Search Results

User:

Lou Slade  Search this

Mary Slade  Search this

Medium:

paper; ink

Type:

Archival Material

Place:

Missouri

Date:

1900s-1950s

Object number:

2009.2033.1.175.10.1-.2

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm8d432a1fd-8d21-46b8-a3c9-93969c18075d

EDAN-URL:

edanmdm:npm_2009.2033.1.175.10.1-.2

User:

Lou Slade  Search this

Mary Slade  Search this

Medium:

paper; ink

Type:

Archival Material

Place:

Missouri

Date:

March 13, 1935

Object number:

2009.2033.1.175.11

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm842e79c40-34bf-4f67-ac64-96362c03c8bf

EDAN-URL:

edanmdm:npm_2009.2033.1.175.11

Medium:

paper; ink

Type:

Postage Stamps

Place:

United States of America

Date:

May 25, 2015

Topic:

U.S. Stamps  Search this

Contemporary (1990-present)  Search this

Credit line:

Copyright United States Postal Service. All rights reserved.

Object number:

2015.2019.127.1-24

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm81cabe15b-d073-4c4d-8353-1b8911134063

EDAN-URL:

edanmdm:npm_2015.2019.127.1-24

Medium:

Jade (nephrite)

Dimensions:

H x W x D: 4.5 x 7.2 x 7.2 cm (1 3/4 x 2 13/16 x 2 13/16 in)

Diam (hole): 5.9 cm (2 5/16 in)

Culture:

Liangzhu culture, ca. 3300-ca. 2250 BCE  Search this

Type:

Ceremonial Object

Origin:

Lake Tai region, China

Date:

ca. 3300-ca. 2250 BCE

Period:

Late Neolithic period

Topic:

Late Neolithic period (ca. 5000 - ca. 1700 BCE)  Search this

China  Search this

Chinese Art  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1916.118

Restrictions & Rights:

CC0

Related Online Resources:

Google Cultural Institute

Jades for Life and Death

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 19: Afterlife: Ancient Chinese Jades

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3f66c18a7-a135-4590-aa1a-5490c2b23c22

EDAN-URL:

edanmdm:fsg_F1916.118

Manufacturer:

Curtiss Aeroplane Company  Search this

Materials:

Fuselage - steel tube with fabric cover

Wings - wood with fabric cover

Dimensions:

Wing span: 9 m (29 ft. 6 in.)

Length: 6.5 m (21ft. 3 in.)

Height: 2.2 m (7 ft. 4 in.)

Weight: 251.7 kgs (555 lbs.)

Type:

CRAFT-Aircraft

Country of Origin:

United States of America

Date:

1930-1932

Credit Line:

Gift of Robert E. Maytag

Inventory Number:

A19590100000

Restrictions & Rights:

CC0

See more items in:

National Air and Space Museum Collection

Location:

Steven F. Udvar-Hazy Center in Chantilly, VA

Exhibit Station:

Vertical Flight

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv969d946cc-41d7-4912-a28e-f402c444d249

EDAN-URL:

edanmdm:nasm_A19590100000

Author:

Garrett, John W. (John Work), 1820-1884  Search this

Latrobe, Benj. H. (Benjamin Henry), 1807-1878  Search this

Creator:

Baltimore and Ohio Railroad Company  Search this

Collector:

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

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

Extent:

33 Cubic feet (76 boxes, 46 map-folders)

Type:

Collection descriptions

Archival materials

Tracings

Correspondence

Drawings

Date:

1827-1987

Summary:

The collection consists of correspondence, invoices, drawings, photographs, and negatives and other printed literature documenting the Baltimore and Ohio Railroad from its inception in 1827 to its merger with the Chesapeake and Ohio Railroad in the 1960s.

Scope and Contents:

The collection consists of correspondence, engineering drawings, notes, photographs, transparencies, negatives, glass plate negatives, printed materials, and newspaper clippings documenting the Baltimore and Ohio railroad from its inception in 1827 to its merger with the Chesapeake and Ohio in the 1960s.

Arrangement:

The records are arranged into ten series.

