Search Results

Creator:

Davis, Gene, 1920-1985  Search this

Names:

White House (Washington, D.C.)  Search this

Baro, Gene  Search this

Colby, Carl  Search this

Davis, Douglas  Search this

Davis, Florence  Search this

Greenberg, Clement, 1909-1994  Search this

McGowin, Ed, 1938-  Search this

Naifeh, Steven, 1952-  Search this

Nordland, Gerald  Search this

North, Percy, 1945-  Search this

Seitz, William C. (William Chapin)  Search this

Thomas, Alma  Search this

Wall, Donald  Search this

Extent:

17.7 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Transcripts

Photographs

Interviews

Video recordings

Date:

1920-2000

bulk 1942-1990

Summary:

The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Scope and Contents:

The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.

Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.

Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.

Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.

Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)

Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)

Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)

Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)

Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)

Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)

Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)

Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)

Biographical / Historical:

Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.

Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.

Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.

Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.

Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.

In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.

Provenance:

Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference 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:

Reporters and reporting -- Washington (D.C.)  Search this

Video artists -- Washington, D.C.  Search this

Conceptual artists -- Washington, D.C  Search this

Painters -- Washington (D.C.)  Search this

Collagists -- Washington (D.C.)  Search this

Topic:

Color-field painting  Search this

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Sound recordings

Transcripts

Photographs

Interviews

Video recordings

Citation:

Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.davigene

See more items in:

Gene Davis papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90a230f67-650f-483a-acdf-50b6ca91fe59

EDAN-URL:

ead_collection:sova-aaa-davigene

Collection Creator:

Lowry, Janice Ann, 1946-2009  Search this

Container:

Box 1, Folder 10

Type:

Archival materials

Date:

1984-2007

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.

See more items in:

Janice Lowry papers

Janice Lowry papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91c78505a-1ac7-4c80-a3cd-6db5fb3826ea

EDAN-URL:

ead_component:sova-aaa-lowrjani-ref20

Collection Creator:

Lowry, Janice Ann, 1946-2009  Search this

Container:

Box 1, Folder 24

Type:

Archival materials

Date:

circa 1997

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.

See more items in:

Janice Lowry papers

Janice Lowry papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b674991f-193d-421f-808a-9898a15aa7a1

EDAN-URL:

ead_component:sova-aaa-lowrjani-ref34

Collector:

Whitehead, Henry Preston, 1917-2002  Search this

Extent:

156.91 Linear feet (178 boxes)

Type:

Collection descriptions

Archival materials

Pamphlets

Sound recordings

Clippings

Memorabilia

Newspapers

Photographs

Books

Brochures

Date:

1843-2010

bulk 1940-1986

Summary:

The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection documents Whitehead's careers, as well as his family and personal life. The collection also includes the personal papers of Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The combined collection is comprised of black theatrical memorabilia; materials relating to civil rights activities in the District of Columbia; and the African American experience in general. Included are playbills, sheet music, admission tickets, newspapers, magazines, books, photographs, clippings, flyers, brochures, pamphlets, sound recordings, research files, and other material.

Scope and Contents note:

The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection includes the personal papers of Henry P. Whitehead, Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The collection is divided into four series.

Series I focuses on Whitehead and includes papers dating from 1843 to his death in 2011. This series includes biographical material including a large amount of appointment books, identification and membership cards, resumes, certificates, and personal and family material. There is a limited amount of correspondence, which focuses on his personal relationships with family, friends, and general correspondence relating primarily to his work as a local historian.

Also found within Whitehead's papers are countless records from his time employed by the Washington DC government. Materials include memoranda, notes, research material, handbooks, guides, manuals, affirmative action info and records, affirmative action plans, promotion recommendations, recruitment plans and summaries, personnel files (complaints), civil actions and reports related too Whitehead's 37 years of government employment. It reflects the activities of numerous departments, primarily in regards to employment and affirmative action.

There are also a number of files that document Whitehead's involvement in numerous community organizations. Among the organizations in which Whitehead was involved include U Street Festival, Lincoln Corporation, and the U Street Theater Foundation. The papers of the U Street Foundation document the production and establishment of the annual U Street Festival. The Lincoln Theater Foundation and the U Street Theater Foundation papers document the efforts to reopen the Lincoln Theater. Also included are Whitehead's research on the Lincoln as well as old Lincoln Theatre programs. Additionally found within this series are documents and clippings on the economic development within Washington DC particularly in the Shaw/U Street location.

