter Lorillard
Drawing Room -- Pierre Lorillard
Dubec -- Allen & Ginter
Dubec -- American Tobacco Company
Duke of Durham -- American Tobacco Company
Duke's Best -- American Tobacco Company
Duke's Cameo -- American Tobacco Company
Duke's Mixture -- American Tobacco Company
Eagle Principe -- Brewer, Clark & Sons
Egyptian -- Pierre Lorillard
Egyptian Deities -- American Tobacco Company
Egyptian Dreams -- Rappaport
Egyptian Luxury -- American Tobacco Company
Egyptian Temple Lorillard, Peter -- Pierre Lorillard
Egyptian Straights -- American Tobacco Company
El Muezzin #1 -- Benson & Hedges
El Muezzin #2 -- Benson & Hedges
Embassy -- Pierre Lorillard
Emerald -- Pierre Lorillard
Etc., Etc. -- Brewer, Clark & Sons
Eureka -- Peter Lorillard
Excelsior -- American Tobacco Company
Extra Eagle -- B. Leidersdorf & Company
Excelsior #1 -- American Tobacco Company
Extra Mild #3 -- Benson & Hedges
Extra Mild Mild #4 -- Benson & Hedges
Fair Play -- American Tobacco Company
Favorite -- Cameron & Cameron
Felgner's Mohawk -- American Tobacco Company
Fine Brother -- Finzer, John
Flagman -- American Tobacco Company
Fontica -- Brewer, Clark & Sons
Forget-Me-Not -- Pierre Lorillard
Fortunato Bianco -- American Tobacco Company
Fragrant Vanity Fair -- American Tobacco Company
Friends -- Pierre Lorillard
Full Dress -- American Tobacco Company
Gaiety -- Bland Tobacco Co.
Gail & Ax's Navy -- American Tobacco Co.
Genuine Durham -- Blackwell, W.T. & Co.
Globe -- McGraw, Walker
Gold Extra Fine #1 -- Benson & Hedges
Gold #2 -- Benson & Hedges
Gold Rope -- Wilson & McNally
Golden Back -- Pioneer Tobacco Co.
Golden Bell -- Pierre Lorillard
Golden Bright -- Pierre Lorillard
Golden Culprit -- Peter Lorillard
Golden Light -- American Tobacco Co.
Golden Light -- Kimball & Co.
[Golden S?] -- [Unknown]
Golden Thread -- American Tobacco Co.
Good Luck -- Cotterill & Fenner Co.
Good Luck -- Drummond
Good Smoke -- Pierre Lorillard
Gondola -- Pierre Lorillard
Greek Slave -- Commonwealth Tobacco Co.
Green Turtle -- Pierre Lorillard
Greenback -- American Tobacco Co.
Greenback -- Marburg Brothers
Grizzly -- Pierre Lorillard
Gypsy Queen -- Goodwin
Happy Thought -- Pierre Lorillard
Happy Thought -- Wilson McNally
Hard A Port -- Thompson & C. Moors
Hard Plan -- H.M. Ferguson
Hard Tack -- American Tobacco Co.
Havana Consul Penete -- Pierre Lorillard
Havana Mixture -- Allen & Ginter
Havana Segar -- Waldorf-Astoria Segar Co.
Havannah -- Amber & Co.
Hazel Nut -- John J. Bagley
Helma -- Pierre Lorillard
Helmar Turkish -- American Tobacco Company
His Majesty's -- Benson & Hedges
Hoffman House Magnum -- Pierre Lorillard
Honest -- American Tobacco Co.
Honey Dew -- John Anderson & Co.
Horse Shoe -- Cotterill & Fenner
Horse Shoe -- Drummond
Hoyt's Medium -- American Tobacco Co
Hunki-Dori -- Chapin Stuart & Co.