Series 1, Historical Background, 1827-1987

Series 2, Bridge Histories, 1867-1966

Series 3, President's Office, 1826-1880

Series 4, Correspondence, 1826-1859

Series 5, Business Records, 1894-1914, and undated

Series 6, Agreement, 1870

Series 7, Drawings, 1858-1957, and undated

Subseries 7.1, Indices and Lists, 1924-1943, undated

Subseries 7.2, Bailey's Station, 1887; 1899; 1901

Subseries 7.3, Baltimore Belt Railroad, 1895, undated

Subseries 7.4, Bay View and Canton Bridges, 1884-1885

Subseries 7.5, Big Seneca Creek Viaduct, 1905

Subseries 7.6, Bollman Bridges, undated

Subseries 7.7, Boyds, Maryland Station, 1886; 1927

Subseries 7.8, Bridewell Station, undated

Subseries 7.9, Bridges (general), 1893-1917

Subseries 7.10, Brunswick, Maryland, 1890-1907

Subseries 7.11, Building Materials List, undated

Subseries 7.12, Building Signs, 1911-1912

Subseries 7.13, Camden Station, 1881-1942 (not inclusive)

Subseries 7.14, Camden Station (related), 1881-1915

Subseries 7.15, Centenary Bridge Models, 1927

Subseries 7.16, Central Office Building, undated

Subseries 7.17, Chestnut Street Station, 1925-1952

Subseries 7.18, Coaling facilities, water tanks, turntables, and miscellaneous structures, 1888-1912

Subseries 7.19, Cumberland Station, 1910-1955

Subseries 7.20, Curtis Bay Branch, 1900-1911

Subseries 7.21, Frederick Station, 1908-1915

Subseries 7.22, Hyattsville Station, 1913

Subseries 7.23, Keedysville Station, undated

Subseries 7.24, Laurel Station, undated

Subseries 7.25, Ledger, undated

Subseries 7.26, Lieperville Station, 1889

Subseries 7.27, Locust Point, 1881-1957

Subseries 7.28, Maps, 1862; 1918

Subseries 7.29, Martinsburg, West Virginia, 1913-1927

Subseries 7.30, Miscellaneous Buildings, 1875-1956

Subseries 7.31, Miscellaneous Large Photographs, undated

Subseries 7.32, Miscellaneous Structures, 1890-1916

Subseries 7.33: Mt. Clare (general)

Subseries 7.34, Mt. Clare New Blue Line Stable, 1899; 1905

Subseries 7.35, Mt. Clare New Car Shops, undated

Subseries 7.36, Mt. Royal Station, undated

Subseries 7.37, Newton Falls and Fairpoint, Ohio, 1909

Subseries 7.38, Patapsco River Bridge, 1883

Subseries 7.39, Plans for house no. 1846 (N. Gay Street, Baltimore, Maryland), undated

Subseries 7.40, Point of Rocks Station, 1951

Subseries 7.41, Scales, 1903

Subseries 7.42, Signal towers, 1900-1908

Subseries 7.43, Stations (general), 1866-1907

Subseries 7.44, Sykesville Station, undated

Subseries 7.45, Untitled, undated

Subseries 7.46, Warnings, 1894-1911

Subseries 7.47, Woodstock Station, undated

Subseries 7.48, Miscellaneous (rolled), 1858-1930 (not inclusive)

Series 8, Photographs and Copy Prints, 1872-1980s (not inclusive)

Subseries 8.1, Photographs, 1872-1980s

Subseries 8.2, Copy prints, 1901-1931, undated

Subseries 8.3, Indices and Lists, 1909-1920

Series 9, Negatives, 1850-1983 (bulk 1920s-1930s)

Subseries 9.1, Glass plate negatives (unidentified), undated

Subseries 9.2, Glass plate negatives (numbered), 1850-1957 (bulk 1920s-1930s)

Subseries 9.3, Negatives by number, undated

Subseries 9.4, Negatives by location, 1870; 1978-1983

Subseries 9.5, Negatives by subject, 1922-1930s, undated

Series 10, Stations and Buildings, 1884-1982

Biographical / Historical:

The Baltimore and Ohio Railroad (B&O) was the nation's first extensive steam powered railroad. It was founded by Baltimore merchants in 1827 as a means of promoting trade and making Baltimore competitive with other east coast ports. The original intent of the founders was to provide direct and fast access to the Ohio River, and the markets that the river reached. The railroad, however, went beyond the Ohio River and its lines went as far west as St. Louis and Chicago. The B&O was also known for its use of an electric locomotive in the mid 1890s. It also had a completely air conditioned train, and it was a forerunner in the use of diesel-electric locomotives. Company activities paralleled those of other American railroads and over the course of its life included expansion, near bankruptcy, innovations, regulations, and finally buy out. In February 1963, the Chesapeake and Ohio (C&O) completed its purchase of the B&O. Today, B&O is part of the CSX Transportation (CSX) network.