The majority of this series consists of printed material. Printed material in this series includes books, clippings, magazines, newsletters, newspapers, press releases, sheet music, programs as well as promotional material for several Washington DC theaters and organizations. There is a large quantity of theater programs dating from 1900-1986. The majority of the clippings and magazines are theater related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Whitehead's attention.

Research, notes and writings include a large amount of scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook pertaiing to Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.

There are several photographs of African Americans in the performing arts as well as images of Washington DC and several unidentified men, women, and children.

Audio recordings include 23 cassette from the Alexandria Church of God.

The remainder of the collection consists of the papers of Tomlinson D. Todd, Elizabeth B. Delaney, and those about the Howard Theatre.

The Howard Theatre papers are arranged in Series II and include documents relating to the Washington DC historic Howard Theatre and date from 1910 to 1986. The papers in this series predominantly document the Howard Theatre Foundation's efforts to reestablish and run the Howard Theatre in which Whitehead was the vice president. Records include business correspondence, founding documents, photographs, memoranda, press releases, member lists, financial records, clippings, and scrapbooks of clippings pertaining to the organization and theatre.

The correspondence in the collection include a handful of letters from the Washington DC government along with individuals and organizations. Also included is a large amount of interoffice memoradums.

Administrative records include lawsuits, resolutions, meeting minutes, grant proposals, press releases, memoranda, member lists, studies and reports.

Financial records include check stubs, receipts, invoices, bank statements, expenses, and contribution lists. Printed material includes original and photocopied clippings relating to the history and coverage of the foundation activities. Mostly promotional material as flyers, brochures, and press releases along with programs. In particular two 1920 Howard Theatre programs.

The scrapbooks of original and photocopied clippings compiled by Whitehead chronicle the history of the theatre and coverage of the foundation activities.

There are three VHS cassette featuring Whitehead discussing the Howard Theatre. Also found in series 2 are numerous stock investment record books belonging to A.E. Lichtman one of the early managers of the Howard Theatre. In addition early correspondence between Lichtman and the Rex Amusement Company concerning operational management issues of the Howard Theatre.

The Tomlinson D. Todd papers are arranged in Series III and date from 1902-1986 they include organization files, collected printed materials, subject files, and personal papers.

The collection includes materials relating to organizations in which there was a relationship to Todd's work and in which he had an interest primarily during the 1940s and 1950s, organizations include the National Negro Congress (ca, 1946-1947); the Congress for Industrial Organizations (1943-1947); National Council of Negro Women (1947-1949); Committee for Racial Democracy in the Nation's Capital (1947-1948).

The subject files include documents from three of Todd's organizations; Institute on Race Relation, Club Internationale, and his radio program "Americans All". As well as printed material from Todd's alma mater Lincoln University.

The largest subject file is "Americans All" which includes radio scripts as well as audio recording of a few programs and public service announcements. Also found are several black and white photographs of Todd at the radio studio. Printed materials include newspapers, leaflets, convention proceedings, and flyers, There are a large amount of programs ranging from church worship to convention as well as performance. Also present is a small amount of personal papers, including resumes, certificates, admission tickets, family documents, and travel ephemera from his all expense paid trip to Nigeria.

There are a few photographs of Todd at functions and with notable individuals as well as some family, friends and travel.

Elizabeth's B. Delaney papers are arranged in Series IV and date from 1874-1973.

The papers primarily document her involvement in four organizations, the Grand Oder of Odd Fellow of Kentucky, the Order Eastern Star Kentucky, the State Federation of Colored Women's Clubs of Kentucky and the National Association of Colored Women. There is a small amount of printed material belonging to her son primarily the Alpha Phi Alpha material and Gospel Choral Sheet Music, and books.

The Scrapbook was complied by Whitehead consisting of photocopied clipping documenting the life of Elizabeth B. Delaney.