Hunter -- H.M. Ferguson
Ideal -- Pierre Lorillard
Imperial Cavendish -- Allen & Ginter
Imperialette -- S. Monday
Imported -- Benson & Hedges
Improved Shorts -- Pierre Lorillard
India House -- Pierre Lorillard
Indian -- Amber & Company
Ivanhoe -- American Tobacco Co.
I. X.L. -- American Tobacco Co.
Jack & Jill -- American Tobacco Co.
Jack Rose -- Pierre Lorillard
John Dew -- Kaufmann, A.G
Jolly Tar -- Continental Tobacco Co.
Just Suits -- Pierre Lorillard
Kaiser (Gold Tip) -- A.B.C. Importation Co.
Karam -- Aslan Brothers
Kensington -- Brucker & Boghein
Kismen -- Strater Brothers
Kool -- Kool Brown & Williamson Co.
La Corona (Plain) -- A.B.C. Importation Co.
La Corona -- Benson & Hedges
La Flor de Cuba -- Benson & Hedges
La Marquise -- American Tobacco Co.
La Rosa -- Clark Brewer & Sons
Latest English -- American Tobacco & Sons
Leather Stocking -- C. Bickel
Level Head -- Pierre Lorillard
Libertad -- Clark Brewer & Sons
Lime Kiln Club -- Bagley & Company
Little Drummer -- Drummond
Little Joker -- American Tobacco Co.
Little Joker -- G.W. Gail
Little Rhody -- Pierre Lorillard
Little Sparks -- F.W. Felener
London Life -- American Tobacco Co.
Londres -- Clark Brewer & Sons
Long Cut -- W. & Son Duke
Lorillard's Stripped -- Pierre Lorillard
Louisiana Perique -- Allen & Ginter
Lucky Strike -- American Tobacco Co.
Lucky Strike -- R.A. Petterson
Luscious Luxury -- Pierre Lorillard
Luxury -- American Tobacco Co.
Lyceum -- Duke & Son
Mail Pouch -- Block Brothers
Manilla -- Amber & Company
Matinee -- Oliver & Robinson
Match -- Bland Tobacco Co.
Mecca -- American Tobacco Co.
Mechanic's Delight -- Pierre Lorillard
Melachrino -- L. Melachrino
Mellowleaf -- Commonwealth Tobacco Co.
Melrose -- British-American Co.
Melrose -- Marburg Brothers
Mercedes (Gold Tip) -- A.B.C. Importation Co.
Mexican -- Amber & Co.
Mild Number 2 -- Pierre Lorillard
Miner's Stript -- Pierre Lorillard
Mogul Egyptian -- American Tobacco Co.
Moon Spot -- Van Slyke & Horton
Mule Ear -- Wellman & Dwire Co.
Murad -- American Tobacco Co.
Myrtle Navy -- American Tobacco Co.
Napoleons -- Allen & Ginter
Navy -- G.W. Gail
Nebo -- Pierre Lorillard
Neptune -- Adams, J.L.
Neptune -- Buchanan & Lyalls
New Cross Bar -- Drummond
Nigger Head -- American Tobacco Co.
Night Watch -- Banner Co.
Night Watch -- American Tobacco Co.
Number 1 -- Benson & Hedges
Number 1 -- Pierre Lorillard
Old Egypt -- Pierre Lorillard
Old English -- American Tobacco Co.
Old Fashion -- American Tobacco Co.
Old Gold -- American Tobacco Co.
Old Gold -- British American Co.
Old Gold -- Kimball & Co.
Old Gold -- Pierre Lorillard
Old Guebeck -- Benson & Hedges
Old Guebeck Gold -- Benson & Hedges
Old Honesty -- American Tobacco Co.
Old Honesty -- John Finzer
Old Judge -- British-American Co.
Old Judge -- Kimball & Co.
Old Judge -- Goodwin Co.
Old Judge -- Allen & Ginter
Old Nut -- Pierre Lorillard
Old Rip -- British-American Co.