John Work Garrett president of the Baltimore and Ohio Railroad 1858-1884, was born in Baltimore, Maryland July 31, 1820. He was the second son of Elizabeth Stouffer and Robert Garrett. He married Rachel Ann Harrison, the daughter of Thomas Harrison, a Baltimore merchant. They had one daughter, Mary and two sons Robert and Thomas Harrison Garrett.

After attending Lafayette College (Pennsylvania) for two years John W. Garrett left in 1836 to become associated with his father's commission business in Baltimore. The commission house which dealt in wholesale groceries, produce, forwarding and a commission business expanded to establish direct connections with Latin America, seek outlets in Europe and develop its own banking operations. In time its financial operations overshadowed the commission and shipping business.

When John W. Garrett began to invest heavily in Baltimore and Ohio Railroad stock, the road was in competition with the Chesapeake and Ohio Canal and the stock was not popular. Its value rose steadily over the years. Mr. Garrett was elected a director of the railroad in 1855. His report as chairman of a subcommittee on the need for additional funds to complete the line to the Ohio River led to his election to the presidency of the road on November 17, 1858, a position he held for 26 years. New policies with emphasis on economy, personal supervision and gradual expansion were inaugurated and consistently maintained, in spite of a general financial crisis, Mr. Garrett's first year in office showed a net gain in earnings.

Sympathetic to his southern friends during the Civil War, Mr. Garrett nevertheless supported the Union. He recognized the inevitability of Confederate defeat by superior northern resources. Confederate leaders blamed him for their inability to seize Washington and he received warm appreciation for his services to the Union cause from President Lincoln. The railroad stretched along the theater of war and twice crossed Confederate territory. It was, therefore, a main objective for southern attack. Branches were frequently damaged by Confederate raids, but the main line to Washington became important for the transport of troops and supplies. The Baltimore and Ohio carried out the first military rail transport in history and the transfer of 20,000 men from the Potomac to Chattanooga in 1863 was a major triumph for its president.

With the advent of peace Mr. Garrett turned to rebuilding and strengthening the railroad. He replaced equipment and track damaged by the war, then extended the system by securing direct routes to Pittsburgh and Chicago and arranging an independent line into New York. Wharves were built at Locust Point for ocean liners and a system of elevators erected. The B&O. built its own sleeping and dining cars, established hotels in the mountains and created its own express company. By 1880, after battles over rates with other trunk lines, a costly rivalry with the Pennsylvania Railroad over the eastern route and charges of discrimination against local shippers Mr. Garrett was at the height of his success. He cooperated in establishing the B. and 0. Employees Relief Association for accident and life insurance, a hospital system, saving and building funds, and arrangements for improving sanitation in the work place. He was on friendly terms with Johns Hopkins, a trustee of John Hopkins Hospital, and with George Peabody, founder of the Peabody institute of which he was also a trustee. Garrett County, Maryland was named in his honor.

John W. Garrett died on September 26, 1884 within a year of his wife's death in a carriage accident. During his connection with the railroad the stock increased from $57 to $200; at the outbreak of the Civil War the railroad was operating 514 miles of rail, gross earnings were $4,000,097 and net per mile was $4246.1 By 1864 gross earnings were $10,138,876 and net per mile, $7113.2 By the end of his presidency mileage had increased to 1711 miles and net earnings were $4535 per mile.3

References

1 -- National Cyclopedia of American Biography -- Vol. 18:3

2 -- National Cyclopedia of American Biography -- Vol. 18:3

3 -- National Cyclopedia of American Biography -- Vol. 18:3

Related Materials:

Materials at Other Organizations

Maryland Historical Society

Baltimore and Ohio Museum

Provenance:

This collection was donated to the National Museum of American History by the Baltimore and Ohio Railroad in the 1960s.

Restrictions:

The collection is open for research use. Researchers must handle unprotected photographs and glass plate negatives with gloves.

