The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.
Scope and Content Note:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.
Biographical materials include articles and memorial tributes for Howe's father and grandfather, a short autobiography and resume, and the certificate for the copyright to his book.
The bulk of the collection consists of correspondence, the most voluminous of which are letters from Monuments Men S. Lane Faison, Patrick J. Kelleher, Andrew C. Ritchie, Edith Standen, George Stout, Marcelle Minet, Rose Valland, James Rorimer, and others. Additional correspondents include friends and colleagues such as Bernard Berenson, Hume Cronyn, Paul Mills, Christopher Forbes, Margaret Mallory, William A. McGonagle, and Otto Wittman, among many others
Writings include a brief summary of Howe's book Salt Mines and Castles and a sound cassette of his lecture about the book. Project, membership and travel files are primarily associated with his professional work at the California Palace of the Legion of Honor and include documentation of member art trips, a feasibility study for merging the California Palace of the Legion of Honor with the M. H. de Young Memorial Museum, and a membership list of the Bohemian Club.
The Monuments, Fine Arts and Archives (MFAA) Records and Looted Inventories series contain many records relating to Howe's military service as a Monuments Man. There are several inventory records which contain lists of the contents of Hermann Göring's collection of looted artwork, artwork destroyed in the Flak towers fire in Berlin, and artwork held at several of the central collecting points, though mostly at Weisbaden. There is also a small fold out map of the Altausse salt mines; a U.S. government issued manual of maps marking important cultural monuments and artwork in Germany; a book of U.S. government regulations pertaining to the MFAA section; a government information bulletin; and several official status reports and published U.S. government reports about art looting investigations and safeguarding cultural property.
Professional files consist of papers relating to Howe's job as the director of the California Palace of the Legion of Honor and art trips he organized. Documents include a survey of Los Angeles museum curator salaries, a questionnaire about Howe's work as a museum director, and a membership list of Bohemian Club artists. The bulk of the travel papers are itineraries.
The photographs are divided into two subseries: MFAA Section images and personal photographs. The Monuments Men subseries includes photographs documenting bomb damage to cultural monuments in various countries, though mainly Germany; U.S. soldiers transporting recovered artwork such as Michelangelo's Madonna and Child from the Altaussee salt mines in Austria, and other looted art repositories such as Neuschwanstein Castle and Berchtesgaden in Germany; Weisbaden and Munich collecting points; and art recovery of The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There are many photographs of the Monuments Men including Thomas Carr Howe, George Stout, Stephen Kovalyak, Lamont Moore, Patrick J. Kelleher, Edith Standen, and Rose Valland. Personal photographs consists of portraits of Howe and photographs of events, mostly formal dinners and parties.
Printed materials are clippings, postcards, fundraising pamphlets, essays, and memorial tributes for colleagues.
Arrangement:
The collection is arranged as 10 series:
Missing Title
Series 1: Biographical Materials, 1934-1955, 1974 (Box 1; 6 folders)
Series 2: Correspondence, 1932-1984 (Box 1-3; 2.1 linear feet)
Series 3: Writings, circa 1946 (Box 3; 2 folders)
Series 4: Professional Files, circa 1945-1975 (Box 3, 5; 0.3 linear feet folders)
Series 5: Monuments, Fine Arts and Archives Records and Looted Inventories, circa 1942-1950 (Box 3, 5, OV 6; 0.3 linear feet)
Series 6: Photographs, 1938-1970 (Box 3-5; 1.2 linear feet)
Series 7: Scrapbook, 1936-1948 (Box 4; 0.1 linear feet)
Series 8: Printed Materials, 1934-1980 (Box 4; 0.4 linear feet)
Biographical Note:
Thomas Carr Howe, Jr. (1904-1994) served as the director of the California Palace of the Legion of Honor in San Francisco for nearly four decades and, during World War II, as an officer in the U.S. Army's Monuments, Fine Arts and Archives unit assisting with locating, recovering, and restituting cultural objects and artwork stolen by the Nazis.
Howe was born in Kokomo, Indiana in 1904. He studied at Harvard University where he received his bachelor's and master's degrees. Howe was the assistant director of the California Palace of the Legion of Honor in San Francisco from 1931-1939 and director from 1939-1968. Howe was also the art commissioner for the San Francisco Golden Gate International Exposition (1939-1940) for which he organized an exhibition showcasing Mexican muralists.
During World War II, Howe joined the U.S. army and served from 1945 to 1946 in Germany and Austria. He began as a naval lieutenant but was soon assigned to serve in the Monuments, Fine Arts and Archives (MFAA) section. Howe reported to Lieutenant Commander George Stout at Wiesbaden, and was later promoted to Lieutenant Commander and Deputy Chief of the MFAA at Frankfurt. During his service as one of the "Monuments Men" Howe located hidden and recovered large repositories of cultural objects and works of art stolen by the Nazis. He also helped with the restitution effort. At the Altaussee salt mines in Austria, Howe helped salvage a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck, Vermeer's The Artists Studio, and the Rothschild family jewels. Howe later described his wartime work in his book Salt Mines and Castles: The Discovery and Restitution of Looted European Art (1946).
Howe resumed his position as the director of the California Palace of the Legion on Honor after the war, a position he held until his retirement in 1968. Through his career as a prominent art director, Howe was close with many American and international museum professionals, collectors and socialites. Friends and colleagues include Agnes Mongan and Paul Sachs (both former directors of Harvard's Fogg Museum), Whitney Warren, and Gerda and Hans-Erich Von Schmidt auf Altenstadt.
For his wartime service as a Monuments Men, Howe was honored with the Chevalier of the French Legion of Honor and the Officier of the Dutch Order of Orange-Nassau in 1946. At the request of the federal government, Howe also later served as the Cultural Affairs Advisor to the High Commissioner of Germany from 1950-1951, during which time he returned to Germany with S. Lane Faison, another MFAA official, to assist with closing the central collecting points where the recovered artworks has been held for restitution. From 1960-1968, Howe was a member of the Fine Arts Committee for The White House and he continued to serve on numerous panels and commissions as an art advisor.
Howe married Francesca Deering. Together they had one daughter Francesca.
Related Material:
Among the holdings of the Archives of American are the papers of several additional members of the U. S. Army MFAA section. There is an oral history interview with Thomas Carr Howe and Robert Neuhaus conducted by Paul Karlstrom and Peter Fairbanks on September 26, 1987 and another with Howe conducted by Paul Karlstrom on June 2-3, 1976.
Provenance:
Thomas Carr Howe donated his papers to the Archives of American Art in multiple installments from 1979 to 1982.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Arts administrators -- California -- San Francisco Search this
Topic:
Cultural property -- Protection -- Europe -- History -- 20th century Search this
Art thefts -- Germany -- History -- 20th century Search this
Museum directors -- California -- San Francisco Search this
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:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
1989.0438.1236A , Souvenir print commemorating the Panama-Pacific International Exposition held in San Francisco in 1915. Inscribed "Night Illumination - Panama Pacific International Exposition - SAN FRANCISCO, California - 1915;" Tower of Jewels depi...
Zim, Larry (Larry Zimmerman), 1931-1987 Search this
Container:
Map-folder 69
Type:
Archival materials
Date:
1915
Scope and Contents:
26 3/4 x 6 in.; 67.945 x 15.24 cm
Collection Restrictions:
Collection is open for research but two oversize folders are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Larry Zim World's Fair Collection, 1841-1988, Archives Center, National Museum of American History.
1989.0438.1236B, Souvenir print commemorating the Panama-Pacific International Exposition held in San Francisco in 1915. Inscribed "Night Illumination - Panama Pacific International Exposition - SAN FRANCISCO, California - 1915;" Tower of Jewels depic...
Zim, Larry (Larry Zimmerman), 1931-1987 Search this
Container:
Map-folder 69
Type:
Archival materials
Date:
1915
Scope and Contents:
26 3/8 x 6 in.; 66.9925 x 15.24 cm
Collection Restrictions:
Collection is open for research but two oversize folders are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Larry Zim World's Fair Collection, 1841-1988, Archives Center, National Museum of American History.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The United States has always been a country of immigrants and, thus, the proud inheritor of the artistic styles of many different peoples. The section of the Festival that focused on this particular feature of American culture was called "Old Ways in the New World". Here were brought together the sons and daughters of people who immigrated to the United States from various parts of the world and their cultural cousins who stayed at home. These two groups joined together at the Festival in the practice of their traditional artistic and creative behavior; thus they could celebrate a kind of family reunion while they examined together the changes that their different experiences had brought about.
Where possible, participants were invited from the same region or even the same village - both those who migrated and those who stayed at home. Where this was impossible or impractical, attention focused on behavior or style, tracing parallels in all aspects of tradition from cooking to dance. As in past years of the Festival, this program stimulated a healthy kind of self-examination for domestic communities that drew strength from discovering their relationship with older cultures as well as for the foreign guests, who could return to their homelands proud of the vitality of their own art forms that remained clearly identifiable, although removed by oceans of time and space.
June 16-20, Israeli and American Jewish, Romanian
June 23-27, Danish, Norwegian, Icelandic, Swedish, Finnish, Faroese
July 1-5, French, Canadian, Polish
July 7-11, British, Canadian, Portuguese
July 14-18, Yugoslav, Irish
July 21-25, Belgian, Egyptian
July 28-August 1, German, Pakistani
August 4-8, Spanish, Mexican
August 11-15, Japanese, Greek
August 18-22, Austrian, Indian
August 25-29, Swiss, Hungarian
September 2-6, Italian
Program Coordinator for the Old Ways in the New World was Shirley Cherkasky, with Assistant Program Coordinators Suzanne Cox, Jeffrey LaRiche, Genie Kitlaus, and Larisa Lucaci. An advisory group included Conrad Arensberg, Svatava Pirkova Jakobson, Alan Lomax, and David McAIIester.
Fieldworkers and presenters:
Héctor Aguíñiga, Richard González, Antony Hellenberg, Nazir Jairazbhoy, Anna Lomax, John McDowell, Daniel Sheehy, Gordon Thompson, Roger Welsch, Maria Behr, David Bjork, Calogero Cascio, Svatava Pirkova Jakobson
Participants:
Israeli
Mord'chai Abrahamov, 1945-, singer, dancer, instrumentalist, Tel Aviv, Israel
David Levi, 1934-, dancer
Mord'chai 'Aziz, 1935-, dancer
Yosef Gum'ah, 1923-, drummer, Tel Lachish, Israel
Elijahu Israel Lassa, 1932-, zurna player, Tel Lachish, Israel
Mord'chai 'Ezra, 1935-, singer, dancer, Tel Lachish, Israel
Yosef Rahamim, 1937-, dancer, Kiryat Malakhi, Israel
Rivka Levi, 1945-, singer, dancer, Kiryat Malakhi, Israel
Bathia Rahamim, 1947-, singer, dancer, Kiryat Malakhi, Israel
Bathia Levi, 1919-, dancer, instrumentalist, Kiryat Ono, Israel
Shoshana Danukh, 1920-, singer, instrumentalist, Kiryat Ono, Israel
Zehava Gedasi, 1957-, dancer, singer, Tel Aviv, Israel
Ahuva Gedasi, 1948-, dancer, singer, Givatayim, Israel
Moshe 'Oved, 1953-, singer, dancer, Amka, Israel
Amnon 'Oved, singer, dancer, Amka, Israel
Avraham Daniel 'Arussi, 1968-, singer, dancer, Kiryat Ono, Israel
Menachem 'Arussi, 1930-, dancer, singer, drummer, Kiryat Ono, Israel
Saadia Gur-Esh, 1928-, singer, drummer, dancer, Midrakh Oz, Israel
Ziona Nagar, 1951-, dancer
Binyamin Hershkowitz, 1946-, accordion, singer, drummer, Netanya, Israel
Arie Polak, 1956-, drummer, Herzlia, Israel
Moshe Choen, 1929-, singer, dancer, Bnei Brak, Israel
Yosef Pinchas Reimer, 1955-, dancer, drummer, Jerusalem, Israel
Yitzhak Meier Tritel, 1951-, dancer, clarinetist, Jerusalem, Israel
Levi 'Ochayom, 1927-, singer, drummer, Jerusalem, Israel
Yosef Ben-Nun, 1927-, singer, Jerusalem, Israel
David Weissman, 1933-, 'ud player, Jerusalem, Israel
Dr. Daniel Ronen, leader
Itimar Gurevitch, tour administrator
Uri Sharvit, folklorist
Jewish American
Ira Axelrod, badkhn, Brooklyn, New York
Nechama Biderman, succah maker, Flushing, New York
Avram Dahari, 1923-1999, singer, Brooklyn, New York
Naomi Dahari, 1924-1988, singer, food demonstrator, Brooklyn, New York
Ray Faust, 1900-1993, painter, New York, New York
Miriam Haymie, singer, food demonstrator, Brooklyn, New York
Shlomo Hymie, singer, Brooklyn, New York
Meyer Kirshenblatt, 1916-2009, toy maker, immigrant narrator, Downsview, Ontario
Rivka Kirshenblatt, food demonstrator
Lillian Klempner, 1897-1984, Yiddish folksinger, Brooklyn, New York
Tuvia Mekhabar, scribe, New York, New York
Mazel Nagar, singer, dancer, cook, Brooklyn, New York
Nissim Nagar, singer, dancer, Brooklyn, New York
Arie Ovagia, cantor, singer, Brooklyn, New York
Jerold Roschwalb, shofar demonstrator
William Shuster, 1904-2002, tailor, New York, New York
Tsirl Waletsky, paper cutter, Bronx, New York
Workmen's Circle Mandolin Orchestra -- Workmen's Circle Mandolin OrchestraRosario Carcione, 1909-1984, mandolinist, Bronx, New YorkFrances Darvick, mandolinist, Brooklyn, New YorkSophie Fuchs, mandolinist, Jamaica, New YorkBeverly Frierman, mandolinist, New York, New YorkMuriel Isbitts, mandolinist, New Milford, New JerseyFani Jacobson, mandolinist, leader, New York, New YorkNorman Levine, mandolinist, Brooklyn, New YorkTessie Nerenberg, mandolinist, Yonkers, New YorkMeyer Schein, mandolinist, Bronx, New YorkCharles Slater, mandolinist, Brooklyn, New YorkHenry Wurman, 1900-1981, mandolinist, Bronx, New York