Old Rip -- Allen & Ginter
Old Sledge -- Edel
Old Tom -- Pierre Lorillard
Old Virginia Cheroots -- American Tobacco Co.
Old Virginia Cheroots -- Whitlock Co.
Olympia -- Gail, G.W.
Omar Turkish -- American Tobacco Co.
Omega Kentucky -- Pierre Lorillard
Opera -- Kerbs, Werthim & Schiffer
Opera Puff -- Allen & Ginter
Oronoko -- Pierre Lorillard
Our Country's Pride -- Collins Cigar Co.
Our game -- Alex Cameron
Our Little Beauties -- Allen & Ginter
Our Pet Nave -- Goddard Co.
Owl -- Straitron & Storm
Pall Mall -- American Tobacco Co.
Panetelas -- S. Monday & Son
Parliament -- Benson & Hedges
Parole -- Pierre Lorillard
Pastime -- John Finzer Co.
Pearl -- Pierre Lorillard
Peerless -- Kimball & Co.
Pedro -- American Tobacco Co.
Pedro Murias -- Benson & Hedges
Perfection -- Allen & Ginter
Perfection Mixture -- Pierre Lorillard
Perique Mixture -- Allen & Ginter
Pet -- Allen & Ginter
Peter Schuyler -- Van Slyke & Horton
Pink -- Pierre Lorillard
Pioneer Crown -- Allen & Ellis
Piper Heidsieck -- American Tobacco Co.
Pippin -- Banner Company
Pippins -- H. Traisser & Co.
Plain Light -- Pierre Lorillard
Planet -- Buchannan & Lyalls
Polar Bear -- Pierre Lorillard
Preferred Stock -- American Tobacco Co.
Prince Albert -- R.J. Reynolds
Princess Charlotte -- A.B.C. Importation Co.
Pure Virginia -- Pierre Lorillard
Purity -- Cameron & Cameron
Quality Puffs -- S. Monday & Sons
Queen of the Seas -- Alex Cameron & Co.
Raleigh -- Brown & Williamson Co.
Red Cross -- Pierre Lorillard
Regalia -- Clark Brewer & Sons
Richmond Cavendish -- Allen & Ginter
Richmond Gem Mild -- Allen & Ginter
Richmond Gem Mixture -- Allen & Ginter
Richmond Mixture #1 -- Allen & Ginter
Richmond Mixture #2 -- Allen & Ginter
Richmond Straight -- Allen & Ginter
Richmond Straight #1 -- Allen & Ginter
Right Bower -- Allen & Ginter
Ripple Navy -- Pierre Lorillard
Robert Burns -- Straiton & Storm
Rose Leaf -- Pierre Lorillard
Royal Bengals -- Pierre Lorillard
Royal Bengals -- Pierre Lorillard
Russian #1 -- Benson & Hedges
Russian Gold -- Benson & Hedges
Russian Gold #3 -- Benson & Hedges
Russian Mouthpiece #1 -- Benson & Hedges
Russian Mouthpiece #1 -- Benson & Hedges
Russian Mouthpiece #3 -- Benson & Hedges
Rustic -- George Bell
Sailor's Delight -- Pierre Lorillard
Sailor's Pride -- Bland Tobacco Co.
Satins -- American Tobacco Co.
Seal of North Carolina -- American Tobacco Co.
Seal Skin -- Commonwealth Tobacco
Sensation -- Peter Lorillard
Siesta -- Pierre Lorillard
Silk -- Strasser Co.
Si Peu Que Rein -- Benson & Hedges
Snow Flake -- American Tobacco Co.
Solace -- John Anderson & Co.
Something Good -- James Butler Co.
Sovereign -- Butler & Butler
Spanish Puffs -- American Tobacco Co.
Spear Head -- American Tobacco Co.
Special -- American Tobacco Co.
Special Favours -- American Tobacco Co.