Rights:

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

Topic:

Railroads  Search this

Engineering -- 19th century  Search this

Repairing -- Railroads  Search this

Railway engineering -- 1860-1890  Search this

Bridges  Search this

Construction  Search this

Genre/Form:

Tracings

Correspondence -- 19th century

Drawings -- 1860-1890

Citation:

Baltimore and Ohio Railroad Records, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1086

See more items in:

Baltimore and Ohio Railroad Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e652d903-bb57-46a8-a205-c7cbfe89f444

EDAN-URL:

ead_collection:sova-nmah-ac-1086

Medium:

Opaque watercolor and gold on paper

Dimensions:

H x W (overall): 28.7 x 18.8 cm (11 5/16 x 7 3/8 in)

Type:

Painting

Origin:

Istanbul, Turkey

Date:

1478-81

Period:

Ottoman period

Topic:

portrait  Search this

Ottoman period (1307 - 1922)  Search this

Turkey  Search this

Arts of the Islamic World  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1932.28

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3807995ec-6fd6-4f68-8fcc-8a805f0aed50

EDAN-URL:

edanmdm:fsg_F1932.28

Calligrapher:

Malik al-Daylami  Search this

Medium:

Opaque watercolor, ink, and gold on paper

Dimensions:

H x W: 34.2 x 23.2 cm (13 7/16 x 9 1/8 in)

Type:

Manuscript

Origin:

Iran

Date:

1556-1565

Period:

Safavid period

Topic:

donkey  Search this

Safavid period (1501 - 1722)  Search this

commerce  Search this

poetry  Search this

nasta'liq script  Search this

illumination  Search this

India  Search this

Haft awrang  Search this

Arts of the Islamic World  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1946.12.38

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye35142efac-45d7-414d-a0b0-34efbda2db2a

EDAN-URL:

edanmdm:fsg_F1946.12.38

Creator:

Guerrero, José, 1914-1991  Search this

Type:

Scrapbooks

Citation:

José Guerrero papers, 1945-1982. Archives of American Art, Smithsonian Institution.

Topic:

Latino and Latin American artists  Search this

Hispanic American artists  Search this

Abstract expressionism  Search this

Theme:

Latino and Latin American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)5479

(DSI-AAA_SIRISBib)211183

AAA_collcode_guerjose

Theme:

Latino and Latin American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211183

Physical Description:

rosewood (overall material)

brass (overall material)

parchment (overall material)

Measurements:

overall: 35 1/2 in x 11 1/2 in x 2 3/4 in; 90.17 cm x 29.21 cm x 6.985 cm

Object Name:

banjo

Place made:

United States

Date made:

1880 - 1882

Related Publication:

Densmore, Frances. Handbook of the Collection of Musical Instruments in the United States National Museum.

Credit Line:

Gift of J. Howard Foote

ID Number:

MI.055718

Catalog number:

55718

Accession number:

11535

See more items in:

Culture and the Arts: Musical Instruments

Music & Musical Instruments

Banjos

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a4-436f-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_605665

Maker:

Charles Paillard & Cie.  Search this

Physical Description:

wood (overall material)

metal (overall material)

paper (overall material)

ink (overall material)

glass (overall material)

Measurements:

overall: 4 1/2 in x 13 1/2 in x 7 in; 11.43 cm x 34.29 cm x 17.78 cm

Object Name:

music box

Place made:

Switzerland

Date made:

1878 - 1882

Related Publication:

Densmore, Frances. Handbook of the Collection of Musical Instruments in the United States National Museum.

Credit Line:

Gift of J. Howard Foote

ID Number:

MI.055716

Accession number:

11535

Catalog number:

55716

See more items in:

Culture and the Arts: Musical Instruments

Music & Musical Instruments

Mechanical Musical Instruments

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a4-2d97-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_605760

Creator:

Caja, Jerome, 1958-1995  Search this

Extent:

7.9 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Moving images

Sound recordings

Video recordings

Date:

circa 1920-1995

Summary:

The papers of painter Jerome Caja measure 7.9 linear feet and date from circa 1920 to 1995. The papers document his career as an artist in San Francisco through biographical material; correspondence with family, friends, art organizations, and galleries; poetry, prose, and other writings; exhbiition announcements, newspaper and magazine clippings, and other printed materials, gallery and exhibition files; artwork, including sketchbooks and numerous small paintings, sketches and drawings, photographs; audiovisual materials including film reels, vido and audio cassettes.

Scope and Contents:

The papers of painter Jerome Caja measure 7.9 linear feet and date from circa 1920 to 1995. The papers document his career as an artist in San Francisco through biographical material; correspondence with family, friends, art organizations, and galleries; poetry, prose, and other writings; exhbiition announcements, newspaper and magazine clippings, and other printed materials, gallery and exhibition files; artwork, including sketchbooks and numerous small paintings, sketches and drawings, photographs; audiovisual materials including film reels, vido and audio cassettes.