Walter Pardon, 1914-, singer, North Walsham, Norfolk, England
Anne Rosetta Springfield, 1911-, Pearlie Queen, London, England
The Watersons and Martin Carthy -- The Watersons and Martin CarthyLal Waterson, 1943-1998, singerMike Waterson, 1941-2011, singer, Robin Hoods Bay, Yorkshire, EnglandNorma Waterson, 1939-, singer, Robin Hoods Bay, EnglandMartin Carthy, 1941-, singer, Robin Hoods Bay, England
A. L. (Albert Lancaster) Lloyd, 1908-1982, folklorist
S. A. Matthews, folk dance specialist, London, England
British-American
United States
John Ashby, 1915-1979, fiddler
Dillard Chandler, 1907-1992, ballad singer, Rosedale, New York
Lloyd Chandler, 1896-1978, ballad singer, Marshall, North Carolina
Nell Fernandez, singer, Summer Shade, Kentucky
Ray Hicks, 1922-2003, storyteller, Banner Elk, North Carolina
Wiktor Mikolajski, 1910-, tour administrator, Warsaw, Poland
Ludwik Bielawski, 1929-, folklorist, Warsaw, Poland
Polish American
The Gromada Family -- The Gromada FamilyAniela Gromada, 1908-1984, cellist, singer, Elmwood Park, New JerseyAnn Gromada, 1965-, dancer, Wyckoff, New JerseyJan Gromada, 1905-1996, fiddler, embroiderer, Elmwood Park, New JerseyJohn Gromada, 1964-, dancer, Wyckoff, New JerseyTadeusz Gromada, 1929-, second fiddler, dancer, Wyckoff, New JerseyTeresa Gromada, 1930-, dancer, singer, Wyckoff, New JerseyHenryk Kedron, 1926-, dancer, singer, metal worker, Hasbrouck Heights, New JerseyJanina Kedron, 1931-, fiddler, singer, dancer, Hasbrouck Heights, New JerseyTadeusz Koziek, 1930-1979, fiddle, bass player, singer, Garfield, New JerseyEdward Nowobielski, 1924-2006, singer, dancer, Garfield, New Jersey
Stephanie Batory, 1913-1994, decorative paper cuttings, Philadelphia, Pennsylvania
Portuguese
Grupo Coral da Aldeia Nova de São Bento -- Grupo Coral da Aldeia Nova de São BentoManuel de Mira Monge, 1925-, singer, São Bento, PortugalSilvestre Charraz Morais, 1945-, singer, São Bento, PortugalJosé Candeias Rosa, 1935-, singer, São Bento, PortugalManuel Carrasco Valadas, 1949-, singer, São Bento, PortugalManuel Toira Varela, 1934-, singer, São Bento, PortugalBento Charraz Calvinho, 1922-, singer, São Bento, PortugalJosé Francisco Esparteiro Serrano, 1951-, singer, São Bento, PortugalJosé Lopes Carrilho, 1919-, singer, São Bento, PortugalBento Brito Coelho, 1937-, singer, São Bento, PortugalJosé Valadas Mata-Setam, 1936-, singer, São Bento, Portugal
Grupo Folclórico Mirandes de Duas Igrejas -- Grupo Folclórico Mirandes de Duas IgrejasAntonio Maria Moorinho, 1917-, director, Duas Igrejas, PortugalJosé Pires Martins, 1912-, musician, Duas Igrejas, PortugalAlexandre Feio, 1914-, musician, Duas Igrejas, PortugalAlfredo Augusto Ventura, 1912-, musician, Duas Igrejas, PortugalDelmiro Braz Antão, 1915-, musician, Duas Igrejas, PortugalDomingos Augusto Ruano, 1955-, musician, Duas Igrejas, PortugalLuciano de São Pedro Martins, 1953-, musician, Duas Igrejas, PortugalAdão Dos Santos Moreira, 1926-, musician, Duas Igrejas, PortugalClemente de Jésus Amaro Dias, 1957-, musician, Duas Igrejas, PortugalMateus Augusto Martins Fidalgo, 1927-, musician, Duas Igrejas, PortugalArtur Raposo Alves Galego, 1956-, musician, Duas Igrejas, PortugalManuel João Alves, 1927-, musician, Duas Igrejas, PortugalManuel Baltazar Fernandes Aires, 1959-, musician, Duas Igrejas, Portugal
Maria Ernestina Costa Rodrigues, interpreter, Murtal São Pedro Do Estoril, Portugal
Portuguese American
Odete Amarelo, 1950-, food demonstrator, Fall River, Massachusetts
Manuel Azuvedo, 1917-2004, singer, dancer, Sacramento, California
Maria Alice Cordeiro, 1961-, singer, Fall River, Massachusetts
Elaine C. Oliveira, 1938-, singer, musician, Somerset, Massachusetts
Armindo I. Paira, 1963-, singer, Fall River, Massachusetts
Scheeseler Beekschepers -- Scheeseler BeekschepersWilhelm Leuenroth, 1906-, clarinet player, Wittkopsbostel, GermanyBernd Meyer, accordion player, Visselhoevede, GermanySiegfried Johann Karl Lott, 1933-, friction drum, flute, jaws harp player, Rohr, GermanyHans Johannes Almering, 1941-, clarinet player, Ahaus-Wüllen, GermanyUrsula Christina Wassing Almering, 1942-, accordion player, Ahaus-Wüllen, GermanyUrsula Blomeier, 1920-, street organ player, Berlin, GermanyKonrad Koestlin, 1940-, folklorist and presenter, Hoffeld über Bordesholm, Germany
German American
Albert Fahlbusch, 1925-2005, hackbrett player and maker, Scottsbluff, Nebraska
Mary Fahlbusch, 1932-2013, food demonstrator, Scottsbluff, Nebraska
Roger Fahlbusch, 1958-, hackbrett player and maker, Scottsbluff, Nebraska
Ray Stahla German-Russian Band -- Ray Stahla German-Russian BandRay Stahla, 1929-, accordion player, Grand Island, NebraskaPhil Stahla, 1949-, trombone player, Gillette, WyomingRandy Stahla, 1952-, drummer, Greeley, ColoradoJohn Klein, 1919-1982, hackbrett player, Lincoln, Nebraska
Dorf Musikanten -- Dorf MusikantenJohn Braun, 1938-, accordion player, Mequon, WisconsinRoland A. Braun, 1923-2004, clarinet and zither player, Milwaukee, WisconsinEarl Hilgendorf, 1934-, trumpet and fluegel horn player, Mequon, WisconsinHarold Pipkorn, 1927-, baritone player, Mequon, WisconsinJacob Skocir, 1913-2008, guitar and mandolin player, Milwaukee, Wisconsin
Die Tiefen Keller-Kinder -- Die Tiefen Keller-KinderLarry Bobe, 1955-, trombone player, Amana, IowaJeff Ehrmann, 1956-, cornet player, Amana, IowaPatrick H. Kellenberger, 1951-, tuba player, South Amana, IowaDennis Kraus, 1955-, cornet player, Middle Amana, IowaMark H. Rettig, 1951-, baritone player, Middle Amana, IowaCarol Schuerer, 1958-, clarinet player, Amana, IowaPaul R. Staman, 1958-, cornet player, Amana, IowaAlan J. Trumpold, 1953-, tuba player, South Amana, IowaGuy H. Wendler, baritone and cornet player, Amana, IowaBrad Zuber, 1956-, manager, Amana, IowaRobert Zuber, 1957-, trombone player, Homestead, Iowa
Spanish American
Andalusian
Manuel "Agujetas" De Los Santos, flamenco singer, New York, New York
Tibulina De Los Santos, flamenco dancer, New York, New York
Asturian
Sixto Alonso, singer, Kearney, New Jersey
Basque
Elisa Vidasolo, dancer, Brooklyn, New York
Luis Vidasolo, dancer, Brooklyn, New York
Maria Luisa Vidasolo, cook, Brooklyn, New York
Alys Viña, 1914-1993, tambourine player, Cranford, New Jersey
Angelo Viña, 1914-2003, drummer and fife player, Cranford, New Jersey
Galician
Domingo Casais, bombo player, Bayonne, New Jersey
Francisco Castineira, dancer, Kearny, New Jersey
Manuel Galan, bagpiper, Seaford, New York
Manolo Garcia, dancer, North Tarrytown, New York
Fina Meizoso, dancer, Woodside, New York
Kim Munoz, dancer, Queens, New York
Manuel Pena, tambor player, Corona, New York
Carlos Rodriguez, bagpiper, Elizabeth, New Jersey
Old Spanish
Cleofes Vigil, 1917-1992, singer, San Cristobal, New Mexico
Puerto Rican
Cuarteto Isabelino, instrumental ensemble -- Cuarteto Isabelino, instrumental ensembleWilfredo Cordero, Isabela, Puerto RicoJoaquin Rivera, 1910-1995, Isabela, Puerto RicoMatildo Rosado Santiago, Isabela, Puerto RicoDomingo Ruiz, Isabela, Puerto Rico
Mexican
Los Caporales -- Los CaporalesRicardo Gutierrez Villa, violin, Apatzingán, Michoacán, MexicoRubén Cuevas Maldonado, harp, Apatzingán, Michoacán, MexicoCarlos Cervantes Mora, guitarra de golpe, Michoacán, MexicoOvaldo Ríos Yañez, five string guitar, Tomatlán, Michoacán, MexicoJesús Espinoza Mendoza, violin, Apatzingán, Michoacán, Mexico
Pokar de Ases -- Pokar de AsesMartín Ruíz Luciano, small drum, San Juan, Guerrero, MexicoZacarías Salmerón Daza, violin, Tlapehuala, Guerrero, MexicoJuan Taviera Simón, violin, Ajuchitlán, Guerrero, MexicoSalomón Echeverría de la Paz, bass guitar, Tlapehuala, Guerrero, MexicoNicolas G. Salmerón, guitar and lead singer, Tlapehuala, Guerrero, Mexico
Grupo de Musica Azteca – Puebla -- Grupo de Musica Azteca – PueblaJulio Ocelo Abrajan, huehuetl playerFrancisco García, redoblante, Tlacopac, San Angel, MexicoCrescenciano Chantes Misnáhuatl, chirimia, Tlacopac, San Angel, Mexico
Los Gavilanes -- Los GavilanesAlberto Hernández Carmona, Veracruz, MexicoFortino Hoz Chávez, jarana, Boca del Rio, Veracruz, New MexicoRamon Hoz Chávez, arpa, Boca del Rio, Veracruz, MexicoEvaristo Silva Reyes, pandero, Tlacotlalpan, Veracruz, MexicoJosé Aguirre Vera, requinto, Tlacotlalpan, Veracruz, Mexico
Banda Sinaloense -- Banda SinaloenseJuventino Cruz, bass drum, Los Angeles, CaliforniaFrancisco Garcia, trombone, Los Angeles, CaliforniaPascual Garxiola, trombone, Los Angeles, CaliforniaAntonio Ibarra, snare drum, Los Angeles, CaliforniaManuel Luna, clarinet, Los Angeles, CaliforniaMiguel Nuñez, clarinet, tuba, Los Angeles, California
Isabella Ortega, 1926-2000, food demonstrator, Santa Fe, New Mexico
Ben Ortega, 1923-1998, wood carver, Santa Fe, New Mexico
Luis Eligio Tapia, 1950-, wood carver, Santa Fe, New Mexico
Conjunto Jarocho -- Conjunto JarochoRoberto Murillo, 1941-2001, Vera Cruz harp player, La Mirada, CaliforniaHarry González, 1932-, guitar and requinto jarocho player, Walnut Creek, CaliforniaSteve Luévano, 1939-, jarana jarocho player, Los Angeles, CaliforniaCarlos Gonzalez, 1936-, jarana jarocho player
José Mariano Ortega, 1921-, corrido singer, guitar player, Los Angeles, California
María Elena Villarreal, corrido singer, guitar player, Los Angeles, California
The Tyrolers -- The TyrolersEmery Wechselberger, 1933-, zither player, yodeler, Leavenworth, WashingtonEric Wechselberger, 1961-, trumpet player, Leavenworth, WashingtonRoy Wechselberger, 1963-, trumpet and bells player, schuhplatt dancer, Leavenworth, WashingtonFranz Schauer, drummer, Seattle, Washington
The Alpiners -- The AlpinersDick Theml, 1922-2003, violin player, singer, Glenview, IllinoisJohn Weber, 1945-, tuba player, Chicago, IllinoisMiles G. Soumar, 1933-2013, clarinet player, Chicago, IllinoisEdward C. Richter, 1917-1998, accordion player, Chicago, IllinoisRichard A. Jenson, 1942-, trumpet player, Palatine, IllinoisJerome C. Olson, 1934-1991, drummer, Chicago, IllinoisHeidi Siewert, 1938-, singer, yodeler, Glen Ellyn, Illinois
Sara Schwarz, 1912-1992, embroiderer, Chicago, Illinois
Rosegger Steirer Group -- Rosegger Steirer GroupBeryl Rossner, 1925-2010, folk dancer, Highland, IndianaCarl Rossner, 1921-1993, folk dancer, Highland, IndianaBarbara Rossner, 1958-, folk dancer, Highland, IndianaMichael Rossner, 1955-, folk dancer, Highland, IndianaBetty Wagner, 1930-, folk dancer, Chicago, IllinoisEdward Wagner, 1958-, folk dancer, Chicago, IllinoisAdolph Wagner, 1924-1982, accordion player, Chicago, IllinoisSharon Schuch, folk dancerMary Schuch, 1928-, folk dancer, Oak Lawn, IllinoisRoberta Schuch, 1961-, folk dancer, Oak Lawn, IllinoisAnthony Schuch, 1928-, folk dancer, Oak Lawn, IllinoisEllen Guenther, 1962-, folk dancer, Oak Lawn, IllinoisHedwig Guenther, folk dancer, Oak Lawn, IllinoisPaul Coglianese, 1957-, folk dancer, Oak Lawn, IllinoisFred Semmler, 1939-, folk dancer, Chicago, Illinois
Indian
The Chetana Indian Women's Organization, traditional food preparation
Dancers & singers from Manipur
Dancers & singers from Rajasthan and Gujarat
Dancers & singers from the Punjab and Haryana
Mrs. Battobai, folk doll maker
Surya Dev, madhubani painter
Bindeshwari Devi, sikki grass work
Sita Devi, madhubani painter
Mohan Mehar, ikat weaving from Orissa
Shantantra Prakash, craft program coordinator, New Delhi, India
Raghunath Singha, loin loom weaving of Manipur
Indian American
Arun Agrawal, 1945-, singer, dancer, musician, Fall River, Massachusetts
Paul Anderson, 1935-, singer, Windsor, Ontario, Canada
Brigitte Geiser, 1941-, field researcher and presenter, Bern, Switzerland
Swiss American
Kapelle Werner Blaser -- Kapelle Werner BlaserWerner Blaser, 1926-, clarinet and saxophone player, Chehalis, WashingtonJoe Blaser, 1956-, clarinet and saxophone player, Chehalis, WashingtonDon Blaser, 1961-, accordion player, Chehalis, WashingtonMary Ann Ackerman, piano player, Orting, WashingtonJoe Burgi, 1906-1990, bass and accordion player, Tacoma, WashingtonRandy Grab, 1953-, bass player, Tacoma, Washington
Young Swiss Musicians -- Young Swiss MusiciansHelen Rast, 1961-, accordion player, San Jose, CaliforniaFrank Rast, 1959-, trumpet and alphorn player, San Jose, CaliforniaFred Rast, 1958-, clarinet, saxophone and alphorn player, San Jose, CaliforniaChristine Anderson, 1961-, bass player, Newark, CaliforniaKaren Anderson, 1959-, clarinet and alto saxophone player, Newark, CaliforniaSonja Ruckli, 1958-, piano player and singer, Newark, CaliforniaMichael Imhof, 1959-, accordion player, Fremont, California
Aelplergruppe -- AelplergruppeSergio Sartori, 1927-1978, accordion player and singer, San Francisco, CaliforniaDennis Sartori, 1954-, accordion player and singer, San Francisco, CaliforniaConrad Grass, 1954-, wrestler, San Bruno, CaliforniaRobert Wipfli, 1953-, wrestler, Fremont, California
Kaspar Hunkeler, flag thrower, Chevy Chase, Maryland
Robbi Hunkeler, flag thrower and alphorn player, Chevy Chase, Maryland
Italian
Calabria
Francesco Crudo, 1933-, piffero (oboe) player, Rombiolo, Italy
Michele Monteleone, 1918-, zampogna player (bagpiper), Rombiolo, Italy
Liguiria
Squadra Nuova Pontedecima, polyphonic chorus
Alessandro Anzini, 1940-, escort, Rome, Italy
Italian American
Basilicata
Antonio Davida, singer, drum player
Calabria
Anunziata Chimento, 1917-2006, singer, masker in Carnevale
Anunziato Chimento, singer, dancer, castanets player, "Doctor" in Carnevale
Franco Cofone, singer, dancer, quadrille caller, "Pulcinella" and master of ceremonies in Carnevale
Giuseppe DeFranco, 1933-, musician, singer, dancer
Raffaela DeFranco, 1935-, singer, dancer
Antonio DiGiacomo, tambourine player, singer, dancer
Carmine Ferraro, singer, dancer, masker in Carnevale
Francesco Feraco, singer, dancer, tambourine player
Angelo Gabriele, 1921-2006, singer, tambourine player, dancer, masker in Carnevale
Angelo Gencarelli, 1920-2004, singer, dancer, "La Quaresima" (Lent) in Carnevale
Federico Gencarelli, singer, tambourine player
Giuglio Gencarelli, singer, "Carnevale" in Carnevale
Maria Melito, dancer, masker in Carnevale
Molise
Vincenzo Deluca, 1933-1983, bagpiper
Sicily
Vincent Ancona, 1915-2000, chanty singer
Nino Curatolo, 1928-1980, singer of chanties, carittiere and fish vendors' songs, jaws harp player
Gaetano D'Angelo, 1906-1996, chanty singer
Giovanni Pellitteri, friscalettu (cane flute) player
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
"Regional America" cut across all the other sections of the Festival by looking at the assemblages of different peoples scattered across our land. In this area, therefore, visitors could see working people and children, ethnics and blacks and Native Americans brought together to celebrate not so much their individual identities but the space in which they all live together, their homeplace within the wide American land.