Splendid -- Pierre Lorillard
Sport -- H.M. Lockrow
Sporting Extra -- American Tobacco Co.
Spot Cash -- H.P. Brewster
Stag -- Pierre Lorillard
St. Ledger -- Pierre Lorillard
Straw #1 -- Benson & Hedges
Straw Extra Mild #4 -- Benson & Hedges
Straw Tip #2 -- Pierre Lorillard
Stripped -- Pierre Lorillard
Sub-Rosa -- Pierre Lorillard
Sunny South -- Allen & Ginter
Sunnyside -- American Tobacco Co.
Suwanee River -- Van Slyke & Co.
Sweet Banner -- American Tobacco Co.
Sweet Caporal -- American Tobacco Co.
Sweet Caporal -- Kinny Co.
Sweet Conqueror -- Pierre Lorillard
Sweet Golden Seal -- Buchner & Co.
Sweet Lavender -- American Tobacco Co.
Sweet Maple -- Bland Tobacco Co.
Tareyton -- American Tobacco Co.
Ten Minute -- Marburg Brothers
Three Black Cows -- Pierre Lorillard
Three Kings -- William S. Kimball Co.
Tiger -- Pierre Lorillard
Tin Tag -- Pierre Lorillard
Toko -- Bland Tobacco Co.
Tolstoi -- American Tobacco Co.
Troy -- American Tobacco Co.
Tuberose -- Pierre Lorillard
Turkey Red -- Pierre Lorillard
Turkish Cross Cut -- American Tobacco Co.
Turkish Mixture -- Allen & Ginter
Tuxedo -- American Tobacco Co.
Uncle Sam -- Nall & Williams
Union Leader -- Pierre Lorillard
Upper Cut -- L. Miller & Son
Vafiadis -- Ligget & Myers
Van Bibber -- American Tobacco Co.
Vanity Fair -- Kimballs
Velvet -- Ligget & Myers
Venable's Cockade -- S.W. Venable Tobacco Co.
Veteran -- American Tobacco Co.
Victory -- Buchner & Co.
Victory -- American Tobacco Co.
Villar y Villar -- Benson & Hedges
Virginia Brights -- Allen & Ginter
Virginia Brights -- American Tobacco Co.
Virginia Cheroots -- Pierre Lorillard
Virginia's Choice -- [Unknown]
Virginia Leaf -- John Cornish Co.
Wandering Jew -- Clark Brewer & Sons
Welcome -- Goodwin
West Virginia Mail Pouch -- Block Brothers Co.
Wings -- Brown & Williamson Co.
Winner -- H.M. Ferguson
White Puff -- Pierre Lorillard
Wild Rose Chipped -- Pierre Lorillard
XX Navy Clipping -- Pierre Lorillard
Yacht Club -- Pierre Lorillard
Yasoa -- S. Monday & Son
Yellow Jacket -- Pierre Lorillard
Yellow Kid -- National Tobacco Co.
Zira -- Pierre Lorillard
Zoo Zoo -- Wilson & McNally Co.
Zubelda -- Pierre Lorillard
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Tobacco Trade and Industry 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: Tobacco Trade and Industry, 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).
A diverse collection of papers assembled by Duke Ellington's road manager, Al Celley. The collection includes correspondence, photographs of Ellington and his orchestra at various times and locations; concert ephemera; handwritten notes; business and financial documents, primarily receipts; and travel ephemera.
Scope and Contents:
The collection was assembled by Duke Ellington's road manager, Al Celley and includes correspondence, photographs of Ellington and his orchestra at various times and locations; concert ephemera; handwritten notes; business and financial documents, primarily receipts; and travel ephemera.
Arrangement:
The collection is arranged into six series.