Biographical Material includes a family history, a short autobiography, school documents from elementary through college, yearbooks, identifications and certificates. Correspondence includes letters numerous letters from parents, letters from some brothers, and letters from friends. Writings consist primarily of short plays and skits by Caja, prose and poetry, a journal, and writings by friends. Gallery and Exhibition Files consist of correspondence, inventory and price lists, exhibition announcements and catalogs, and contracts from museums and galleries where Caja did exhibitions or auctions. Personal Business Records consist of price lists, invoices, receipts for works he sold to individuals or institutions. Printed Materials consist of newspaper and magazine clippings detailing Caja's exhibition or his involvement in the gay scene of San Francisco. There are also books with inscriptions that were given to Caja by friends, and there are publication materials that belonged to Caja.

Artwork primarily consists of numerous small drawings and sketches in ink, chalk, and nail polish. Also included are sketchbooks of Caja's drawings and oversized paintings and sketches. Photographs primarily consist of personal photos of Caja and his family during his childhood, photos of his grand parents and geat grandparents, and photos of nieces and nephews. There are also photos and slides of his ceramic work and some of his paintings and sketches. The majority of the photos are of Caja taking part in various events around San Francisco. Audio-Visual Materials consists of video cassettes, audio cassettes, and motion picture reels. Videos document Caja reading his book, Caja taking part in events in San Francisco, his artwork, and a movie that he was featured in. Audio cassettes consist primarily of music, but also of Caja reading stories. Film material consists of people working in an artist's workshop, a pool party, and a satirical narrative between children and their mother.

Arrangement:

The collection is arranged as nine series.

Series 1: Biographical Material, 1949-1994 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1980-1995 (0.5 linear feet; Box 1)

Series 3: Writings, circa 1980-1995 (0.3 linear feet; Box 1-2)

Series 4: Gallery and Exhibition Files, 1982-1995 (0.4 linear feet; Box 2)

Series 5: Personal Business Records, 1990-1995 (0.2 linear feet; Box 2)

Series 6: Printed Material, 1960-1995 (1.3 linear feet; Box 2-3, Box 9)

Series 7: Artwork, circa 1980-1995 (1.7 linear feet: Box 4-5, Box 9, OV 13-15, Artifact)

Series 8: Photographs, circa 1920-1995 (1.8 linear feet; Box 5-6, Box 9, OV 14)

Series 9: Audio-Visual Material circa 1980-1995 (1.4 linear feet; Box 7-8, FC 16-23)

Biographical / Historical:

Jerome Caja (1958-1995) was a painter who worked primarily in San Francisco, CA. Caja was born in Ohio in 1958 and attended Clevaland State University. He moved to San Francisco in the 1980s and attended the San Francisco Art Institute from which he graduated in 1984. Caja pushed the boundaries of gender, performance, and art in the nightclub scene in San Francisco during the late 1980s and early 1990s. Caja died from complications related to HIV in 1995, during height of the AIDS-Art-Activism era in San Francisco.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Jerome Caja conducted by Paul Karlstrom, August 23-September 29, 1995, and Letters from Jerome Caja to Anna van der Meulen, 1995.

Provenance:

The Jerome Caja papers were donated in two installments from 1994 to 1995. The first installment was donated by Jerome Caja in 1994, and the second installment was donated by Anna van der Meulen, executor of Caja's estate, in 1995.

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.

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:

Painters -- California -- San Francisco  Search this

Topic:

Gay artists  Search this

Artists (LGBTQ)  Search this

AIDS (Disease)  Search this

Genre/Form:

Sketchbooks

Moving images

Sound recordings

Video recordings

Citation:

Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.cajajero

See more items in:

Jerome Caja papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c2f9d6a7-e986-4ec0-aad0-03ec1851addc

EDAN-URL:

ead_collection:sova-aaa-cajajero

Collection Creator:

Caja, Jerome, 1958-1995  Search this

Extent:

0.4 Linear feet (Box 2)

Type:

Archival materials

Date:

1982-1995

Scope and Contents:

Gallery and Exhibition Files consist of correspondence, inventory and price lists, exhibition announcements and catalogs, and contracts from museums and galleries where Caja participated in exhibitions or auctions.

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.

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:

Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.cajajero, Series 4

See more items in:

Jerome Caja papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a74b9322-48c8-44e3-bec0-a9ca4db12517

EDAN-URL:

ead_component:sova-aaa-cajajero-ref55

Collection Creator:

Caja, Jerome, 1958-1995  Search this

Extent:

0.2 Linear feet (Box 2)

Type:

Archival materials

Date:

1990-1995

Scope and Contents:

Personal Business Records consist of end of life material, price lists, invoices, receipts for works he sold to individuals or institutions.