A region was acknowledged to be a hard thing to create on the Mall; it is an abstract made up of a thousand concrete details: the lay of the land, the slant of the sunlight, the way a person says "Good morning," the particular records on the jukeboxes in the diner, the depth of the topsoil, the smell of Sunday dinner. So in Regional America the Festival brought together the people who lived in a particular place and asked them to demonstrate the arts and the skills that make it possible to live in that place and that most powerfully characterize it. It is the sense of home that the Smithsonian sought to capture here.
June 16-20, the Northeast. The Northeast Region combines the peoples and the traditions of the Atlantic Northeast (Pennsylvania, New York, New Jersey, and Delaware) and those of New England. There were demonstrations of lobster trap making, whittling, quilting, and snowshoe making, traditional food preparation, and presentations of Anglo, French, and German American traditional music.
June 23-27, the Great Lakes. The Great Lakes region is a large area consisting of diverse peoples and traditions. Scandinavian, Eastern European, Mediterranean, and Native American music, crafts, and food demonstrations included birch bark canoe building, bread baking, and pysanky decorating. From the farming and dairy areas, skills such as shingle making and wood carving were presented, along with dairy cattle demonstrations of milking, calf feeding, and caring for livestock. Demonstrations of maritime activities included fish net making, waterfowl decoy carving, dock building, and storytelling. Blues and other transplanted styles of Southern music were also performed.
July 1-5, the South. Presentations included Alabama folk painting, traditional boat building, stitchery by Ethel Mohamed (who did the tapestry on the cover of the 1976 program book), decoy carving and painting, a Freedom Quilting Bee, pottery, and splint basket making. Regional America's presentation of Southern foodways traditions included the preparation of pecan pralines, various gumbos, crawfish, and sorghum.
July 7-11, the Upland South. Crafts presented this week included quilting, blacksmithing, stone carving, barrel making, and whittling. Vinegar pie, hominy, biscuits and gravy were made for sampling, with barbequed chicken, corn on the cob, cobbler, and barbequed beans for sale.
July 14-18, the Heartland. Craft presentations included the making of apple head dolls, corn husk dolls, tree branch dolls and spurs, wood carving, and pysanky (egg decorating.) Foodways demonstrations includes the preparation of such regional specialties as kolaches (a Bohemian fruit-filled bun), sweet braided bread, New Year cookies, cheese, and sauerkraut.
July 14-18, the Great West. Featured crafts included quilting by seven different participants, wagon wheel making, horse hair rope making, wood carving, braided and woven rug making, and the demonstration of traditional fence building styles. Preparation of foods from the Great West was demonstrated including bratzells (cookies baked over an open fire), whole wheat bread, and the canning of sauerkraut, pickles, relish, and jelly.
July 28-August 1, the Pacific Northwest. Craft presentations included fly tying and casting, snow sled making, fiddle making, a logging demonstration, weaving, whittling, net making, boat building, and paper cutting. Foodways demonstrations featured a camp cook making pancakes and sourdough bread, traditional to the logging life of the Pacific Northwest.
August 4-8, the Southwest. Visitors could see cowboy boot making, adobe making, mural painting, calf roping, saddle making, rawhide work, and soap making demonstrated as part of the presentation of the culture of the Southwest. Traditional ranch cooking was demonstrated, with chili, beans, and sourdough biscuits among the featured specialties.
Barbara LaPan Rahm was Program Coordinator; William K. McNeil was Folklorist; and Diana Parker was Assistant Program Coordinator.
Clarence E. Smith, 1940-, Oakland, California, ex-Texas
Lorence L. Smith, Colorado
Elaine Sylvia, California
Ron Sylvia, California, ex-Massachusetts
Elizabeth Rose Tea, 1920-, Clifton, Arizona
Pablo Trujillo, 1916-, New Mexico
Florentino Urias, Presidio, Texas
Jose Urias, Texas, Presidio, Texas
Maria Velasquez, California
Ossie White, California
Roscoe White, California
Jesse Wright, California
Jimmy Wright, singer, Fresno, California
Walter Wright, singer, Fresno, California
William Wright, 1914-1982, singer, Selma, California
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
California College of Arts and Crafts -- Faculty Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
95 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 July 31-October 10
Scope and Contents:
An interview of Bob Winston conducted 2002 July 31-2002 October 2002, by Suzanne Baizerman, for the Archives of American Art as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home in Concord, California.
Winston speaks of his early childhood and running away from home at 19 months old, being found in a garage and building things ever since; the numerous operations he had as a child; his dyslexia and how he got through college; the death of his father and move to Berkeley, California; teaching at Berkeley High school; 17 years teaching at California College of Arts and Crafts (1942-1959) and the growth of the school throughout that time period; moving to Arizona and teaching lost wax casting in an abandoned supermarket; his inventions, Win-Ox, an oxidizer, and Bubble-Be-Gone, a cleaner; his latest sale of Win-Ox; his title as "San Francisco's Most Professional Eccentric;" and finding that a lot of the people he teaches do not find the "magic" that he does in jewelry work. Winston then discusses his current studio layout in an former hospital building; his machines and different work rooms; his chemistry table, where he makes his Win-Ox solution; his collection; how he's accomplished so much despite his dyslexia; the Hunt brothers and how they made the price of gold drop; living from Art Festival to Festival on the road in his Jeep; his mentors John Haley and Chiura Obata; and his bike, which he still rides. Winston also recalls Aileen Webb, Margaret DePatta, Gene Bielawski, Mark Hopkins, Karl Kasten, and others.
Biographical / Historical:
Bob Winston (1915-2003) metalsmith of Walnut Creek, California. Suzanne Baizermann, art historian, Alameda, California.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 4 hr., 41 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Metal-workers -- California -- Interviews Search this
Correspondence in this series is primarily between Walt Kuhn and his professional and personal contacts and spans his entire career. Correspondents include family members, fellow artists, students, dealers, museum and gallery staff, collectors, friends, fans, critics and colleagues. Copies of outgoing correspondence are often present and are interfiled chronologically. Also included is scattered correspondence of Vera and Brenda Kuhn, and correspondence written after Kuhn died that documents his family's efforts to exhibit, sell, and donate his work.
The content of the correspondence ranges from personal and candid to purely transactional. Artists, collectors, dealers, and critics involved in the creation of significant works of art and collections in the early 20th century are represented. An alphabetical index of selected correspondents in this series is provided in the appendix. Another resource for accessing correspondence are the card files in Series 4.8: Notes and Writings, where correspondence with various contacts was indexed by the Kuhns and filed alphabetically by name.
In 1938, Walt and Vera Kuhn wrote and self-published the pamphlet, "The Story of the Armory Show" and sent it gratis to hundreds of interested parties. Among the correspondence from that year are many heartfelt reponses from fellow artists and other witnesses to the 1913 event, including Charles Sheeler, William Glackens, Stuart Davis, André Derain, Henri Roché, Walter Pach, and J.H. du Bois to name just a few.
Kuhn regularly instructed students through the mail with lengthy letters about painting techniques and methods. San Francisco painter Otis Oldfield is represented by over 100 lengthy letters in this subseries. Kuhn's letters to Oldfield, returned at Kuhn's request in 1945 for a publication project that was never realized, are interfiled. Other correspondence students include Patsy Santo, Frank di Gioia, Watson Bidwell, John Bernhardt, John Laurent, Goldie Paley, and Eric Lundgren. See the appendix for dates.
Types of material include letters (sometimes illustrated), postcards, invitations, announcements, and Christmas cards, which are sometimes made of original artwork. Enclosures are often found, such as photographs, clippings, tracings of art work, writings, receipts, passes and membership cards. Some letters indicate enclosures that were previously separated and can be found in other series.
Significant writings enclosed with correspondence include an early vaudeville script written by Kuhn and his friend, Archibald Macnab (1923); drafts of articles about Kuhn by the poet Genevieve Taggard (1931), critic Alan Burroughs (1930), and patron Eloise Spaeth (1950); and an unpublished history of the 1913 Armory Show by Paul Bird (1938). Photographs and photographic postcards are also found throughout the series. Included are photo postcards from Spain and France (1925), and from Arizona and California (1928); and photographs related to Kuhn's work for the Union Pacific Railroad Company (1936, 1938).
Additional correspondence can be found throughout the collection. See individual series descriptions for details.
See Appendix for a list of selected correspondents in Series 4.3.
Appendix: Selected Correspondents in Series 4.3:
The following is a selective list of correspondents represented in Series 4.3: General Correspondence, with cross-references to correspondence in 4.4: Selected Gallery and Exhibition Files and 4.5: Provenance Files. It is not comprehensive. An effort has been made to index regionally and nationally known artists, Kuhn's patrons and students, models, art historians, writers, museum and gallery staff, dealers, and persons known to be well-represented in other collections at the Archives of American Art. Cross-references to existing letters in other parts of the Kuhn papers and Armory Show records are included selectively. Correspondents who have not been indexed include family members, neighbors, business contacts from his theater and vaudeville work of the early 1920s, and from his railroad car design work from 1936 to 1948.
