File consists of brochures and bulletins. Standards for magnetic tape records as well as from Music Performance Trust Funds.
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Six short inventions for seven instruments : (1934) (violin, 2 violas, violoncello, alto flute, trumpet, clarinet) -- Construction in metal : (1937) (Manhattan Percussion Ensemble) -- Imaginary landscape no. 1 : (1939) : a recording of constant and variable frequency records, cymbal and piano -- The wonderful widow of eighteen springs : (1942) / text adapted from Finnegans wake (Arline Carmen, contralto ; John Cage, piano) -- She is asleep : (1943). Quartet for twelve tom toms (4 members of Manhattan Percussion Ensemble) ; Duo (Arline Carmen, contralto ; John Cage, piano) -- Sonatas and interludes : [selections] (1946-48) (Maro Ajemian, piano) -- Music for carillon : (1954) (David Tudor, electronic carillon) -- Williams mix : (1952) (4 stereophonic magnetic tape playbacks, 8 loudspeakers) -- Concerto for piano and orchestra : (1957-58) (David Tudor, piano ; orchestra conducted by Merce Cunningham).
Track Information:
101 Six Short Inventions for Seven Instruments / Anahid Ajemian, Burton Fisch, Joan Brockway. Violin,Viola,Violoncello,Flute,Trumpet,Clarinet.
102 Construction in Metal / Douglas Allan, Michael Colgrass, Paul Price. Cymbals,Gong,Prepared piano music,Gamelan,Percussion instruments,Bells.
103 Imaginary Landscape No. 1 / John Cage. Cymbals,Piano.
201 Wonderful Widow of Eighteen Springs, The-text adapted from "Finnegans Wake" / John Cage, Arline Carmen. Piano,Vocals.
202 She is Asleep-Quartet for Twelve Tom Toms / Paul Price, Philip Brown, Warren Smith. Tom-tom.
203 She is Asleep-Duo / John Cage, Arline Carmen. Prepared piano music,Vocals.
501 Music for Carillon / John Cage, David Tudor. Electronics.
502 Williams Mix / John Cage, Richard, Col. Ranger, Louis A., Jr. Stevenson. Tape recorder music.
601 Concert for Piano and Orchestra / Andrew Lolya, Mel Broiles, Merce Cunningham. Violin,Viola,Violoncello,Flute,Clarinet,Piano,Bass,Bassoon,Tuba.
301 Sonatas and Interludes: Sonata I / Maro Ajemian. Prepared piano music.
304 Sonatas and Interludes: Sonata IV / Maro Ajemian. Prepared piano music.
305 Sonatas and Interludes: First Interlude / Maro Ajemian. Prepared piano music.
302 Sonatas and Interludes: Sonata II / Maro Ajemian. Prepared piano music.
303 Sonatas and Interludes: Sonata III / Maro Ajemian. Prepared piano music.
401 Sonatas and Interludes: Sonata V / Maro Ajemian. Prepared piano music.
402 Sonatas and Interludes: Sonata VI / Maro Ajemian. Prepared piano music.
403 Sonatas and Interludes: Sonata VII / Maro Ajemian. Prepared piano music.
404 Sonatas and Interludes: Sonata VIII / Maro Ajemian. Prepared piano music.
405 Sonatas and Interludes: Second Interlude / Maro Ajemian. Prepared piano music.
Local Numbers:
FW-ASCH-LP-3203
Publication, Distribution, Etc. (Imprint):
New York Wergo 1958
Date/Time and Place of an Event Note:
Recorded in: New York (N.Y.), United States, New York.
General:
Program notes by the composer and George Avakian ([15] p. : ill., facsim.) and 11 holograph facsims. with supplementary notes inserted in container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Record labels, correspondence, label copies, label proofs, liner notes (draft)
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Cover copy, contract copies, record reviews, misc. material, newspaper articles
News clipping from VT Vanguard Press. 8/7/83, liner note proofs, cover proofs and promotional proofs rehoused to OS05-19
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
US Patent for "a method and apparatus for preparing recorded program material to render detectable unauthorized magnetic tape duplications, and method and apparatus for detecting such duplications"
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at (202) 633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Cook Labs records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
US Patent for "a method and apparatus for preparing recorded program material to render detectable unauthorized magnetic tape duplications, and method and apparatus for detecting such duplications"
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at (202) 633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Cook Labs records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
1 Motion picture film (16 mm training film which includes outtakes; one magnetic tape; one 1/2 " VHS, and one DVD)
Container:
Reel OF 205.70.1-5
Type:
Archival materials
Motion picture films
Date:
1969
Scope and Contents:
Film documents a pilot program being conducted in the Florida division of Western Union. This pilot program implemented a new stream-lined single-line management system that extended down through all management levels. The program proved so successful in the Florida division that the Western Union Telegraph Company President implemented this stream-lined management system throughout the entire Western Union Telegraph Company. With the new system, the company reduced its management divisions across the country from 30 to 18 which also resulted in significant management cost reductions.