Series 1: Personal Materials, 1943-1962
Subseries 1.1: Al Celley, 1943-1962
Subseries 1.2: Duke Ellington, 1948
Series 2: Correspondence, 1945-1963
Subseries 2.1: Chronological, 1945-1963
Subseries 2.2: Alphabetical, 1949-1961
Series 3: Subject Files, 1948-1963
Series 4: Financial Materials, 1944-1964
Subseries 4.1: Payroll/Salary Ledgers, 1944-1962
Subseries 4.2: Expense Notebooks, 1946, 1959
Subseries 4.3: Receipts and Bills, 1945-1964
Series 5: Photographs, 1947-1967
Series 6: Audio Visual Materials, 1945-1957
Subseries 6.1: Moving Image, 1957
Subseries 6.2: Audio Discs, 1945-1946
Biographical / Historical:
Albert "Al" Joseph Celley (1909-1994) was Duke Ellington's road manager from 1944 to 1964. Celley handled the band's business affairs, such as concert bookings, logistics, staging shows, and organizing tours. Celley also handled the weekly payroll, contracts, collecting money from promoters, paying road expenses, and sending weekly reports to Bill Mittler, an accountant.
Related Materials:
Materials in the Archives Center, National Museum of American History
Duke Ellington Collection (AC0301)
Duke Ellington Oral History Project (AC0368)
This project includes an interview with Al Celley, July 12, 1989.
Provenance:
Purchased at auction by the Archives Center, National Museum of American History, May 2011.
Restrictions:
Collection is open for research.
Reference copies for audio discs and moving image do not exist. Use of these materials requires special arrangement with the Archives Center staff. Gloves must be worn when handling unprotected photographs and negatives.
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.
George Catlin collection from the Thomas Gilcrease Institute of American History and Art, 1840-1860. Archives of American Art, Smithsonian Institution.
National Museum of American History (U.S.). Division of Community Life Search this
Extent:
2.6 Cubic feet (8 boxes
)
Type:
Collection descriptions
Archival materials
Correspondence
Books
Appointment books
Scripts (documents)
Diaries
Photographs
Date:
1900-1960
Summary:
Papers and photographs document the careers in show business (traveling medicine shows, vaudeville acts and acting in stage shows) of Mr. Sullivan, members of his family and associates.
Scope and Contents:
These papers and photographs mostly relate to the careers in show business of Mr. Sullivan, members of his family and associates. Their activities included traveling medicine shows, vaudeville acts and acting in stage shows. Most of the photographs are unidentified and undated. The publicity releases, theater handbills and newspaper clippings are often undated as are numerous handwritten scripts, ideas for jokes, and songs. Many diaries and daily account books are included but often do not indicate the identity of the record-keeper or his/her associates.
Some racist materials contained in the comedy acts reflect the prejudices of Oscar Sullivan's time and his Southern background. His reference to black persons in his diaries and his songs concerning blacks were degrading. His comedy routines involving black characters portrayed them with, the usual stereotypes.
Arrangement:
Collection is arranged into five series.
Series 1: Publicity, Scripts, Routines, Songs, 1910-1947
Series 2: Photographs, 1912-1960
Series 3: Correspondence, diaries, appointment books, 1909-1956
Series 4: Books, 1863-1942
Series 5: Miscellaneous, 1900-1959
Arranged roughly chronologically within each series.
Biographical / Historical:
The Sullivan collection (1900-1960) consists of advertisements, publicity materials, photographs, letters, appointment calendars, and work papers of W. Oscar Sullivan, his wife, Aline Moore and his daughters, Laverne and Virginia. Sullivan and his family were vaudeville, medicine and tent show performers who entertained in small towns, especially in the Southeast. Their act included monologues, singing, dancing, acrobatics, and comedy, including blackface. The Collection documents their careers as small-time entertainers who managed to eke out a living through their talents.
W. Oscar Sullivan was born in Georgia about October 10, 1891. He left school after the 6th grade. In 1909 he was known as Ruscara Sullie, "the Phenomenal Boy Assistant" to Lee Hubert & Co., "Magic, Mental Telepathy, Spiritualistic Phenomena."