Barr, Alfred H. Jr. (Museum of Modern Art): 1929, 1934, 1945 (5 letters)
Barrie, Erwin S. (Grand Central Art Galleries): 1927, 1951 (5 letters; see also Selected Gallery and Exhibition Files)
Barrington, Lewis: 1932
Barry, Bobby (see Provenance Files, "Portrait of Bobby Barry")
Bartlett, Frederic Clay, Jr.: 1939-1940, 1942-1943, 1945, 1947 (7 letters; see also Selected Gallery and Exhibition Files)
Bartley, Louise: 1931
Baur, John I.H. (Brooklyn Museum): 1946 (see also Selected Gallery and Exhibition Files)
Beals, Ralph A. (New York Public Library): 1949
Bear, Donald (Santa Barbara Museum of Art): 1936-1938, 1945, 1948, 1949 (6 items including Christmas cards with original prints; see also Selected Gallery and Exhibition Files)
Beerbohm, Marvin (Detroit School of Art): 1938
Bell, Janet M. (John and Mable Ringling Museum of Art): 1952 (4 letters)
Belmont, Eleanor R.: 1935 Benjamin, Ruth: 1940
Bernays, Edward L. (see also Doris E. Fleischman): 1928, 1935-1937 (4 letters)
Bernhardt, John: 1948-1950 (4 letters; see also Selected Gallery and Exhibition Files, 1947)
Frankenstein, Alfred V. ( -- San Francisco Chronicle -- ): 1940 (2 letters)
Frankfurter, Alfred M.: 1938, 1945, 1947, 1948, 1950 (10 letters)
Fraser, Joseph T. (Pennsylvania Academy of the Fine Arts): 1947, 1951 (3 letters; see also Selected Gallery and Exhibition Files)
Free, Karl R.: 1935
Freeman, Anna (Whitney Museum of American Art): 1938 (2 letters)
Frey, Erwin F.: 1943, 1945, 1947 (4 letters)
Frueh, Alfred: 1925, 1953 (2 letters)
Freund, Frank E.W.: 1932, 1934-1935, 1938 (7 letters)
Friede, Donald S. (Boni and Liveright Publishers): 1927
Frink, Angelika W.: 1941 (see also Selected Gallery and Exhibition Files)
Gallagher, Edward J.: 1952
Gallatin, Albert E.: 1927, 1928 (3 letters)
Gardner, Paul (William Rockhill Nelson Gallery of Art): 1936, 1938-1945, 1947-1950 (26 items including Christmas card with original print; see also Selected Gallery and Exhibition Files)
Gardner, Mrs. William (see Owen)
Garrett, Garet: 1928
Garrett, Alice (Mrs. John Work): 1938, 1939 (5 items, including Christmas card with original photograph)
Gates, Margaret (Studio House, Philips Memorial Gallery): 1935
Genauer, Emily (New York World Telegram): 1947
Gest, J.H. (Cincinnati Museum Association): 1928 (3 letters)
Gise, Margaret (Marie Harriman Gallery): 1938 (see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")
Glackens, William and Edith: 1938
Glackens, Edith: 1938, 1941, 1943, 1949, 1950 (7 items, including outgoing letters of condolence when William Glackens died, and response from Edith with account of his last day)
Godwin, Black-More (Toledo Museum of Art): 1932 (2 letters)
Goodrich, Lloyd (Whitney Museum of American Art; see Provenance Files, "Man with Ship Model")
Goodyear, A. Conger: 1934, 1938, 1941, 1949 (5 letters; see also Selected Gallery and Exhibition Files, and Provenance Files, "Dryad" and "Man From Eden")
Goodyear, Mary (Mrs. A. Conger, also Mrs. John W. Ames): 1936-1942, 1947, 1949, 1954 (44 letters; see also Selected Gallery and Exhibition Files)
Grace Horne Galleries (see M.E. Brown, Littlefield; see also Selected Gallery and Exhibition Files)
Graham, John D.: 1937
Greason, Donald (Deerfield Academy): 1942 (discussing Harry Whitney)
Grossman, Ted (Edwin Booth): 1938, 1940, 1941, 1945, 1948, 1951, 1952 (13 letters; see also Selected Gallery and Exhibition Files)
Grumman, Paul H. (Joslyn Memorial Art Museum): 1943
Hagen, Oskar: 1938, 1939 (2 letters)
Hagerman, Percy (Colorado Springs Fine Arts Center): 1949
Hale, Dorothea: 1928
Hale, Robert B. (Metropolitan Museum of Art): 1950-1951 (2 letters)
Halpert, Edith (Downtown Gallery): 1927, 1928, 1929, 1930 (7 letters; New Year card 1928 printed with collage of Walt Kuhn)
Keppel, Frederick P. (Carnegie Corporation): 1938 (2 letters)
Kerr, George F. (Society of Illustrators): 1930 (2 letters)
Kimball, Fiske (The Pennsylvania Museum): 1928, 1939 (2 letters)
Kingman, Eugene (Joslyn Memorial Art Museum): 1951 (4 letters)
Kirsch, Dwight (University of Nebraska Department of Art): 1941, 1943-1944, 1946, 1950, 1953 (9 letters; see also Selected Gallery and Exhibition Files)
Kirstein, Lincoln (Museum of Modern Art): 1932
Kissel, Eleanora: 1928
Kistler, Aline ( -- San Francisco Chronicle -- , -- The San Franciscan -- , M.H. de Young Memorial Museum): 1929, 1930, 1932, 1933 (6 letters)
Klopfer, Donald S. (Random House, Inc.): 1940
Kohl, Dorothy (Philadelphia Art Alliance): 1945 (3 letters)
Komroff, Manuel: 1938
Kravis, Hal: 1936, 1941 (3 letters)
Kunstverein München E.V.: 1930
Kurtzworth, Harry Muir (Los Angeles Art Association, California Academy of the Fine Arts): 1938 (2 letters)
Lahr, Bert: 1948 (see also Provenance Files, "Portrait of Bert Lahr")
Labaudt, Lucien: 1929, 1933, 1936, 1937, 1938 (5 items including Christmas card; see also Selected Gallery and Exhibition Files)
Lamb, James E.: 1928, 1930, 1935, 1937 (4 letters)
Larcada, Dick: 1963
Laurent, John: 1947-1950, undated (12 letters; see also Selected Gallery and Exhibition Files)
Laurent, Mimi (Mrs. Robert): 1952
Laurent, Robert (Indiana University): 1923, 1949, 1953 (8 letters; see also Provenance Files, "Black Butterfly")
Lea, Lida Gorwin; 1935-1938, 1942 (8 letters, including Christmas card with original print; see also Selected Gallery and Exhibition Files)
Mencken, H.L.: 1945, 1946, 1947 (3 letters; see also Series 4.8: Notes and Writings)
Merrick, James Kirk (Philadelphia Art Alliance): 1945
Messer, Thomas M. (American Federation of Arts): 1952-1954 (5 letters)
Metcalf, Thomas N. (Boston Museum of Modern Art, Inc.): 1938, 1940 (2 letters)
Metropolitan Museum of Art: 1949, 1956 (5 letters; see also Hale, F.H. Taylor, Wehle)
Mellon, Minna (Mrs. Paul): 1946
Millay, Edna St. Vincent (typed copy): 1947 (see also Engen Boissevain in Selected Gallery and Exhibition Files)
Miller, Dorothy C. (Museum of Modern Art): 1943
Miller, Lulu F. (The Hackley Gallery of Fine Arts): 1928
Milliken, William M.: 1936 (2 letters)
Minnigerode, C. Powell (Corcoran Gallery of Art): 1928 (2 letters)
Montclair Art Museum: 1928, 1932 (2 letters)
Montgomery, Gertrude: 1928
More, Hermon (Whitney Museum of American Art): 1933, 1935, 1943, 1948-1950 (8 letters)
Morgan, Agnes: 1938
Morison, David (Hamilton Easter Field Art Foundation): 1930
Morley, Grace: 1936, 1937-1939, 1943 (11 letters; see also Selected Gallery and Exhibition Files)
Morse, John (see Provenance Files, "Man and Sea Beach")
Muguruza Otaño, Pedro: 1928
Museum of Art of Ogonquit: 1953 (see also Strater)
Museum of Modern Art (see Barr, Catlin, Haven, Hawkins, Kirstein, D. Miller, Pelles, A. Porter)
Nadelman, Viola M. (Mrs. Elie): 1947
Nankivell, Frank: 1934-1935 (Christmas cards with signed prints)
National Arts Club: 1932
Newhall, Beaumont (Museum of Modern Art): 1938
Nichols, Hobart (National Academy of Design): 1948
Nichols, J.C. (William Rockhill Nelson Trust): 1948
North, Henry Ringling (Ringling Brothers): 1941 (2 letters)
Norton Gallery and School of Art (see Hunter)
Norton, Ralph H. (Norton Gallery and School of Art): 1948
O'Connor, John Jr. (Carnegie Institute): 1943, 1945-1946, 1948 (8 letters)
Oldfield, Otis: 1928-1946, 1948-1949, 1951-1952, undated (111 letters; 1931, 1941, undated include Chritmas cards with print; see also Selected Gallery and Exhibition Files)
O'Neil, John (University of Oklahoma): 1946
Owen, Ronnie (Mrs. William Gardner): 1941-1942, 1944-1946, 1948-1949 (15 letters)
Owens, Virginia B.( -- Christian Science Monitor -- ): 1943 (2 letters)
Roullier, Alice F. (Arts Club of Chicago): 1925, 1927, 1933, 1941 (8 letters; see also Selected Gallery and Exhibition Files)
Rousseau, Théodore: 1935
Rumsey, Mary H. (Mrs. C.C.): 1930, 1934-1936, 1938, 1940, 1945, 1949, undated (11 items including Christmas card and receipts for paintings sold)
Ryan, Beatrice Judd (Beaux Arts Galerie): 1928, 1929 (4 letters)
Saint-Gaudens, Homer (Carnegie Institute): 1931, 1933, 1940, 1946-1949 (18 letters; see also Selected Gallery and Exhibition Files)
Saklatwalla, Ann: 1944-1945 (2 letters; see also Provenance Files, "Bareback Rider")
Saklatwalla, B.D.: 1928, 1930-1936, 1941 (2 letters, 7 Christmas cards containing prints, 1931 print signed Jean Crotti)
Salinger, Jehanne Bietry: 1928-1930, 1933, 1935, 1946-1948 (includes signed print by Harry Wickey; 17 letters)
Salons of America: 1923, 1924
Salpeter, Harry ( -- Esquire -- ): 1936-1938 (6 letters)
Sanborn, Robert Alden: 1945
Sands, Mary (Museum of Modern Art): 1930
Sanger, Helen: 1948-1950, 1953, 1963 (16 letters)
Sanger, Margaret (American Birth Control League, Inc.): 1928
Santa Barbara Museum of Art (see Bear, Steele, Story; see also Selected Gallery and Exhibition Files)
Santo, Patsy: 1937-1946, 1948-1949, 1953 (103 letters, some illustrated)
Sardi Gina, Anne (Marie Harriman Gallery): 1941-1942, 1947, 1949 (6 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")
Schulte, Antoinette: 1932-1938 (8 items, including Christmas card with original print)
Seiberling, Frank Jr. (Toledo Museum of Art): 1943, 1946 (3 letters)
Seymour Halpern Associates: 1945
Shapiro, Meyer: 1938
Sharkey, Alice M. (Whitney Museum of American Art): 1944
Shaw, Marjorie: 1930 (Christmas card with woodblock print)
Sheeler, Charles: 1938 (See also Series 4.2: Walt Kuhn Letters to Family)
Shostac, Percy (Labor Division, Greater New York Fund): 1941
Shyrock, Burnett H.: 1938 (4 letters)
Siple, Walter H. (Cincinnati Art Museum): 1938, 1942, 1945 (4 letters)
Skeoch, Mary E.: 1934-1936, 1938 (8 letters)
Skira, Alfred: 1932 (5 letters; see also Selected Gallery and Exhibition Files, 1933)
Smith, Adele (Studio House, Philips Memorial Gallery, Museum of Modern Art Gallery of Washington): 1935, 1938, 1939 (5 letters; see also Selected Gallery and Exhibition Files)
Smith, Cecil: 1937-1938 (3 letters)
Smith, Gordon M. (Currier Gallery of Art): 1950
Smoluchowska, Donia (Arden Gallery, Marie Harriman Gallery): 1929, 1932 (3 letters; see also Selected Gallery and Exhibition Files)
Teigen, Peter (Princeton University School of Architecture): 1928, 1929 (2 letters)
Thayer, Ellen ( -- The Dial -- ): 1927, 1928 (2 letters)
Thompson, Mark B.: 1934, 1935, 1937 (3 letters; see also Selected Gallery and Exhibition Files)
Thorp, George G. (American Federation of Arts): 1947
Toledo Museum of Art (see Godwin, Rivière, Seiberling)
Toler, Sidney: 1941
Todd, Bianca: 1929, 1933, 1934 (3 items including Christmas cards with original prints)
Trovato, Joseph (Munson-Williams-Proctor-Institute): 1946, 1949 (2 letters)
Tucker, Allen: 1938
Turney, Winthrop: 1924
Tyson, Carroll: 1934
Underwood, Gilbert Stanley (architect): 1938, 1948 (5 letters)
Valentiner, Dr. W.R. (Detroit Institute of Arts): 1945
Valez, Dr. Xavier de: 1934
Venendi, Mario: 1949 (3 letters)
Vidar, Frede: 1936
Vreeland, Mr. and Mrs. Francis (Toby and Marion): 1934-1938 (6 letters)
Wadsworth, Alice (Mrs. James W.): 1940, 1941, 1942, 1945 (8 letters)
Waida, Robert: 1928
Waldron, James M. K. (Reading Public Museum and Art Gallery): 1936, 1937, 1961 (3 letters)
Walker, Maynard: 1946, 1948-1949, 1951-1952, 1955, 1961 (10 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Guide" and "Veteran Acrobat")
Ward, William: 1949
Washburn, Gordon B. (Rhode Island School of Design Museum of Art): 1945
Watkins, C. Law (Studio House, Phillips Memorial Gallery): 1933 (2 letters)
Watson, John (for John Quinn): 1914, 1921 (2 letters), 1938
Whitney, Harry: 1942 (see also Greason and Selected Gallery and Exhibition Files)
Whitney Studio Galleries (see also Force): 1929
Whitney Museum of American Art (see Force, Free, More, Freeman, Sharkey, Goodrich)
Wilder, Mitchell A. (Colorado Springs): 1946-1953 (75 letters; see also Selected Gallery and Exhibition Files)
Wilenski, R.H.: 1938, 1939, 1945-1946 (8 letters)
Williams, Adele (Women's club of Richmond): 1930
Williamson, Ada (Philadelphia Art Alliance): 1927, 1928, 1945, 1949 (19 letters; see also Selected Gallery and Exhibition Files)
Wilmington Society of the Fine Arts (see Bissell)
Wilson, Henry J.: 1950
Winser, Beatrice: 1935, 1940 (7 letters)
Woelfle, Arthur M.: 1914 (see also Selected Gallery and Exhibition Files)
Woelfle, Georgiana: 1936, 1937, 1963 (3 letters)
Wood, Stanley: 1928
Zayas, Marius de: 1934, 1939, 1947, 1948 (10 letters)
Zügel, Heinrich von: 1904
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
The papers document the life and work of William R. Hutton, a civil engineer during the late 1800s to the early 1900s. Materials include diaries, notebooks, correspondence, letterpress copy book, printed materials, publications, specifications, photographs, drawings, and maps that document the construction of several architectural and engineering projects during this period. Most notable are the records containing information related to the construction of the Chesapeake and Ohio Canal, Hudson River Tunnel, the Washington Aqueduct, the Kanawha River Canal, and the Washington/Harlem River Bridge. There are also several records about railroads in the state of Maryland, the District of Columbia and elsewhere, including the Western Maryland Railroad, Baltimore and Ohio Railroad, Colorado Midlands Railway, Baltimore and Drum Point Railroad, the Northern Adirondack Railroad, and the Pittsfield and Williamstown Railroad. The records can be used to track the progression of these projects, and engineering innovation during the late 1800s to the early 1900s.