Collection Restrictions:
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. 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:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
The Harrington sound recording were made on wax cylinders, alumunim discs, and magnetic tape. The wax cylinders are described here in spite of the fact that they were transferred to the Library of Congress Folklife Division in the early 1980s and no copies have yet been furnished by the Library to NAA. Most of what remains are aluminum discs and a few tapes.
Arrangement:
By tribe and number
Topic:
Language and languages -- Documentation Search this
Genre/Form:
Sound recordings
Collection Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.
The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.
The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.
The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.
The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.
A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.
Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).
Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).
Arrangement:
The collection is arranged into eleven series.
Series 1: Personal Papers, 1923-1981
Series 2: Professional Papers, 1954-1980
Series 3: Lecture Materials, 1952-1980
Series 4: Biographical Materials, 1954-1980
Series 5: Transparencies, 1947-1980
Series 6: Photoprints, 1913-ca. 1980
Series 7: Photonegatives, 1929-1981
Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979
Series 9: Audio Tapes, 1947-1980
Series 10: Miscellaneous, 1947-1980
Series 11: Steve Eyster Addenda, 1937-1980
Biographical / Historical:
Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast.
It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.
Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.
Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.
Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.
1914 -- April 13, born York, Pennsylvania.
1929 -- In Detroit at Lewis Institute to overcome a speech impediment.
1932 -- To University of Pennsylvania.
1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.
1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).
1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).
1938 -- Summer at home, and Picketts (PA), Camp Pratt.
1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).
1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).
1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).
1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.
1943 -- Summer trip to Mohonk (NY).
1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).
1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).
1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.
1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.
1949 -- Singing tour of North and South Carolina.
1950 -- Summer trip to South.
1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.
1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.
1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.
1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.
1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.
1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.
1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.
1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.
1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.
1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.
1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.
1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.
1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.
1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.
1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.
1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.
1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.
1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.
1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.
1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.
1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.
1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.
1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.
1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.
1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.
1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.
1979 -- To England; Florida.
1980 -- To Florida.
1981 -- March 25: Sultner dies of cancer, York, Pennsylania.
Introduction:
The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.
The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.
This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.
Restrictions:
Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
A small number of letters and photographs are restricted until the year 2031. Identification list in box.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Mutual Attraction Developing new uses for magnets. Thermostats, radios, electric blankets, and electric trains depend on magnets. Magnetic toy blocks do not tumble when used by children with cerebral palsy. Using electromagnetic equipment to remove impurities from raw materials and to move heavy scrap metal. Recording dictation and music with magnetic tape. Video tape has made it possible to record pictures and sound.
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. 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 will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
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:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Collection Title, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Smithsonian Institution. Program in African American Culture Search this
Extent:
100 Cubic feet (309 boxes)
Type:
Collection descriptions
Archival materials
Audiocassettes
Audiotapes
Videotapes
Photographs
Date:
1850-2004, undated
Summary:
The collection primarily documents the activities of the National Museum of American History's Program in African American Culture (PAAC) dating from 1979 through 2004. The Program in African American Culture (PAAC) created public programs documenting the black experience in the United States, as well as, other countries. Archival materials include photographs, programs, administrative files, magnetic tape, audiocassettes, U-matic and VHS video cassettes.
Scope and Contents:
The collection consists primarily of administrative files, audio, video, and photographic documentation of the programs presented by the Program in African American Culture (PAAC) from 1979 through 2004. There is a substantial amount of material documenting research conducted by the Program in African American Culture (PAAC) for its programming. In addition, administrative paperwork relating to the day-to-day activities of the Program in African American Culture (PAAC) are also included in the materials.
The collection is divided into four series. Series one consists of the material created for each program and is arranged in chronological order. Series two contains background materials and publications relating to subjects of program interest and is arranged in alphabetical order. Series three includes correspondence, contracts, resumes of presenters and performers and other forms of administrative files. Series four are materials relating to Smithsonian Institution or outside programs and performances.
Arrangement:
The collection is arranged into four series.