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.

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:

Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.cajajero, Series 5

See more items in:

Jerome Caja papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw967e065a8-c3e1-4ce8-9a6e-09fedabd043e

EDAN-URL:

ead_component:sova-aaa-cajajero-ref75

Creator:

Zamudio-Taylor, Victor  Search this

Names:

Fundación Jumex Arte Contemporáneo  Search this

Pitta, Thiago Rocha, 1980-  Search this

Extent:

1.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1999-2013

Summary:

The papers of Victor Zamudio-Taylor measure 1.1 linear feet and date from 1999 to 2013. The papers consist of some biographical material, administrative files, financial records, correspondence, writings, exhibition files, artists' files, photographs and printed material relating to Victor Zamudio-Taylor's work as an art historian and curator and his work for the Jumex Foundation in Mexico. Also included is a DVD of a project, "The Secret Sharer," by artist Thiago Rocha Pitta, 2008.

Scope and Contents:

The papers of Victor Zamudio-Taylor measure 1.1 linear feet and date from 1999 to 2013. The papers consist of some biographical material, administrative files, financial records, correspondence, writings, exhibition files, artists' files, photographs and printed material relating to Victor Zamudio-Taylor's work as an art historian and curator and his work for the Jumex Foundation in Mexico. Also included is a DVD of a project, "The Secret Sharer," by Thiago Rocha Pitta, 2008.

Professional material consists of some identification cards and copies of passports, correspondence, notes and a notebook, and files related to exhibitions he curated. Some of the exhibitions include: "Light/Art: Mythic Crystal Revelation," "Where Do We Go From Here? Selections from La Coleccion Jumex," and "Now: Works From La Jumex Collection." Business records include some expense sheets for Jumex Foundation, price lists, receipts, and invoices. Printed material consists of articles, clippings, exhibition announcements and catalogs, and a series of spiral booklets for exhibitions done in collaboration with the Jumex Foundation. The booklets contain images of artwork, some exhibition text, and articles. Photographic material consists of photographs of Zamudio-Taylor and colleagues, photographs of artwork and exhibitions featuring the Jumex Foundation, and photographs and slides of artwork by other artists that Zamudio curated exhibitions for.

Arrangement:

The collection is arranged into four series.

Series 1: Professional Activity Files, 2001-2012 (0.6 linear feet: Box 1, OV 2)

Series 2: Personal Business Records, 2009-2013 (0.1 linear feet; Box 1)

Series 3: Printed Material, 2004-2012 (0.3 linear feet; Box 1)

Series 4: Photographic Material, circa 2000-2009 (0.1 linear feet; Box 1)

Biographical / Historical:

Victor Zamudio-Taylor (1956-2013) was an art historian and curator in San Francisco, California and Mexico City. Zamudio-Taylor worked as an advisor to the Jumex Foundation's president, Eugenio López-Alonso. He was also a Rockefeller Foundation senior associate researcher at the National Museum of American Art in Washington, D.C. He was responsible for shows including "Ultra Baroque: Aspects of Post Latin American Art," exhibited at the Museum of Contemporary Art in San Diego in 2001, and "Cities Scape" staged at ARCO in 2006.

Provenance:

Donated 2016 by Sophia Zamudio-Haas, Zamudio-Taylor's daughter.

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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

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:

Art museum curators -- California -- San Francisco  Search this

Art historians -- California -- San Francisco  Search this

Art historians -- Mexico  Search this

Topic:

Latino and Latin American artists  Search this

Citation:

Victor Zamudio-Taylor Papers, 1999-2013. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.zamuvict

See more items in:

Victor Zamudio-Taylor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a180a250-a02f-403c-ab12-492394d3852f

EDAN-URL:

ead_collection:sova-aaa-zamuvict

Collection Creator:

Zamudio-Taylor, Victor  Search this

Extent:

0.1 Linear feet (Box 1)

Type:

Archival materials

Date:

2009-2013

Scope and Contents:

Business records include some expense sheets for Jumex Foundation, price lists, receipts, and invoices.

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 born-digital records or 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:

Victor Zamudio-Taylor Papers, 1999-2013. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.zamuvict, Series 2

See more items in:

Victor Zamudio-Taylor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96269e68b-5954-432a-9ca9-68f9c4b90ed4

EDAN-URL:

ead_component:sova-aaa-zamuvict-ref28

Collection Creator:

Zamudio-Taylor, Victor  Search this

Container:

Box 1, Folder 25

Type:

Archival materials

Date:

2009-2013

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 born-digital records or 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:

Victor Zamudio-Taylor Papers, 1999-2013. Archives of American Art, Smithsonian Institution.