Scope and Contents:
These papers document William R. Hutton's professional career as a civil engineer and his personal affairs. Although the personal materials in the collection provide insight into a man and a family that have been largely forgotten by biographers, it is the professional materials that are perhaps the most interesting to researchers. They provide a compelling narrative of the push to the West that occurred in 19th century America and the internal improvements movement typified by the American System plan proposed by Henry Clay. Perhaps best remembered for the high tariffs that accompanied it, the American System plan was also concerned with the advancement of internal improvements, such as canals, that would unite the East and West in communication, travel, and trade. The Chesapeake and Ohio Canal can be seen as one of the products of this movement (1) and was in fact initially heralded as the first great work of national improvement (2).
The papers in this collection that are related to the construction and maintenance of the Chesapeake and Ohio Canal are an invaluable documentation of efforts during this turbulent time to unite the eastern and western United States. They provide details of the canal from its initial construction to its decline with the incline at Georgetown project. The canal also serves as an example, or perhaps a warning against, federal involvement in state improvement efforts as it was the first project to be directly funded and staffed by the federal government (3). The groundbreaking ceremony was attended by then President John Quincy Adams whose toast, "to the canal: perseverance," (4) became an ironic omen, as construction of the canal took over twenty-two years to be completed. The Chesapeake and Ohio Canal materials can be used as a case study for the problems encountered during canal building (5). These problems are best typified in the collection by the papers relating to the Georgetown incline. This project was headed by Hutton and was plagued with construction problems, boating accidents, and obsolescence from the moment of its completion. Despite these issues, the Chesapeake and Ohio Canal remains a structure of historical significance in America. As the third and last effort to construct an all-water route to the West (6), the Chesapeake and Ohio Canal is an important artifact of 19th century attitudes and efforts towards commerce, trade, travel, and communication between the eastern and western United States. Other significant canals and water structures represented in the collection are the Kanawha Canal, the Washington Aqueduct, and a large collection of materials relating to the Kingston Water Supply (New York).
One of the most significant internal improvements made during this time was the railroad. The legal conflicts that arose between the canal companies and railroads is also represented in the materials relating to the Chesapeake and Ohio Canal. These materials specifically deal with the legal conflict's between the Chesapeake and Ohio Canal and the Baltimore and Ohio Railroad. The development and construction of the railroads is also represented in the materials documenting the Baltimore and Ohio Railroad, the Baltimore and Drum Point Railroad, the Northern Adirondack Railroad, the Western Maryland Railroad, the Mexican National Railroad, the Colorado Midlands Railroad, and the Columbia Railroad.
The collection also demonstrates the spirit of innovation and invention that was prevalent in the engineering field in the nineteenth century. Joseph Gies writes, "...one of the distinctive characteristics of the great nineteenth century engineering adventurers was their readiness to gamble on the translation of theory into practice" (7). In this quote, he is speaking of the civil engineer Dewitt Clinton Haskins and a project that truly encapsulates engineering invention in the nineteenth century, the Hudson River Tunnel. Responding to the increase in the population of the City of New York in the late nineteenth century from sixty thousand to three and a half million, the Hudson River Tunnel was originally devised as a way to alleviate traffic and to transport train passengers directly across the Hudson River (8). Beginning with records dating from 1881 to 1901, the Hutton papers can be used to document not only the advances in engineering during this time but also the costs of progress. Haskins' initial efforts to build the tunnel using submerged air pressurized caissons were marked by failure and in some cases fatalities. Workers on the tunnel often suffered from what came to be known as "caisson disease" or "the bends," caused by the immense forces of compression and decompression experienced while working in the tunnels (9). This problem was so prevalent that as construction progressed the rate of worker deaths caused by "the bends" rose to twenty-five percent (10). Materials in the collection document worker complaints and deaths resulting from this disease as well as providing a technical record of the construction of the tunnel. The highlight of the materials relating to the Hudson River Tunnel is an album that contains photographs of workers in the tunnel and a detailed daily report of the construction progress on the tunnel that was maintained by Hutton's assistant, Walton Aims. The first hand account in these reports provides insight not only into the construction of the tunnel, but also the problems encountered.
Another project featured in the Hutton collection that was devised in response to the population explosion in the City of New York in the nineteenth century is the Harlem River Bridge, or as it is now known, the Washington Bridge. Known as one of the longest steel arch bridges of its time, the Harlem River Bridge also represents that spirit of invention and innovation that was prevalent in the civil engineering field during the nineteenth century. The collection provides an invaluable resource for those wishing to track the construction of the bridge from early concept drawings and proposals to finalized plans. Also present are photographs of the construction and workers. Societal response to the bridge in the form of newspaper and magazine clippings help to create the narrative of the Washington Bridge, and these are supplemented by correspondence from the builders, suppliers, and planners.
This collection also includes diaries, 1866-1901; letterpress copybooks, 1858-1901; correspondence on the Chesapeake and Ohio Canal, Hudson River Tunnel, Washington Bridge over the Harlem River, and Maryland and Colorado railroads, 1861-1901, and on Hutton's financial and real estate affairs, 1835-1921; construction photographs of the Harlem River, Cairo, Poughkeepsie, Niagara bridges and the Hudson River Tunnel, Washington Aqueduct, and Capitol Dome (in the form of albumen, cyanotype, salted paper print); data and drawings; rolled land profile drawings; canal notes, 1828-1892; Hudson River Tunnel construction reports, 1889-1891; publications, drawings, and maps of railroad routes; pamphlets and reprints on hydraulic works and water supply; road, railway, bridge, and hydraulic construction specifications, 1870-1900; drawings (linen, oil cloth, and heavy drawing paper), and blueprints; account books, 1891-1899; and plans, drawings, field notebooks, and publications on American and European construction projects, especially in Maryland, New York, and France; personal correspondence detailing his role as executor for the estates of Benjamin H. Hutton, Joseph Hutton, Annie Theller, and the Countess H. De Moltke-Hvitfeldt and his relationships with his children, siblings, cousins, and colleagues, 1850-1942.
Materials are handwritten, typed, and printed.
Special note should be made that any materials dated after the year 1901 were added to the collection by another creator who is unidentified. It can be speculated that professional materials added after this date were contributed by his brother and colleague Nathanial Hutton or his son Frank Hutton. Personal materials contributed after this date may have been added by his wife, daughters, or other members of his extended family.
Series 1, Letterpress Copybooks, 1858-1901, consists of twenty seven letterpress copybooks containing correspondence between Hutton and other engineers, architects, and building suppliers. The letterpress copybooks in this series have been arranged chronologically. The books involve a process by which ink is transferred through direct contact with the original using moisture and pressure in a copy press. The majority of the correspondence is business- related. Some letterpress copybooks are devoted to specific projects such as the Washington/Harlem River Bridge, Chesapeake and Ohio Canal, Baltimore and Drum Point Railroad, Annapolis and Elk Ridge Railroad, and the Baltimore and Ohio Railroad. The letterpress copybooks provide a record of correspondence written by Hutton, which makes it distinctive from the other correspondence in the collection. Most of the other correspondence has Hutton as recipient.
The letterpress copybooks also document Hutton's various residences throughout his life and provide a glimpse into the civil engineering profession at the time by demonstrating how engineers shared ideas and comments about projects. This can be supplemented with the printed materials in the collection as many of the authors also appear in the correspondence. Other topics covered in the letterpress copybooks include business reports (specifically the report of the president and directors of the Baltimore and Drum Point Railroad), records of people and companies involved in projects, pasted in engineering sketches, engineering specifications and notes, travel expenses and estimates, construction histories and progress, legal issues with family estates, tax information, Colorado Railroad, payment certificate schedules, St. Paul Railroad, personal correspondence, title guarantees, Hudson River Tunnel, financial matters, real estate matters, insurance information, sketches and drawings, supply lists, cost estimates, the Memorial Bridge, Coffin Valve Company, engineering expenses, engineering calculations, payroll notes for Kingston Water Supply, proposals, account information, Hutton Park, reservoirs, contract drafts, French Society of Civil Engineers, inspection results (specifically Piedmont Bridge), land descriptions, damage reports, Morse Bridge, Illinois Central Railroad, North Sea Canal, moveable dams, iron works, site histories, Potomac Lock and Dock Company, Kanawha River canal (lock quantities, specifications, payroll information), Pennsylvania Canal, and bills for services.
Series 2, Professional Correspondence, 1861-1901, consists of correspondence that relates to Hutton's architectural and engineering projects. This series is further subdivided into two subseries: Project Correspondence and General Correspondence. Subseries 1, Project Correspondence, 1876-1899, correspondence is divided by project and arranged alphabetically. Subseries 2, General Correspondence, 1861-1901, is arranged chronologically. Both series contain handwritten and typed letters. Some letters are on letterpress copybook pages and are most likely copies. Some materials are in French and Spanish. Special note should be made that this series does not contain all of the professional correspondence in the collection. Some correspondence has been separated according to project and placed in Series 8, Professional Projects, 1830-1965, in order to make it easier for researchers to access materials related to those subjects.
Subseries 1, professional correspondence topics include comparisons between construction projects (specifically comparisons of the Kanawha River Canal to other canals), supply lists, location recommendations, sketches, construction plans and modifications, bills for supplies and works, leaks in the gates, cost estimates, Brooklyn Water Supply, use of lake storage (Ramapo Water Supply), water supply to states and counties, damages to water supply pipes, estimates of water quantities, responses to construction reports, legal issues related to projects, Baltimore and Ohio Railroad, and payment for services.
Subseries 2, general correspondence topics include employment opportunities, committee meetings and elections, land surveys, sketches, engineering plans and ideas, work on projects, dismissal from projects, notes on supplies, Washington Aqueduct, construction progress, land purchases, Civil War, Jones Falls, cost of water pumps, steam drills, lots divisions and prices, repairs, report of the engineering bureau, tidewater connection at Annapolis, bridge construction, construction costs, statement of vessels that entered and cleared Baltimore, technical questions from colleagues, Baltimore and Ohio Railroad, supply costs, letters of introduction, requests for reference, changes to plans and designs, survey reports, St. Andrew's lot, Canal Coal Company, publication process, American Society of Civil Engineers and its members, responses to project inquiries, Graving Dock gross revenue, job offers, specifications, trade figures, contracts, water levels, appointment dates and times, moveable dams, proposals for membership, salaries, Piedmont Coal Lands, maps, land profiles, Washington Bridge, board payments, Nicaragua Canal, Grant Coal Company, statistics, engineering notes, Hartford Bridge, water pressures, coal deposits, Colorado Coal, pipe lines, reservoirs, boat costs for canals, floods, bridges, letters of resignation, engines, Ruxton Viaduct, Colorado and Midland Railroad, Morse Bridge, share values, railroad locations, membership invitations, call for submissions, structural tests, record of accounts for room and board, appointments, water rights (Putnam County), publications, blueprints, visitation programs, cotton compresses, street trenches, pressures in dams, level tests, Portland Transportation bureau, trade information, concrete steel, Chicago drainage canal, ship canals, Augusta Cotton and Compress Company, Sooysmith case, Consolidated Gas Company, masonry, book binding, Columbia Railway Company, jetties, land grades, Chesapeake and Delaware canal, water wheels, pneumatic lock, tunnel arches, rifton power, Hutton's health, elevators, Brooklyn Bridge Terminals, girder weights, legal issues and their results, rating table for the Potomac, land profiles, transmission lines, transformers, water turbines, and water power on the Potomac River.