Series 1, Programs Files, 1979-2004, undated
Series 2, Research Files, 1850-1995, undated
Series 3, Administrative Files, 1850-1995, undated
Series 4, Interviews, Speaking Engagements and Performances, 1964-2000, undated
Biographical / Historical:
The Program in African American Culture (PAAC) is a Smithsonian Institution research and programming office located in the National Museum of American History that was created as an outgrowth of the African Diaspora component of the 1975 and 1976 Festival of American Folklife. Founding director, Bernice Johnson Reagon, developed the Program in Black Culture, as the PAAC was originally, as a center for researching and presenting topics of interest to the study of African American history and culture. Reagon is a song leader, composer, scholar, and social activist, who was a founding member of the Student Nonviolent Coordinating Committee (SNCC) Freedom Singers in the Albany Movement in Georgia. The Program, which was transferred to the National Museum of American History in 1983, provided, and continues to provide, a forum for the presentation of traditional and historical forms of African American cultural expression. To accomplish this, Program in African American Culture (PAAC) staff conducted thorough research, which resulted in public programs including conferences, concerts, colloquia, and seminars on a wide range of topics.
Related Materials:
Archives Center, National Museum of American History
Duke Ellington Collection (NMAH.AC0301)
Ruth Ellington Collection of Duke Ellington Materials (NMAH.AC0415)
Eugene D. Smallwood Gospel Music Collection (NMAH.AC0456)
Wade in the Water Radio Series Collection (NMAH.AC0516)
Moses Moon Civil Rights Movement Audio Collection (NMAH.AC0556)
Bernice Reagon Johnson Collection of African American Sacred Music (NMAH.AC0653)
Edward and Gaye Collection of Duke Ellington Materials (NMAH.AC0704)
Ed King Collection of Civil Rights Material (NMAH.AC0559)
Smithsonian Institution
Ralph Rinzler Folklife Archives and Collections
Smithsonian Folklife Festival records: 1969 Festival of American Folklife (CFCH.SFF.1969)
Smithsonian Institution Center for Folklife and Cultural Heritage, June 25-July 6, 1997 (CFCH.SFF.1997)
Diana Davies Photographs (CFCH.DAVIE)
Smithsonian Institution Archivesemph>
Oral History Interview with Bernice Reagon Johnson, 1986
(Accession 009612)
National Museum of American History, Program in African American Culture, 1982-2002 (Accession 05-116)
National Museum of American History, Program in African American Culture, 1983-2004 (Accession 06-002)
National Museum of American History, Program in African American Culture, 1972-1999 (Accession 08-107)
National Museum of American History, Program in African American Culture, 1975-2000 (Accession 12-102)
National Museum of American History, Program in African American Culture, 1976-1999 (Accession 12-358)
National Museum of American History, Program in African American Culture, 1980-1992, 1961 (Accession 96-147)
Duke Ellington Collection Records, circa 1985-1993 (Accession 98-129)
National Museum of American History, Program in Black American Culture, circa 1976-1987 (Accession 98-136)
Smithsonian Institution. Division of Performing Arts (Accession 84-012)
Provenance:
Collection created by the Program in African Amerian Culture at the Smithsonian Institution from 1979-1986.
Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
New York Airways Collection, Acc. NASM.1992.0052, National Air and Space Museum, Smithsonian Institution.
Cat Anderson Quintet, Remote Broadcast from Lyric Band Club, November 18, 1960 [Scotch Magnetic Tape 190 Extra Play]
Collection Creator:
Anderson, William "Cat", 1916-1981 (musician) Search this
Container:
Box 7, Folder OT 16
Type:
Archival materials
Collection Restrictions:
Collection is open for research. Master tapes not available to researchers.
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.
Copyright status of items varies. Signed copies of releases on file.
Collection Citation:
William "Cat" Anderson Collection, Archives Center, National Museum of American History.
Cat Anderson Interview Scott's Place KFI- AM March 2, 1971; From the collection of Bob & Nancy Frey (951 Hartzell St . Pac. Palisades, California 90272 [Scotch Magnetic Tape RB7]
Collection Creator:
Anderson, William "Cat", 1916-1981 (musician) Search this
Container:
Box 7, Folder OT 24
Type:
Archival materials
Collection Restrictions:
Collection is open for research. Master tapes not available to researchers.
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.
Copyright status of items varies. Signed copies of releases on file.
Collection Citation:
William "Cat" Anderson Collection, Archives Center, National Museum of American History.