See more items in:

Victor Zamudio-Taylor papers

Victor Zamudio-Taylor papers / Series 2: Personal Business Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eb4ad9d8-1050-49a2-b38b-152e26d6f75e

EDAN-URL:

ead_component:sova-aaa-zamuvict-ref29

Creator:

Brown, Naomi Huber  Search this

Names:

Armstrong, Louis, 1901-1971  Search this

Ellington, Duke, 1899-1974  Search this

Extent:

0.15 Cubic feet (1 box)

Type:

Collection descriptions

Archival materials

Notes

Business records

Photographs

Place:

Asia -- Concerts -- 1960-1970

Date:

1960-1963.

Summary:

Records document the preparation and management of Duke Ellington's 1963 tour of Asia.

Scope and Contents:

The Naomi Huber Brown Papers contain black and white photographs, correspondence, business contracts, travel itineraries, list of band members, newspaper reviews, a concert program and Brown's personal diary documenting Duke Ellington's 1963 State Department tour of the Middle East and Asia. The material is arranged alphabetically. Of particular interest is a program from a November 1 and 3 Karachi, Pakistan concert, and photographs autographed by Ellington, Louis Armstrong, and Isaac Stern.

Arrangement:

Collection is arranged into one series.

Biographical/Historical note:

Naomi Huber Brown was the United States Foreign Service officer that was responsible for the administration of Duke Ellington's State Department tour of the Middle East and Asia in 1963. Her duties included scheduling travel and making arrangements for the members of the Ellington Orchestra, and the distribution of appropriate currencies to the band members as they toured each country.

Provenance:

Collection donated by Naomi Huber Brown, July 15, 1991.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Jazz musicians -- 1960-1970 -- United States  Search this

Jazz -- 1960-1970 -- United States  Search this

Music -- 20th century -- United States  Search this

Genre/Form:

Notes -- 1960-1970

Business records -- 1950-2000

Photographs -- 1960-1970

Citation:

Naomi H. Brown Papers Documenting Duke Ellington's Concert Tour of Asia, 1963, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0429

See more items in:

Naomi Huber Brown Papers (Documenting Duke Ellington's Concert Tour of Asia)

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8931af34b-2266-46cd-8bde-bb405b7d4658

EDAN-URL:

ead_collection:sova-nmah-ac-0429

Creator:

DeVincent, Sam, 1918-1997  Search this

Extent:

79 Boxes

Type:

Collection descriptions

Archival materials

Date:

circa 1828-1980

Summary:

Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.

Series 3: African-American Music, contains circa 7,800 pieces of sheet music and folios dating from the 1820s to the 1980s; most of the material dates from after 1890.

An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.

Scope and Contents note:

The African-American series contains circa 7,800 pieces of sheet music and folios dating from the 1820s to the 1980s; most of the material dates from after 1890. Many of the pieces were composed or performed by Afro-American musicians; other pieces were created by white musicians using black musical styles (for example Joseph Lamb's classic ragtime compositions). A large part of the series consists of songs about African-Americans (minstrel show songs), often written in dialect and usually filled with negative stereotypes. Most, but not all, of the composers of this material were white. Subseries 3.1-3.7 are organized by musical genre and arranged by the chronological first appearance of the genre in American popular culture. The last subseries, 3.8, is a composer/performer aggregation including many musical genres but only African-American musicians.

The DeVincent Collection holds a wealth of ragtime material which forms an important part of series 3. There are approximately 530 items of vocal ragtime and approximately 2,800 instrumental ragtime items. The principle composers of ragtime have separate folders and are indexed by name (however, some of their material may be in the general ragtime folders). One of the strengths of the DeVincent ragtime file is its diversity and inclusion of lesser-known figures. Sam DeVincent built the ragtime section with a broad conception of the genre, a conception in keeping with the thinking of the time. Characteristic two-steps, syncopated marches, and some dances from the ragtime dance craze (turkey trots, a few tangos, etc.) are included in the general file indicating the widespread infusion of ragtime rhythms into American popular music during the early 20th century.

A large part of series 3 is organized and indexed by composer or performer; subseries 3.8 is solely organized this way. African-American composers who wrote only ragtime music, such as Scott Joplin, have been kept in subseries 3.6, "ragtime composers and publishers," which includes both black and white musicians.