Correspondents for this series include the following: Captain Montgomery C. Meigs, Captain T.W. Symons, William Bryan, Ernest Flagg, John Hurd, Jake Wolfe, J.C. Saunders, J.H. Dolph, Charles J. Allen, G.H. Mendell, Virgil S. Bogue, B.A. Mounnerlyn, Edward Burr, H.G. Prout, R. William, H. Dodge, C.R. Suter, M. Mink, W.R. King, John Lyons, Alex Brown and Sons, John G. Butler, D. Condon, Bernard Carter, R.P. McCormick, D.R. Magruder, Andrew Banks, Isaac Solomon, C.J. Mayer, C.W. Kern, John Herring, James S. Mackie, D.R. Magunde, D. Rittaguide, R.S. Stevens, J.L. Raudolph (Baltimore and Ohio Railroad), J.M. Lane, W.D. Stuart, W.G.P. Palmer (Committee Church of the Ascension), C. Crozet, General W. Hughes, V.R. Maus, J.M. Hood (Western Maryland Railroad Company), Ernest Pontzen, M. Haus, William F. Craighill, Harry Hutton, John W. Pearce, Reverend James A. Harrald, William Watson, A.L. Rives, Thomas Monro, A.F. Croswan (Commander United States Navy), H.R. Garden, William McAlpine, James Forrest, Wm. Bloomsfield, Daniel Ammen, Linel Wells, A. and Otto Sibeth, Alfred Noble, Clemens Hershel, Sidney Warner, E.H. de Rheville, Theodore Cooper, William Findlay Shunk, Lewis S. Wolfe, Rufus Mead, Theodore F. Taylor, John Bogart, J. Whaler, B. Williamson, Colonel F.V. Greene, Robert H. Sayre (Lehigh Valley Railroad Company), Charles W. Pussey, Louis Q. Rissel, V.C. Bogue, H.C. Eckenberger, Melville E.G. Leston, Edwin Parson, Rudolph Hering, R.S. Hale, F.M. Turner, Thosl Martindale, Justus C. Strawbridge, William M. Ayresm, R.L. Austin, A.M. Miller, P. Livingston Dunn, T.J. Cleaver, C.S. Dutton, H.A. Carson, William Bainbridge Jaudon, H.A. Presset, Thomas H. McCann, Russel Sturgis, H.G. Prout, Alexis H. French, John K. Cowen, F.W. Williams, J. Waldorf, B.H. Byrant, B.H. Jones, M.H. Rogers, J.W. Ogden, General W. Cashing, William Longhudge, A.J. Cameron, T.L. Patterson, J.J. Hagerman, H. Wigglesworth, Charles B. Rowland, E. Bantz, W.G. Lathrop, Clarence King, George Rowland, George A. Tibbals (Continental Iron Works), George N. Vanderbilt, Eugene C. Lewis, F.P. Burt, Colonel John C. Clarke, Lieutenant Thomas Turtle, W.S.M. Scott, E. Bates Dorsey, Bernard Carter, George M. Shriver (Baltimore and Ohio Railroad), Russel Sturgis, Macmillan Publishing, James Abernethy, B. Baker, J.G.W. Fynje, A. Mallet, Jean Hersuy, L.F. Vernon Horcourt, Robert Lilley, A.J. Johnson, F.M. Colby, Henry D. Loney, A.S. Cameron, James A. Harrald, William Watson, John B. Lervis, A.L. Rives, Edwin F. Bidell, Frank H. Stockett, E. McMahon, C.F. Elgin, Enrique Budge, G. Clayton Gardiner, Dwight Porter, William A. Chapman, T.E. Sickels, Theodore Cooper, C.J. Warner, Institution of Civil Engineers, Robert Gordon, United States Coast of Geodetic Survey Office, C.P. Pattun, J.N. Putnam, Sidney B. Warner, H.D. Fisher, Union Pacific Railway Company, Lewis S. Wolle, George E. Waring Junior, The American Exhibition, G.F. Swain, American Society of Civil Engineers, N.H. Whitten, U.S. Engineer Office, Government Works Committee, J.J. Hagerman, D. Jackson, Sterling Iron and Railway Company, E.P. Alexander, E. Williamson, Central Railway Company of New Jersey, William A. Underwood, F. Collingwood, James Dun (Atchison, Topeka and Santa Fe Railroad Company), Henry F. Kilburn, Louis A. Bissell, Virgil G. Boque, H.C. Eckenberger, Melville Egleston, Charles Parson, George Swain, Continental Iron Works, Rudolph Hering, J.B. Gordon, Mayor's Office (Baltimore), Harry Robinson, Pennsylvania Railway Company, W.H. Gahagan, L. Luiggi, B.H. Bryant, T.J. Cleaver (Chesapeake and Delaware Canal Company), H.A. Carson, H.A. Presset (Department of the Interior, United States Geological Survey), John K. Cowen, Vernon H. Brown, J. Waldorf, B.H. Bryant, L.F. Root, P.W. White, Metropolitan Railroad Company, Charles F. Mayer (Consolidated Coal Company, Cumberland and Pennsylvania Railroad Company), J.M. Lane (Western Maryland Railroad), Dr. R.S. Stewart (Annapolis and Elk Ridge Railroad), Baltimore and Drum Point Railroad (John Lyons, John G. Butler, D. Candon, R.P. McCormick, Andrew Banks), Thomas F. Rowland, J.A. Bensel, Walton Aims, S.D. Coykendall, H.C. Rogers, John F. Ward, T.B. Jewell, H.A. Pressey, C.S. Armstrong, J. Nennett, V.G. Bague.
Series 3, Personal Correspondence, 1850-1942, contains correspondence with immediate and extended family, specifically the heirs to the Benjamin H. Hutton and Joseph Hutton estates and Adele Gorman. Correspondence is primarily arranged chronologically, but some files have been divided based on subject or author (the Deer Park and Adele Gorman files), or by form (the Telegrams, and Cablegrams file). Special note is made of the posthumous correspondence file, which includes correspondence both relating to Hutton's death and correspondence that was written by family members after the years of his death. The series contains both hand written and typed letters. Some correspondence is in French. The correspondence demonstrates his relationship with his children specifically Elizabeth (Bessie) Hutton, and illuminates his role in his family. This series also provides details about nineteenth century upper class society and activities. Special note should be made that this folder does not contain all of the personal correspondence contained in the collection. Some correspondence has been separated according to recipient, or subject in order to make researching these recipients or subjects easier.
Series 3 correspondence topics include: estate payments, distribution of assets, funds transfers, estate lines, conflicts with tenants, sketches, lot maintenance, real estate sales, deeds, real estate sales negotiations, congratulations wishes on new babies, family illnesses, family affairs and travels, traveling directions, personal investments, invitations for social occasions, family debts, professional interests, professional and personal appointments, family issues, requests for money, sketches, advice to children (specifically Frank Hutton), life insurance, books, letters of introduction, legal issues, funeral expenses, charity donations, advertisements, minutes from professional organizations, army enlistment, deaths of friends and family, recipes, estimates of personal expenses, renovations, stock certificates (Great Northern Railway Company, New York), food, social activities, the weather, marriages, real estate and construction plans, and loan agreements.
Correspondents include the following: Frank Hutton, Thomas B. Brookes, J.L. Marcauley, C.M. Matthews, Edward J. Hancy, John M. Wilson, H.A. Carson, William H. Wiley (of John Wiley and Sons Scientific Publishers, New York), Georgina Hutton, Pierre and Jane Casson, George McNaughlin, Henrietta Hutton, Aaron Pennington Whitehead, J.B. Wheeler, B. Williamson, Robert De Forest, Elizabeth (Bessie) Hutton, Grace Beukard, J.C. Saunders, Mary Hutton, William J. Pennington, C.S. Hurd, Henry C. Cooper, Henry J. Segers, S.F. Miller, Annie Theller, Alfred Noble, Maria Burton, Joseph Hobson, E. Lennon, F. Hulberg, Charles Gordon Hutton, Edward C. Ebert, A. William Lewin, E.R. Dunn, William P. Craighill, Theodore Cooper, P.I. Chapelle, Anita McAlpine, Clarence King, Victoria Raymond, and Adele Gorman.
Series 4, Personal Materials, 1835-1946, contains documentation about Hutton's personal finances, role as executor of the Benjamin H. Hutton, Joseph Hutton, Annie Theller, and Countess H. De Moltke-Hvitfeldt estates, Mary Augusta Hutton (wife), Mary Hutton (daughter), Frank Hutton, John Caulfield (son-in-law), and B.F. and C.H. Hutton. The series has been divided into four subseries: Financial Records, 1876-1901, Estate and Real Estate Records, 1835-1921, Other Huttons, 1876-1936, and Personal Material, 1878-1946. Subseries 2, Estate and Real Estate Records, 1835-1921, contains correspondence relating to specific family estates and family members. This correspondence was separated from Series 3, Personal Correspondence, 1850-1942, to make it easier for researchers to access all records relating to the family estates. This series includes hand written, typed, and printed materials. Some materials are in French. All material dated after 1901 has been added to the collection by other creators such as Hutton's wife and children.
Subseries 1, Financial Records, 1876-1901, includes account books, account records, correspondence related to bank accounts, bank statements, financial notes, bills and proofs of payment, rent receipts, tax bills (New York, Flatbush, Montgomery County), checks, money exchanges, receipts for tax payments, real estate receipts, stock and bond certificates, loan agreements, executor accounts, rebate calculation sheet, and tax and insurance payments.
Subseries 2, Estate and Real Estate Records, 1835-1921, includes property maps and information (rent, mortgage costs, deeds), correspondence, notes on estate distribution, estate assets, value of estate and estate payments, account records, loan agreements, receipts, proof of payments, checks, financial records, legal documents, insurance documents, tax bills, auction receipts, and wills relating to the estates of Benjamin H. Hutton, Joseph Hutton, Countess H. de Moltke-Hivtfeldt, Annie Theller, and William R. Hutton. Also included are correspondence, property maps and information, and deeds and mortgages on Hutton properties.
Subseries 2, the estate and real estate records correspondence topics include: Virginia state building codes, construction costs, construction notices, purchasing offers for property, real estate prices, receipts of payments, property lines, real estate purchases and sales, real estate sales negotiations, deeds insurance estimates and costs, loan costs, property estimates, renovation costs, mortgages, property damages and repairs, property tax payments, insurance rates and payments, rent payments, telephone installation, building permits, rental agreements, reports on property condition, contracts of sale, conflicts with tenants, changes of address, deeds, distribution of estate monies, details about the Countess' illness, estate arrangements, changes of address, problems arising out of estate distribution, payment of debts, will details, selling of mortgage shares, accounts, estate settlement, money cables and transfers, dealings with lawyers, rent on Hutton Park property, legal and accounting fees, power of attorney transfer, investments, property security, land appraisals, lists of assets, legacy taxes, mortgages transfers, property management, Flatbush property, property rent and values, and physicians bills.
Correspondents include the following: A.C. Weeks, Walter I. Green, John D. Probsh, A.G. Darwin, Thomas H. McCann, Allan Farguhar, Thomas Dawson, Potter and Crandall Real Estate and Insurance Brokers, George C. Tilyou, H.D. Olephant, F. Winston, Richard E. Calbraith, Frank P. Martin, Henry DeForest, Henry C. Cooper, Metropolitan Telephone and Telegraph Company, John Ecker, C.K. Avevill, Georgina Hutton, Edward J. Hancy, Robert Graham, W.M. Bennett, Willis E. Merriman, Nathan L. Miller, Harry Hutton, Marquise de Portes (Adele Gorman), Annie Theller, Samuel L. Theller, Mrs. R. Locke, Frank Z. Adams, John Palmer (Secretary of State, New York), J.T. Cammeyer, Frank P. Martin, Florence Theller, Francis H. Seger, Henry C. Cooper, D.W.G. Cammeyer, Campbell W. Adams, Jane Casson, Elizabeth Hutton, Rene de Portes, H.G. Atkins, Grace Beukard, Aaron Pennington Muikhead, J.E. Delapalme, T.H. Powers, Egerton L. Winthrop Junior, George B. Glover, William Jay and Robert W. Candler, B. Williamson, J.E. Knaff, Cornelius C. Vermeule, S.V. Hayden, Charles G. Landon[?], H.A. Hurlbert, F.A. Black, John L. Calwalder, the Health Department of New York, A.G. Darwin, William Laue, Frederick Frelinghuysen, Charles S. Brown, Henrietta Hutton, Edward Gelon.
Subseries 3, Other Huttons, 1874-1936, includes professional drawings and proposals, checks, insurance information, correspondence, tax information, medical information, tax bills, relating to Mary Augusta Hutton (wife), Mary Hutton (daughter), Henry and Harry Hutton, Frank Hutton (son), John Caulfield (son-in-law), B.F. Hutton, and C.H. Hutton.
Subseries 4, Personal Materials, 1878-1946, contains handwritten property notes, school notes, sermons, travel documents, menus, Christmas cards, jewelry box, postal guide, typed religious materials and flyers.
Series 5, Diaries, 1866-1901, contains twenty nine diary books that document both Hutton's personal and professional life. These diaries provide not only a record of Hutton's life, but were also used by Hutton himself as a reference tool. When working on projects he would refer to notes and observations he made in his diary (as evidenced by notes made in his diaries). The first pages of the diaries often list his height, weight and clothing sizes as they varied from year to year. A researcher could probably use the cashbooks (see Series 7) and the diaries in conjunction as both detail the purchases made by Hutton. Many of the diaries also include a short record of accounts in the back. The diaries are arranged chronologically.
Topics found in the diaries include short form accounts of daily activities and appointments, records of the weather, Chesapeake and Ohio Canal project, construction progress on projects, steam pumps, sketches and calculations, extension of Washington railroads, cost of food, work supplies, travel costs, costs of goods and food, work deadlines, home renovations, visits to family, cash accounts, accounts of household duties, produce on Woodlands property, records of deaths, debts owed, account of clearing Woodlands property, church visits, Hancock and Tonoloway Aqueduct, canals, Drum Point Railroad, Montgomery C. Meigs, Washington Aqueduct, Annapolis Water Works, telegram costs, wages for Chesapeake and Ohio Canal project, William Craighill, Morris Canal, Annapolis Railroad and Canal, professional duties (inspections), Kanawha River Canal, travel schedules, professional expenses, cash received from Chesapeake and Ohio Canal project, Baltimore and Ohio Railroad, John's Dam, cathedral construction (St. Patricks?), Piedmont Bridge, Cumberland, account of farm property belonging to Major Campbell Bruns, Cunard Pier, Marquise de Portes, rent costs, Baltimore Canal, Kingston Water Supply, Croton Orange Estate, Pierre Casson, Hudson River Tunnel, Washington/Harlem River Bridge, entertainment costs, Greenwood cemetery, train schedule, notes on illness, real estate sales, Hutton Park, Benjamin H. Hutton estate and heirs, estimates, accounts of correspondence received and sent, Central Railroad, rent on Orange properties, addresses, contracts and building supplies for projects, personal finances, Joseph Hutton property on Vanderbilt Avenue, New York, amounts paid and received, medical appointments, Ramapo Water Company, drawing progress of maps and diagrams, Harbor Board (New York), property repairs, inspection and test reports, reservoirs, lists of birthdays, Boston Tunnel, family financial issues, tax payments, and prayers.
Series 6, Notebooks, 1860-1900, document the engineering and architectural projects worked on by Hutton. The series has been divided into three subseries: Subseries 1, Engineering and Survey Field Notes, 1860-1899; Subseries 2, Notebooks, 1871-1886; and Subseries 3, Notes, 1863-1900. Subseries 1, Engineering and Survey Field Notes, 1860-1899, contains sixteen field notebooks used by Hutton. Subseries 2, Notebooks, 1871-1886, contains seven notebooks. Subseries three, Notes, 1863-1900, contains four documents.
Some notebooks correspond to specific projects such as the Kanawha River Canal (lockgate and Phoenix Waterline), Chesapeake and Ohio Canal, Buffalo Reservoir, Potomac Lock and Dock Company, Northern Adirondack Railroad account, Washington Aqueduct, Little Rock Bridge, Wilson-Adam Dock, Croten Brick Works, Hutton Park, Centennial Iron Works, Cumberland Canal, Williamsport Aqueduct, Catoctin Aqueduct, Alexandria Canal, Miller's Saw Mill, Seneca Dam, Union Tunnel, Cumberland Waterworks, Victoria Bridge, Welland Canal, North Sea Canal, Ramapo Water Company, Annapolis Water Company, Antietam Aqueduct, Interoceanic Canal, San Quentin Canal, Suez Canal, Amsterdam Canal, Harlem Bulkhead, Morris Canal, Blue Lake Canal, and Nicaragua Canal.