Arrangement note:

This collection is arranged into four series:

Series 1: Henry P. Whitehead papers Series 2: Howard Theatre Series 3: Tomlinson D. Todd Series 4. Elizabeth B. Delaney

Biographical/Historical note:

Henry Preston Whitehead Jr., was a native of Columbus Ohio. A graduate of Ohio State University, where he also attended law school and was a member of the Omega Psi Phi fraternity. Mr. Whitehead discovered Washington's "Black Broadway" in 1940, when he was a soldier in town on a weekend furlough. As he served in the Army in the South Pacific during World War II. Prior to moving to Washington DC Henry P. Whitehead worked for five years as a liquor inspector. Mr. Whitehead moved to Washington D.C. in 1949 and worked for the Post Office before working for the District of Columbia government where he stayed 21 years. He led several equal employment initiatives during the 1960s and 1970s, and was last employed as associate director of the District's Office of Human Rights. In 1980 after putting in 37 years of government service Mr. Whitehead retired. Mr. Whitehead was an historian who led efforts to restore Washington's U Street cultural corridor and achieved recognition as an authority on and collector of black theatrical memorabilia. Mr. Whitehead worked to promote and preserve the city's rich African American cultural heritage.

Mr. Whitehead, served as the chairman and president for 10 years of the Howard Theater Foundation Inc., which he helped establish. There he led the effort to include Howard Theatre in the National Register of Historic Places.

Similarly he was an active member of the U Street Festival Foundation. He was an adviser to the Kennedy Center, Anacostia Museum, and other Smithsonian Institution units and contributed materials to their exhibitions. He was also a consultant to historical documentaries broadcast on public television and radio, including PBS's "Duke Ellington's Washington." His writings included "Remembering U Street," a book used for annual festivals in the historic area.

Mr. Whitehead was also the founder and board member of the Lincoln Theatre Foundation.

Henry P. Whitehead Jr. died on January 8th 2002 at the age of 84.

Provenance:

The collection was donated to the Anacostia Community Museum on September 1, 2005 by Michael A. Watkins.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Rights:

The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Topic:

Howard Theatre (Washington, D.C.)  Search this

African Americans  Search this

National Negro Congress (U.S.)  Search this

National Council of Negro Women  Search this

Radio broadcasting  Search this

African American neighborhoods  Search this

African American musicians  Search this

Genre/Form:

Pamphlets

Sound recordings

Clippings

Memorabilia -- 20th century

Newspapers

Photographs

Books

Brochures

Citation:

Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.

Identifier:

ACMA.06-042

See more items in:

Henry P. Whitehead collection

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa751389911-f3d5-474b-82b4-126047b9cc46

EDAN-URL:

ead_collection:sova-acma-06-042

Creator:

Chickering, Jonas, 1798-1853  Search this

Names:

Chickering & Sons Piano Company  Search this

Wurlitzer Company  Search this

McKay, John, Captain  Search this

Stewart, James  Search this

Former owner:

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

Extent:

16 Cubic feet (37 boxes)

Type:

Collection descriptions

Archival materials

Microfilms

Trade literature

Photographic prints

Papers

Place:

Boston (Mass.)

Date:

1864 - 1985

Scope and Contents:

This collection consists of 51 volumes of Chickering & Sons piano registers, documenting piano production (May 1823-September 1985); correspondence related to the hundredth anniversary of Jonas Chickering's presidency of the Handel and Hayden Society; publications on the history of the Company and sales literature (1854-1984); newspapers articles about the company (1847-1876); photographs (1926-1966); advertising and management forms (1938-1968); and a copy of a letter by Jonas Chickering to his father dated January 27, 1838. There are also ten documents related to the construction, mortgaging and insurance of Chickering Hall in New York City (1876-1886). Chickering Hall opened with great acclaim in 1875 and was an important musical center in New York City in the last quarter of the 19th Century. Some grand pianos from turn of the century onward are not listed in the ledgers. It is thought that Chickering may have had a duplicate set of serial numbers for grand pianos but this collection lacks that volume.

Arrangement:

This collection organized into seven series.

Series 1: Correspondence, 1950

Series 2: Publications, 1854-1884

Series 3: Company history and records, 1838-1940

Series 4: Newspapers, 1847-1876

Series 5: Photographs, 1924-1966

Series 6: Management forms and material, 1938-1968

Series 7: Microfilm of ledger books, 1823-1985

Biographical / Historical:

Chickering & Sons pianos are an old line that came into being in April 1823 in Boston. Jonas Chickering, the founder, was a youthful cabinet maker. He learned piano making from John Osborn, a true master of the trade. The division of labor in Osborn's shop was not very extensive and Chickering was compelled to study every part of the instrument and to make himself acquainted with all the details. This exposure to the full range of tasks would served him well when he became a master in his own right. During his four years with Osborn, he became acquainted with Osborn's partner, James Stewart, who was awarded a patent for a "detached" soundingboard that was incorporated in the partners' pianos.