Sullivan was encouraged by his brother, Lee, to stick with show business. Lee often dissuaded Oscar from writing home-sick letters to his mother who evidently wanted him to stay in Savannah, Georgia and get a steady job.
In October 1912, Sullivan became an agent for The Southern Ruralist, a semi-monthly farm journal, soliciting subscriptions. Also in October 1912, he applied to J. Frank Denton & Co., dealers in Lightning Rod and Fixtures in Spread, Georgia, for a salesman's job. He was told that the arrangement would be payment by commission and a horse and rig. The horse would have to be fed out of the commission. The company believed that being paid on commission would spur him on to work.
In November, 1912, Sullivan wrote to Archie Fourneia's Show which advertised that it presented up-to-date vaudeville and moving pictures. Sullivan's brother Robert a dentist, previously managed the Lyric Theater in Macon, Georgia where he met Ollie Hamilton, the stage manager for Fourneia. Fourneia offered Sullivan a job as straight man for Negro acts and to talk about the moving pictures and make announcements. He would receive $12 per week and all expenses. The terms were accepted, but delays followed. Another letter told him that he was expected to do "Nigger act show on type of Over the River Charlie"? and two acts a night. Fourneia cancelled on December 5 because he had previously wired money to another man who had finally arrived.
On December 6, 1912, Sullivan got an offer from Russell Craner to join "The Irish Piper", a play. But Sullivan turned the offer down because he had a contract with the Paul Anderson Stock Co. to handle general business and juvenile parts.
In 1912, Sullivan advertised himself as a "Character Elocutionist" for a twelve minute act. In 1913, he advertised that he could do a fifteen minute show presenting "Mighty Moments from Great Plays". He added he could do light comedy, juvenile leads, low comedy and heavy character roles.
On May 1, 1913, Sullivan was offered $12 per week for two acts a night-a specialty and closing act-by the R.L. Russell Show. He was to cut out the "nigger acts". Evidently he did not take it but went with another show to New England.
There is no information when Oscar and Aline Moore were married. In 1917, their letterhead stationary announced "Sullivan-Moore" were experienced in drama, vaudeville, musical comedy and that they were "sober and reliable." The collection contains many programs printed in local newspapers showing them acting in plays at the Empire Theatre in Ironton, Ohio in 1918-1919.
In May 1922, the family including two daughters, lived in Savannah, Georgia. Both were members of Actor's Equity. In January, 1924, Sullivan was offered a job at $35 a week for 30 weeks with the Princess Floating Theatre of Beverly, Ohio. There is no indication of whether he took it.
By 1927, the Sullivans were living in Ironton, Ohio again. The children went to school there. Presumably, when Laverne was 11 and Virginia was 7, they had an act called "Sullivans and Their Knick Knack Kids."
In 1931, the Sullivans were looking for work and not eating well. The family in Savannah helped when they could. In 1931, Sullivan's mother died. Through these years, their show people friends offered them a variety of jobs. During the depression years, much unemployment was reported in letters from friends, relatives, neighbors and show people.
On February 16, 1933, Aline Sullivan died at age thirty eight after an operation and influenza. The family had been performing in Knoxville, Tennessee. Laverne was then eighteen and Virginia was fifteen years of age.
After her death, Sullivan and his daughters played in stage shows between movie shows and were known as "Flashes of 1933". After performing in Dallas in 1934, they became the "Dancing Cowgirls" or "Sullivan's Cowgirls with Diving Dog". The diving dog was Buddy who did a high dive before each performance in front of the theatre to draw in crowds. They received $100 for seven shows and a midnight performance.
Their show was a vaudeville act consisting of singing, dancing, acrobatic acts, roller skating, and comedy in blackface. The publicity and letter of reference described the act as culture, refined and usually clean. They toured small Southern towns and CCC camps where the commanders gave them good references. In 1937, they played at the Chicago World's Fair.