These notebooks should be used in conjunction with the other materials in the collection related to professional projects, as they often provide more detailed accounts of the construction and land surveys. Some of the notebooks contain entries from several different sources. The notebooks were probably shared among the engineers working on these projects. The notebooks also contain looseleaf ephemera such as hand written calculations, newspaper clippings, and blueprints. Languages found in this series are English and French.
Notebook topics include construction projects, supply needs, costs for labor, sketches (Woodland Mills, landscapes, dams, railway cars, Noland Tunnel), costs of crops, survey measurements, cost of livestock, aqueducts, inspections, canal bridges, seed prices, dams, measurements, coffer dam, canal maintenance, worker salaries, calculations, towpath sketches and measurements, shipping rates, worker accidents, water and coal used, geometrical sketches (Washington Aqueduct), locks, damage reports, interactions with other engineers (William Reading), coal shipments on the canal, travel expenses, land survey notes, drafts for correspondence, William Craighill, Victoria docks, lists of personal supplies used, construction time estimates, surveying expenses, telegram costs, sand pump, canal from Sherling to Tuxedo Bay, analysis of several artificial lakes and reservoirs, distances of reservoirs to main pipes, calculations for the Austin Wheel, engine construction, bridges, gauging water depth, results and observations of tests and performance, problems with construction, to-do lists, cost of land surrounding towpaths, Fawcett's Lock, Tarman's Lock, comparison of costs in transporting coal by water and by rail, inspection notes, iron work, drainages, leaks, cost of supplies, watergates, harbor ferries, railroad station distances, flood protection, Panama Canal via the Nicaraguan route, cost of jetties, water levels, pressure of steam, boilers, steam and water cycle, water depth, cement, Great Falls, Virginia, waterflow, soundings, time of floats, flow of currents, rain fall measurements, tunnel measurements, cost of trenching San Francisco water supply, record of livestock, cost of food, rates of sawing woods and mills, preliminary railroad line measurements, profile of final line, and railroad line profiles.
Series 7, Cash Books, 1856-1899, contains seven cashbooks which list prices for personal items purchased by Hutton. Topics include groceries, church dues, clothes, hygiene products, cigars, some short journal entries about his work (Williamstown), concerts, dinners, family addresses, cakes, meals, cars, stamps, office supplies (pencils and papers), valentines, glasses, gloves, fabric, medicine, needles, diapers, tobacco, shoes (adult and childrens), travel expenses, telegrams, candles, newspapers, liquor, coal oil, jewelry, allowances given to family members, bank deposits, monies paid and received, taxes, subscriptions, tailoring costs, deposits and payments into estate trusts, and notes about payments to Benjamin H. Hutton heirs. The cashbooks also contain some personal loose leaf ephemera such as prayers, sketches, and engineering notes collected by Hutton.
Series 8, Professional Projects, 1830-1965, contains documents about engineering and architectural projects throughout Hutton's career, including information about the professional organizations and the legal issues in which he was involved. This series has been divided into eight subseries based on project, document form, and document subject. Some materials are in French and Italian.
Series 8, Professional Projects, also includes correspondence related to specific projects, primarily the Chesapeake and Ohio Canal, the Hudson River Tunnel, the Washington/Harlem River Bridge, and the Georgetown Incline.
Topics include construction and repair to the Chesapeake and Ohio Canal, engineering and use of Chesapeake and Ohio Canal, worker contracts, supply and labor purchases, design plans and proposals, construction and repair costs, supply notes and costs of supplies, water pressure and power, shipping materials and routes (specifically the shipping of coal), inspections and their findings, condition of canal dam and locks, water supply, drainage, sketches, board proceedings, business meetings, deeds, cost comparisons to other shipping methods, hiring processes, wages, cost estimates, Hutton's consulting fees, measurements and calculations, funding issues, worker conflicts, negotiations with municipal governments, payment schedules, bills for services, air pressure in Hudson River Tunnel, permission for construction, specifications, mortality rate among workers on the Hudson River Tunnel, construction reports, outlet incline, proposals for construction, letters of introduction, railroad versus water for trade, controversy with Tiersey, construction contracts, construction schedules, construction issues, construction progress, construction damage, basis for estimates, supply requests, internal politics, changes to construction plans, contract and price adjustments, issues with suppliers, construction delays, work permits, bills, worker issues, engineering notes, construction excavations, expenses, construction instructions, Union Bridge Company, lighting installations, construction processes, hiring practices, electrical conductors, water proofing, hydraulics, cement, concrete, payment of contributors, processes of approval for construction, meeting dates of the Harlem River Bridge Commission, and contract restrictions.
Correspondents include the following: W.W.M. Kaig, Henry Dodge, E. Mulvany, John Shay, James Clarke, H.D. Whitcomb, Horace Benton, J. Rellan, J.R. Maus, W.E. Merrill, A.P. Gorman, J.H. Staats, Vernon H. Brown, Charles H. Fisher (New York Central and Hudson River Railway Company), B. Baker, John Fowler, Benjamin and John Dos Passos, Charles B. Colby, Charles B. Brush, S. Pearson, Stanford White, Horace E. Golding, R.H. Smith, Daniel Lord, A. Fteley, Herbert Hinds, J.R. Bartlett, D.M. Hirsch, M.H. Bartholomew, Thomas O. Driscoll, W.E. Porter, Thomas F. Rowland, George Edward Harding, R.H. Dames, William Watson, James B. Eads, J.D. Bright, H. Aston, Charles Suley, A.M. Maynard, W.R. Henton, G. Geddes, H.P. Gilbut, Malcolm W. Niver (Secretary of the Harlem River Bridge Commission), J.D. Patterson, George Devin (Assistant Engineer Washington/ Harlem River Bridge), J.B. Wheeler, John Bogart, Charles Burns, J. McClellon, Rob Bassee, B. Williamson, Theodore Cooper, Lewis Cass Ledyard, R.M. Hunt, John Cooper, Henry Wilson, A.A. Caille, Myles Tierney, W. Pentzen, L.B. Cantfield, George Q. Grumstaid Junior, M.J. Funton, George Pierce, W.O. Fayerweather, Noah S. Belthen, Herbert Steward, W.M. Habirsham.
Subseries 1, Chesapeake and Ohio Canal, 1828-1965, consists of plans, blueprints, land profiles, drawings, boat rates, contract forms, order forms, descriptions of the canal, design information, engineering data, sketches, cost estimates, land titles, microfilm, business papers, supply bills, patent bills, news clippings, reports, specifications, stockholder's reports, receipts, water leases, printed materials, and correspondence.
The Chesapeake and Ohio Canal project was started in 1828 and completed twenty two years later in 1850. The canal's main objective was to connect Georgetown to the coal banks above Cumberland, Maryland, providing a short and cheap trade route between the eastern and western United States. It was also hoped that the canal would provide greater communication and travel between these two regions. Plagued by natural disasters, and construction setbacks, the canal was never completed in time to be useful and became obsolete shortly after its completion. Canal trade was eventually put out of business by the increase of railroads. Although it was an important development in engineering at its inception, the Chesapeake and Ohio Canal is no longer in use and has become what locals affectionately refer to as "the old ditch." The canal was designated a National Historical Park in 1971 and consists of 184.5 miles of hiking and biking trails.
Subseries 2, Hudson River Tunnel, 1887-1901, consists of agreements for construction, certificates, contracts, and cost estimates, construction reports, engineering notebooks, engineering notes, sketches, land profiles, maps, progress profiles, plans, proposals, printed material, statements of expenses, and correspondence.
The Hudson River Tunnel project was started in 1874, and the final tubes were opened in 1910 after several construction setbacks. The tunnel connects Weehawken, New Jersey and Pennsylvania Station in Manhattan, New York City. Today the Hudson River Tunnel, known as the North River Tunnels is used by Amtrak's Northeast Corridor and New Jersey Transit rail lines.
Subseries 3, Harlem River Bridge, 1878-1982, consists of blueprints, printed materials, photographs, engineer's estimates, schedules, costs, reports, proposals, contracts, specifications, and correspondence.
The Harlem River Bridge project was started in 1885 and was completed in 1889. It spans the Harlem River in New York City, New York and connects the Washington Heights section of Manhattan with the Bronx. It was later named and is still known as the Washington Bridge and has been adapted over time to carry highway traffic. These adaptations have allowed the bridge to remain in use today.
Subseries 4, Other Projects, 1858-1832, consists of drawings, maps, blueprints, plans, proposals, cost estimates, bills, correspondence, sketches, land profiles, dimensions, engineering notes, account records, photostats, supply lists, calculations, legal documents, surveys, inspection reports, financial data, and measurements on architectural and engineering projects. Highlights of this subseries include: Western Maryland Railroad, Washington Aqueduct, Panama Canal, Ramapo Water Company, Piedmont Bridge, Northern Adirondack Railroad, Columbia Railroad, Morris Canal, Pittsfield and Williamstown Railroad, Suez Canal, St. Gothard Canal, Tansa Dam, Colorado Midland Railroad Company, Memorial Bridge, Mersey Tunnel, Little Rock Bridge, Kingston Water Supply, Kanawha River Canal, Florida Ship Canal, East Jersey Water Company, Consolidated Coal Company, Dismal Swamp Canal, Boston and Baltimore Tunnels, St. Patrick's Cathedral, Baltimore and Ohio Railroad, Annapolis Water Company, Baltimore and Drum Point Railroad Company, and the Baltimore Beltline.
Subseries 5, Unidentified Project Files, 1872-1900, consists of bills of sale, engineering forms and regulations, cement test results and methods, census bulletin, contracts, cost estimates, correspondence, notes on publications, engineering data and notes, drawings, surveys, sketches, payrolls, photographs, and reports.
Subseries 6, Specifications, 1870-1900, consists of documents related to some of Hutton's projects, including specifications for bridges, reservoirs, canals, viaducts, docks, buildings, water works, and tunnels. Some specifications are more general, and some are blank proposal/specification forms. There are also proposals for estimates and a "call" or advertisement to contractors to bid on certain projects. Many of the specifications deal with projects in New York State, but projects in Pennsylvania, the City of Baltimore, and Europe are represented. The materials are arranged alphabetically by project name. There is one folder of documentation for the Potomac River Bridge (Arlington Memorial Bridge) in Washington, D.C. The Arlington Memorial Bridge was part of the 1901 McMillan Commission's plan for restoring Pierre (Peter) Charles L'Enfant's original plan for the capital. Two decades passed before construction was initiated by the architectural firm McKim, Mead, and White. The documentation for the Memorial Bridge consists of calculations and monetary figures for materials such as granite.
Subseries 7, Legal Documents, 1886, contains documents related to a patent infringement suit for moveable dams involving Alfred Pasqueau vs. the United States. This file contains both a printed version of the case and a handwritten statement from Hutton.
Subseries 8, Professional Organizations, 1870-1902, contains documents related to professional organizations where Hutton held membership. Specific organizations represented are American Institute of Architects, American Society of Civil Engineers, Institution of Civil Engineers, Boston Society of Civil Engineers, Societe des Ingenieurs Civils de France, Librarie Polytechnique, American Agency of "Engineering" in London, Imperial Institute, League of Associated Engineers, Railroad Corporation, American Institute of Mining Engineers, and the Century Association. Material in the subseries includes correspondence, candidates for membership, membership payments, membership lists, meeting minutes, schedule of terms, professional practices, charges, articles of association, invitations for membership, and election notes. Some materials are in French.
Series 9, Printed Materials, 1850-1913, contains a variety of printed materials relating to engineering and architectural projects written by Hutton and fellow engineers. This series can be used to examine not only professional developments of the period and responses to those developments, but also to track how ideas were transferred between engineers across countries and continents. This series should be used in conjunction with the professional correspondence found in this collection, as many of the authors also appear there. Some materials are in French, German, Spanish, and Italian.
Subseries 1, Printed Materials by Hutton, 1852-1900, includes printed papers on the Missouri flood wave, the Ravine du Sud, the Potomac waterfront, the Colorado midlands, and the application of water supply machinery.
Subseries 2, Printed Materials by Others, 1826-1913, includes printed materials on the Chesapeake and Ohio Canals, Tehuantec Ship Railway, Interoceanic canals and railways, jetties, Nicaragua Canal, uses of cements, mortars, concretes, steam power, harbors, Niagara Falls, Kanawha River canal, Mississippi River, Hudson River Bridge, sewage disposal, Washington Aqueduct, specifications, construction progress reports, hydraulic experiments, water supply, drainage, road surfacing, sea walls, water-cooling apparatus, pollution reports, bridges, pipes, channels, reservoirs, irrigation, water power, and sewers.
Subseries 2 contains an issue of The North American Review in which Hutton has specifically highlighted an article entitled, "The Inter-Oceanic Canal." Please see the container list for names of authors.
Subseries 3, Printed Materials with No Author, 1852-1903, includes printed materials on harbor reports, Annapolis Water Company, Ramapo Water Company, water departments and boards, maps, engineer's reports, sea walls, preservation of structures, annual reports, Coal and Iron Railway Company, sewers, Baltimore and Drum Point Railroad, contract specifications, proposals, social club life, Croton Water Supply, law suits, water supplies, moveable dams, reservoirs, East River Bridge, Eastern Canal, water filtration, Kingston New Water Supply, water pipes, locks, docks, contracts, construction reports, Croton Water Supply, and surveys. Also included are issues of journals such as Le Correspondant, Circular of the Office of Chief Engineers, The Club, VIII Congres International de Navigation, Journal of the Association of Engineering Studies, and Journal of the Franklin Institute.