The jazz holdings in subseries 3.7, "blues and jazz music," are quite small; most of the items are about jazz rather than the creations of jazz musicians. DeVincent organized most of his jazz materials by composer and performer. African-American jazz musicians have been incorporated into subseries 3.8. White jazz musicians are not in series 3. For help in locating jazz material in the DeVincent Collection, see the appendix "Finding Aid to Jazz Sheet Music and Ephemera."

There are four indexes in this register. The first two are for series 3: a Topical Index and a Select Name and Title Index . Following are the two composite indexes which combine the indexes of series 1, 2, and 3. These composite indexes are an important cross-reference tool.

For example, someone doing research on James Reese Europe would naturally start reading the register for series 3. The index to series 3 lists folder 3.8 BB under the heading for Europe. In the composite index, we learn that folder 2.4 XX also has a composition by Europe. Sam DeVincent placed in the Armed Forces file a piece by Europe that he wrote while serving in the Army as director of the 369th Hellfighters Band.

This series is arranged in the following subseries: 3:1 Minstrel Show and Blackface Entertainers; 3:2 Uncle Tom's Cabin; 3:3 African-American Folk-song and Spirituals; 3:4 Songs about African-American/Vocal Ragtime; 3:5 Instrumental and Ragtime Music; 3:6 Ragtime Composers and Publishers; 3:7 Blues and Jazz Music; 3:8 Composers and Performers.

Arrangement note:

Arranged in 9 subseries.

3.1: Minstrel Shows and Blackface Entertainers

3.2: Uncle Tom's Cabin

3.3: African-American Folk-songs and Spirituals

3.4: Songs about African-American/Vocal Ragtime

3.5: Instrumental and Ragtime Music

3.6: Ragtime Composers and Publishers

3.7: Blues and Jazz Music

3.8: Composers and Performers

3.9: Ephemera

Materials in Other Organizations:

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

This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.

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

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

Forms Part Of:

Series 3: African-American Music forms part of the Sam DeVincent Collection of Illustrated American Sheet Music .

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

Provenance:

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

Restrictions:

Collection is open for research.

Rights:

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

Citation:

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

Identifier:

NMAH.AC.0300.S03

See more items in:

Sam DeVincent Collection of Illustrated American Sheet Music, Series 3: African American Music

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep890e4c587-014e-4836-8164-82069059301b

EDAN-URL:

ead_collection:sova-nmah-ac-0300-s03

Creator:

Leonard, Herman, 1923-2010  Search this

Former owner:

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

Names:

Armstrong, Louis, 1901-1971  Search this

Baker, Chet  Search this

Bennett, Tony, 1926-  Search this

Blakey, Art, 1919-1990  Search this

Brown, Clifford  Search this

Camero, Candido, 1921-  Search this

Cole, Nat King, 1917-1965  Search this

Cole, Nat King, 1917-1965  Search this

Davis, Miles  Search this

Davis, Miles  Search this

Eckstine, Billy  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

Garner, Erroll  Search this

Getz, Stan, 1927-1991  Search this

Gillespie, Dizzy, 1917-  Search this

Gordon, Dexter, 1923-1990  Search this

Haig, Al, 1924-1982  Search this

Heath, Percy, 1923-2005  Search this

Holiday, Billie, 1915-1959  Search this

Horne, Lena  Search this

Marsalis, Wynton, 1961-  Search this

Monk, Thelonious  Search this

Mulligan, Gerry  Search this

Parker, Charlie, 1920-1955  Search this

Pettiford, Oscar, 1922-1960  Search this

Roach, Max, 1924-2007  Search this

Russell, Curly  Search this

Sims, Zoot  Search this

Sinatra, Frank, 1915-1998  Search this

Stitt, Sonny  Search this

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

Terry, Clark  Search this

Washington, Dinah, 1924-1963  Search this

Webster, Ben  Search this

Young, Lester, 1909-1959  Search this

Extent:

5.6 Cubic feet (10 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Date:

1948-1993

Summary:

Jazz club photographs by noted Jazz photographer Herman Leonard.

Scope and Contents:

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

Biographical / Historical:

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

Provenance:

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

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Jazz musicians -- United States  Search this

Jazz  Search this

Music -- 20th century  Search this

Genre/Form:

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

Citation:

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

Identifier:

NMAH.AC.0445

See more items in:

Herman Leonard Photographic Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

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

EDAN-URL:

ead_collection:sova-nmah-ac-0445