By 1941, Nell Brenizer, the pianist for the act, had become Oscar's second wife. On May 1, 1941, Buddy died at the age of seventeen. He was buried in a Pet Cemetery in Atlanta at a cost for the funeral of $55. The family visited his grave whenever they were in Atlanta.
On May, 1941, Virginia Sullivan appeared in Ripley's "Believe It Or Not". The caption under her drawn picture read: "Virginia balances three lighted lamps while bending backward from a standing position - lies flat on floor - and rises again."
During 1941, Sullivan drove around Georgia trying to book the act into schools and other locations. At the time it was considered a "tent" show with a trailer and a company of three performances.
There is no information concerning the family during the war years although in 1945, Virginia Sullivan received thanks from the Savannah Junior Chamber of Commerce for putting on many "Shows for the Boys".
In 1947, the family played as Eddie's Medicine Show with Virginia and Oscar. On occasional weekends, Laverne and her husband, Ken helped out. Nell played the accordion and Eddie lectured on the human body. They played in vaudeville at movie houses and dance halls, at fairs and expositions, at medicine shows and on empty lots. An incomplete 1951 diary shows income from candy and snow cones. The group still traveled frequently noted that his eyes needed an operation.
In 1955, they were still traveling - generally in small Southern towns. Sometimes they would spend $1 to advertise on the local radio.
Provenance:
Collection donated by William Jerry Eagle, October 15, 1980.
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.
Loose sheets and covers; oversize material housed in Box 15
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Grey Barnard papers, circa 1860-1969, bulk 1880-1938. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The collection comprises 2.3 feet of papers concerning George Catlin's creation and promotion of his famed "Indian Gallery" of paintings, drawings, and artifacts of North American Indians. Dating from 1821 through 1904, with one item dated 1946, the papers include letters, notebooks and journals, receipt books and loose receipts, printed materials, and other documentation. The bulk of the collection focuses on Catlin's efforts to promote the sale of his gallery to the United States government through tours, including London and Paris, and petitions to various governments to purchase the Gallery. Among the rare printed catalogs and petitions in the collection are exhibition catalogs for the U.S., London, and Paris tours, the earliest dating from 1837. Letters and other documents include letters dating from the 1830s from Henry Clay, Thomas Sully, and William Henry Seward commending Catlin's work, as well as Catlin family correspondence and papers dating from 1821 through the 1870s.
Scope and Contents note:
The collection comprises 2.3 feet of papers concerning George Catlin's creation and promotion of his famed "Indian Gallery" of paintings, drawings, and artifacts of North American Indians. Dating from 1821 through 1904, with one item dated 1946, the papers include letters, notebooks and journals, receipt books and loose receipts, printed materials, and other documentation. The bulk of the collection focuses on Catlin's efforts to promote the sale of his gallery to the United States government through tours, including London and Paris, and petitions to various governments to purchase the Gallery. Among the rare printed catalogs and petitions in the collection are exhibition catalogs for the U.S., London, and Paris tours, the earliest dating from 1837. Letters and other documents include letters dating from the 1830s from Henry Clay, Thomas Sully, and William Henry Seward commending Catlin's work, as well as Catlin family correspondence and papers dating from 1821 through the 1870s.
Of particular interest in the collection are letters to and from Catlin, including two written by Catlin during his early travels to the west in the 1830s. Other letters include ones from Henry Clay, John Adams Dix, Ralph Randolph Gurley, James Hall, William Henry Seward, Thomas Sully (illustrated), and Baron Friederich von Humbolt, among others. Most wish Catlin well and offer support in his endeavors to sell his collection.
Also found within the collection are several notebooks and notes describing Native American ceremonies, name translations, customs, and other information pertinent to Catlin's catalog, two volume book, and exhibitions of the "Indian Gallery." There are also numerous loose receipts and account and receipt books documenting the 1840s London and Paris venues of the "Indian Gallery" exhibition. The collection also houses printed catalogs for the exhibitions, including a rare 1837 catalog for the first show in New York.