Subseries 4, Newspaper, Journals and Magazine Clippings, 1873-1900, contains clippings from a variety of newspapers such as Scientific American, andRailroad Gazette. Subjects included are the Union Tunnel opening in Baltimore, Drum Point Railroad, railroad company conflicts, Washington/Harlem River Bridge, Metropolitan Railroad, Western Maryland Railroad, crop prospects, lumber trade, North Avenue Bridge, Nicaraguan Canal, harbors, river improvements, reactions to engineering projects, Belt tunnel, city transit, Washington, D.C. flood in 1880, tunnel shields, Springfield Bridge, railroad patents, Panama Canal, jetties, Hudson Tunnel, steel boilers, composition and use of cement, and the Brooklyn Bridge.
Subseries 5, Oversized Printed Materials, 1889-1892, contains large printed materials related to the Washington Aqueduct, General Post Office Building, subway arches, cornices, Warwick's Castle, Neuschwanstein Castle, Renaissance paintings, botanical drawings, school buildings, church architecture, the Hospital for the Insane of the Army and Navy and the District of Columbia, the Panama Canal, Morningside Park, and the Mississippi Jetties. Also includes engravings of Hutton, T.N. Talfound, and F. Jeffrey and photographs of Montgomery C. Meigs, and Hutton. Some materials are in German and French.
References:
1. Ward, George Washington, "The Early Development of the Chesapeake and Ohio Canal Project," Johns Hopkins University Studies in Historical and Political Science Series XVII, no. 9-11 (1899): 8.
2. Ibid., 88.
3. Ibid., 55.
4. Ibid., 90.
5. Sanderlin, Walter S., "The Great National Project: A History of the Chesapeake and Ohio Canal," Johns Hopkins University Studies in Historical and Political Science Series LXIV, no. 1 (1946): 21.
6. Ibid., 282.
7. Gies, Joseph, Adventure Underground (Garden City, N.Y.: Doubleday and Company Inc., 1962): 134.
8. Ibid., 131-132.
9. Ibid., 135-136.
10. Ibid., 145.
Arrangement:
The collection is arranged into ten series.
Series 1, Letterpress Copybooks, 1858-1901
Series 2, Professional Correspondence, 1861-1901
Subseries 1, Project Correspondence, 1876-1899
Subseries 2, General Correspondence, 1861-1901
Series 3, Personal Correspondence, 1850-1942
Series 4, Personal Materials, 1835-1946
Subseries 1, Financial Records, 1876-1901
Subseries 2, Estate and Real Estate Records, 1835-1921
Subseries 3, Other Huttons, 1874-1936
Subseries 4, Personal Materials, 1878-1946
Series 5, Diaries, 1866-1901
Series 6, Notebooks, 1860-1900
Subseries 1, Engineering and Survey Field Notes, 1860-1899
Subseries 2, Notebooks, 1871-1886
Subseries 3, Notes, 1863-1900
Series 7, Cashbooks, 1856-1899
Series 8, Professional Projects, 1830-1965
Subseries 1, Chesapeake and Ohio Canal, 1828-1965
Subseries 2, Hudson River Tunnel, 1887-1901
Subseries 3, Harlem River Bridge, 1878-1892
Subseries 4, Other Projects, 1858-1932
Subseries 5, Identified Project Files, 1872-1900
Subseries 6, Specifications, 1870-1900
Subseries 7, Legal Documents, 1886
Subseries 8, Professional Organizations, 1870-1902
Series 9, Printed Materials, 1826-1913
Subseries 1, Printed Materials by Hutton, 1852-1900
Subseries 2, Printed Materials by Others, 1826-1913
Subseries 3, Newspaper, Journals, and Magazine Clippings, 1855-1901
Not much is known about the history of William Rich Hutton outside of his role in architectural and engineering projects of the late 1800s and early 1900s. In many cases, he is spoken of only in reference to his projects, and the short biographies that have been written read more like a resume than a life story. Because of this lack of information, this note will focus on Hutton's professional accomplishments, but will attempt to make some comments on his personal life.
William Rich Hutton was born on March 21, 1826 in Washington, D.C., the eldest son of James Hutton (died 1843) and his wife, the former Salome Rich (1). He was educated at the Western Academy (Washington, D.C.) from 1837-1840 under George J. Abbot and then at Benjamin Hallowell's School in Alexandria, Virginia, where he received special training in mathematics, drawing, and surveying (2). Hutton began his professional career in California when he, along with his younger brother James, accompanied their uncle William Rich to work for the United States Army. His uncle was a paymaster for the army and Hutton became his clerk. They traveled around the new state paying the various platoons stationed there, but Hutton also occupied his time by drawing the landscapes and structures he saw in the settlements of Los Angeles, San Francisco, La Paz, Mazatlan, Santa Barbara, Monterey, San Pedro, San Diego, and Cape San Lucas (3). These drawings are now held by the Huntington Library in San Marino, California. Hutton held the position of clerk until the spring of 1849, and in July of that year he began working with Lieutenant Edward O.C. Ord and completed the first survey of Los Angeles and its surrounding pueblo lands and islands. Hutton continued surveying in California from 1850-1851. He was hired by William G. Dana to survey the Nipomo Ranch in San Luis Obispo County and also surveyed the ranches Santa Manuela and Huer-Huero, both owned by Francis Z. Branch. After his employment with Dana, he became the county surveyor for San Luis Obispo County, where he prepared the first survey and map of the region. He also continued to survey ranches for Captain John Wilson during this time. In August 1851, he resigned from his position as county surveyor and moved to Monterey where he worked as an assistant to Captain (later General) Henry W. Hallack, superintendent of the New Almaden Quicksilver Mine in Santa Clara County (4). He remained in this position until March, 1853 when he returned to Washington, D.C. by way of Mexico (5).
Hutton began his career as a civil engineer in Washington, D.C. He was first assigned to the position of assistant engineer on a survey of the projected Metropolitan Railroad in 1853, which was chartered to connect Washington, D.C. with the mainline of the Baltimore and Ohio Railroad. In 1855 he began his professional relationship with Montgomery C. Meigs when he was appointed to the position of assistant engineer on the Washington Aqueduct. He also served as division engineer on this project until construction was shut down in 1861 because of the outbreak of the Civil War. Fortunately for Hutton, the construction on the Aqueduct was resumed in 1862, and when Congress transferred the supervision of the aqueduct project from the War Department to the Department of the Interior, Hutton was made chief engineer. By the end of the Civil War, Hutton's reputation as a civil engineer was established (6).
During this decade Hutton also served as the chief engineer for the Annapolis Water Works (1866) and as chief engineer for one of his most famous projects, the Chesapeake and Ohio Canal (1869-1871). Although some historians minimize Hutton as just one of many engineers to work on the Chesapeake and Ohio Canal, he did make one major contribution to its construction: the Georgetown Canal Incline. Perhaps the final effort of the Chesapeake and Ohio Canal company to compete with the emerging and fast expanding railroad, the Georgetown Incline was designed to allow canal boats to travel through the canal with low water levels and to alleviate canal congestion. Unfortunately, by the time the incline was completed use of the canal had decreased so significantly that it was no longer needed to help control traffic (7). Despite this, Hutton continued to work as a consulting engineer for the Chesapeake and Ohio Canal Company until 1881, when he was let go because of the dwindling fortunes of the company (7).
In the 1870s and 1880s Hutton was busy with several engineering projects. During 1871-1873, he was the chief engineer in the completion of the Western Maryland Railroad to Hagerstown and Williamsport (9). He also practiced as an architect with his brother, the prominent Baltimore architect Nathanial Henry Hutton, during the years 1873-1880. He relocated to New York in 1880, serving as chief engineer for the Washington Bridge in 1888 and 1889 and the Hudson River Tunnel from 1889 to 1891. In 1886, he became the consulting engineer for the New Croton Aqueduct and served in the same position for the Colorado Midland Railway between the years of 1886-1889 (10).
As his personal and professional correspondence shows, Hutton continued to work on various engineering and architectural projects until his death on December 11, 1901. In addition to these projects, he also invented the innovative system of locks and moveable dams used in the Kanawha River Canal. He was awarded the Diplome d'Honneur for this featat the Paris Exposition in 1878 (11). His correspondence also demonstrates how Hutton was respected within his professional community. These letters refer to the accuracy of his work, his willingness to help other colleagues and supply them with reference materials and information, and, in addition to all this, his politeness. It seems that these qualities defined not only his personality but also his ideology. In one of the cashbooks in the collection, dated 1899, a hand written note contains a religious parable of "The Straw." The phrase in this parable that speaks most to Hutton's work ethic, and to the spirit of inventors everywhere, is this: "Even so however lowly may be the act, however little opportunities we may have of assisting others, we may still do something. Let us beg to fulfil our duty in this regards by making ourselves useful to others by some little act of thoughtful charity..." (12). Hutton, in his dedication to civil engineering, seems to have lived up to this virtue, and in his work he changed the landscape of Washington, D.C. and New York.
The Fairy Godfather: Hutton's Personal History
His professional records reveal a man who was fiercely dedicated to his work. His obituary references his professional life more than his personal life (13). Despite his reputation in the professional engineering community, his personal records demonstrate that Hutton was also dedicated to his family and children. In 1855, he married Montgomery County native Mary Augusta Clopper (died 1915). Together they lived on her family's estate known as the Woodlands, and had five children: Frank C. Hutton, Mary Hutton, Elizabeth Hutton (later Caulfield), Rosa Hutton, and Annie Salome Hutton (14). It is at this estate that Hutton died and was buried. The personal letters to his wife found in the Woodlands Collection held at the Montgomery County Historical Society show a man in love and willing to take time from his work to write to his wife. His letters to his children show a similar interest and compassion. In the many letters found in this collection from his daughter Elizabeth (Bessie) one can see a father who is interested in not only his daughter's activities abroad, but also in her opinion. This interest also extends to his son Frank Hutton, as their correspondence shows Hutton offering his son advice on his own engineering projects.
Hutton also served as executor to many of his extended family's estates. Many letters show the conflicts that Hutton had to mediate and the dependence of his cousins on him for advice and money. Although his family was wealthy (his cousin was Benjamin H. Hutton whose daughters married into the court of Napoleon III), they were volatile, and his records seem to indicate that he served as a mediator for many of their disputes. In addition to this, as his nickname of Fairy Godfather suggests, Hutton was always willing to lend his family either financial or moral support when needed. Unfortunately, little other documentation concerning Hutton's personal life exists outside of this collection and the one held at the Montgomery County Historical Society.
References:
1. Waters, Willard O., "Introduction," California 1847-1852 (San Marino: The Huntington Library, 1942).
2. Waters, Willard O., "Memoir," Glances at California 1847-1853 (San Marino: The Huntington Library, 1942): ix.
3. Waters, Willard O., "Introduction," California 1847-1852 (San Marino: The Huntington Library, 1942). and Waters, Willard O., "Memoir," Glances at California 1847-1853 (San Marino: The Huntington Library, 1942): x-xi.
4. Waters, Willard O., "Introduction," California 1847-1852 (San Marino: The Huntington Library, 1942).
5. Waters, Willard O., "Memoir," Glances at California 1847-1853 (San Marino: The Huntington Library, 1942): xvii.
6. Waters, Willard O., "Memoir," Glances at California 1847-1853 (San Marino: The Huntington Library, 1942): xvii-xviii.
7. Skramstad, Harold, "The Georgetown Canal Incline," Technology and Culture, Vol. 10, no. 4 (Oct. 1969): 555.
8. Business Correspondence, Chesapeake and Ohio Canal, 22 February 1881, William R. Hutton Papers, 1830-1965, Archives Center, National Museum of American History, Smithsonian Institution, box number 27, folder number 29.
9. "William Rich Hutton," The Club: A Journal of Club Life for Men and Women,(July 1894):37
12. Cashbook, 1899, William R. Hutton Papers, 1830-1965, Archives Center, National Museum of American History, Smithsonian Institution, box number 23, folder number 5.
13. The Woodlands Collection, Montgomery County Historical Society.
Related Materials:
Materials in the Archives Center
The Montgomery C. Meigs Papers, 1870-1890, (AC0987). Contains materials relating to the construction of the Washington Aqueduct including a book of drawings illustrating reservoirs, tunnels, culverts, and other structural elements, a Government Senate Document relating to construction progress, scrapbooks created by Meigs that include newspaper clippings about the Washington Aqueduct project, water supply, engineering projects, building construction, architecture and other subjects. Collection is currently unprocessed, but is available for research.
Materials in Other Organizations:
The William Rich Hutton Papers, 1840-1961, are located at the Huntington Library in California (see http://catalog.huntington.org).
The collection contains 95 drawings, 13 letters, and 39 facsimile copies of letters and manuscripts. The illustrative material includes both watercolor and pencil drawings of California (including Los Angeles, Monterey, San Francisco, the New Almaden Quicksilver Mine, and the California missions), Baja California, Mexico, and Peru. There are also five pieces in the collection related to the author María Amparo Ruiz de Burton. In 1942, the Huntington Library published Glances at California 1847--853: Diaries and Letters of William Rich Hutton, Surveyor and California 1847--852: Drawings by William Rich Hutton.
The Hutton family papers are located at the Montgomery County Historical Society, Sween Library (see http://www.montgomeryhistory.org/sites/default/files/Family_Files.pdf).
The collection contains account books from the Woodlands estate, recipe books, livestock records, records of Mary Augusta Hutton (wife), Mary and Rose Hutton (daughters), newspaper clippings (including his obituary), correspondence, record books, deeds, bills and receipts, engineering papers, religious momentos (funeral service cards), and insurance papers.
Provenance:
The collection was donated by Mr. and Mrs. James J. Madine, a relative of Hutton's and last owners of the Woodlands estate; the Department of Forests and Parks, Maryland; Louis Fischer; and Mr. and Mrs. Mayo S. Stuntz, 1965-1966, 1974.
Restrictions:
The collection is open for research. 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.
This scrapbook includes articles, newspaper clippings, letters and photographs from various events and marches Grace participated in regarding the fight for returning surplus lands to Native peoples. These events and materials include--Fishing Rights March (1970) in Yelm, Washington with the McCloud family; Fort Lawton "Surplus" March (1970) in Seattle, Washington; Pit River versus P.G..E. (1970) in Big Bend, California; DQU, Deganawidah Quetzalcoatl University founding (1971) in Davis, California; and documentation as National Commitee Director for the "Return Surplus Lands to Indian People".
Separated Materials:
The cover and back of the scrapbook binder are in Box 12 since they are oversized.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Collection Citation:
Identification of specific item; Date (if known); Grace F. Thorpe Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