Additional materials include certificates of authenticity testifying to the authenticity of Catlin's paintings from life of Native American sitters, announcements relating to exhibition openings, printed memorials and petitions to Congress, printed letters of support, envelopes and name cards, and handwritten tickets to Catlin lectures. Also found are a handwritten journal of Theodore B. Catlin, photogravures of Catlin, obituaries for Catlin, and printed reviews of the exhibitions.
Arrangement note:
The George Catlin papers are arranged into five series based primarily on document type. Within each series, materials are arranged in chronological order.
Series 4: Catalogs, 1837-1871 (Boxes 3-5; Reel 5825; 1 linear foot)
Series 5: Ephemera and Miscellaneous Printed Material, 1832-1904, 1946 (Boxes 5-6, OV 7; Reel 5825; 14 folders)
Biographical/Historical note:
George Catlin was born in 1796 in Wilkes-Barre, Pennsylvania. Although trained as a lawyer, Catlin quit his law practice and moved to Philadelphia in 1823 to begin a career as a portrait painter. He gained membership in the Pennsylvania Academy of Fine Arts in 1824, but his career in formal portraiture met with little success. In 1830, Catlin embarked upon his lifetime achievement of documenting the lives, customs, and culture of the declining native American population of the Plains. He spent the next six years traveling, drawing, painting, and writing about the Plains Indians. By 1837, he had amassed enough documentation to hold a major exhibition in New York of Catlin's Indian Gallery of Portraits, Landscapes, Manners and Customs, Costumes, etc. The same exhibition, with an added live show, traveled to London in 1842 and Paris in 1845, where it was met with rave reviews.
Catlin spent the remainder of his life gathering support for the sale of the Indian Gallery to the U.S. Congress. Between 1841 and 1842, at his own expense, Catlin wrote and published his two volume set Letters and Notes on the Manners, Customs, and Condition of the North American Indians. He also wrote numerous petitions and "memorials" to Congress, often including statements from national and international reputable supporters, such as Daniel Webster, General Lewis Cass, the Joint Committee on the Library (of Congress), and the American Ambassador to France. The Smithsonian Institution's first Secretary Joseph Henry strongly supported congressional acquisition of Catlin's work and even provided Catlin with a small studio in the Castle building. All of the appeals to the government for the purchase of the collection were, in the end, unsuccessful and Catlin died almost penniless in 1872.
Related Archival Materials note:
The Archives holds several related collections of differing provenances related to George Catlin, including a small collection of manuscripts and drawings microfilmed on reel 1191 related to Catlin's work in marine art and documentation. A microfilmed loan of circa 500 items is also available on reel 3277 of letters between Catlin and Sir Thomas Phillipps, 1840-1860, writings by Catlin and material on Catlin's Indian Gallery, including clippings, catalogs, handbills, invitations, drawings and portrait sketches of native Americans, and printed material; a watercolor sketchbook; a list of paintings; and miscellany. Also found within the Archives is one undated letter microfilmed on reel D8 from Catlin, and a collection of art historian William Truettner's research papers on George Catlin.
Provenance:
The papers of George Catlin were transferred to the Archives of American Art by the Library of the Smithsonian's National Collection of Fine Arts, now the Smithsonian's American Art Museum. Accession records indicate that the papers were once maintained by the Smithsonian's Bureau of Ethnology and were probably part of the orginal 1879 acquisition of Catlin's Indian Gallery by the Smithsonian. Businessman Joseph Harrison rescued the "Indian Gallery" from Catlin's creditors in the 1850s and stored the collection in a Philadelphia warehouse, where it suffered damage from at least two fires before Harrison's widow donated the collection to the Smithsonian.
Restrictions:
A digitized version of the microfilm of this collection is available online via the Archives of American Art website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