When Osborn and Stewart severed their business relationship, Stewart and his new partner, Chickering, opened a small shop on Tremont Street near King's Chapel on February 15, 1823. The partnership lasted three years until Stewart withdrew and left for London. At the age of 28, Chickering became the sole owner of the small but prosperous manufactory. The firm's annual output climbed over the next three years and reached 47 instruments in 1829.

In early 1830, Chickering made Captain John McKay, an experienced, aggressive, and successful merchandiser a partner in Chickering & Company. Captain Mackay made frequent trips to South American ports with ships laden with pianos. Returning home, the hold was filled with fragrant rosewood and richly grained mahogany. Chickering's first invention was patented in 1837 the first practical casting of a modern iron frame built to sustain the great tension of the strings of the piano so that it would stay in tune for a considerable period. In 1845, another important patent was secured, representing the first practical method of overstringing for square pianos, and in 1849 he applied the same principle to uprights. These contributions and others have become standard with all piano manufacturers.

The Chickering firm made pianos in a new way, employing production strategies that paralleled developments in other trades undergoing industrialization. "When he first commenced business for himself about 15 instruments a year were turned out while in the later years Mr. Chickering's business finished between fifteen and sixteen hundred instruments a year and at least one grand piano worth about a thousand dollars every week." (Richard G. Parker, A Tribute To The Life and Character of Jonas Chickering "By one who knew him well" (Boston: William P. Tewksbury, 1854.)

He was a long time President of the Handel & Hayden Society of Boston, this Country's oldest oratorio, founded in 1815.

On December 1, 1853, a fire swept through the Washington Street factory. Rather than rebuild on Washington Street, plans were made to erect a new factory on Tremont Street in the South End of Boston. Chickering, however, never saw the new plant in operation as he suffered a stroke and died December 8, 1853. The large Chickering factory built in 1853 was described at that time as the largest building in the United States outside the U.S. Capitol, and as "... the most perfect and extensive pianoforte estblishment in the world."

Chickering's death in 1853 left the business in the hands of his sons. In 1867, Emperor Napoleon III of France bestowed the Imperial Cross of the Legion of Honor on Frank Chickering at the Paris World's Fair that year.

With the passing of C. Frank Chickering in 1891, the company lost headway; and it was purchased by the American Piano Company in 1908 (Chickering Brothers pianos, which were made for several years following 1892 were in no way related to Chickering & Sons, though this family of boys was trained in the Chickering & Sons Boston factory).

From 1905 to 1911, the firm alone among American builders supported the revival of early instruments by hiring the English musician and craftsman Arnold Dolmetsch to build harpsichords, clavichords, and violas.

Chickering & Sons continued manufacturing pianos in Boston until 1927, when the plant and its personnel were relocated to East Rochester, New York. The Chickering was the foremost piano of the time Longfellow had one and there was one on the stage at Ford's Theater in Washington, D.C. the night Lincoln was assassinated. In 1932 the Company became part of the Aeolian American Corporation.

William Knabe of Kreutzburg, Germany, trained as a piano manufacturer, established his business in Baltimore, Maryland in 1837, and controlled the market in the Southern states by 1860. The Civil War and economic pressures may have contributed to the death of Knabe in 1864. The Company was eventually purchased by the American Piano Company in 1908, shortly after Chickering became a part of the organization.

The Wurlitzer Company, a major musical instrument manufacturer, acquired the Chickering firm in 1985 and continued to produce instruments with the Chickering name. The Wurlitzer Company was later purchased by the Baldwin Piano Company; Baldwin was subsequently purchased by Wurltech, Inc., of Houston, Texas.

Provenance:

This collection was donated by the Wurlitzer Company, May 17, 1987.

Restrictions:

The collection is open for research use.

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:

advertising  Search this

Keyboard instruments  Search this

Business -- History  Search this

Musical instruments -- 1860-1990  Search this

Musical instrument manufacturing  Search this

Piano makers  Search this

Genre/Form:

Microfilms

Trade literature

Photographic prints

Papers

Citation:

Chickering and Sons Piano Company Collection, 1864-1985, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0264

See more items in:

Chickering & Sons Piano Company Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep886f1c94d-ee6e-4c1c-bc11-97884ec73a13

EDAN-URL:

ead_collection:sova-nmah-ac-0264

Names:

Hastie, William, 1904-1976  Search this

Extent:

1.67 Linear feet (1 oversize box)

Type:

Collection descriptions

Archival materials

Place:

Washington (D.C.)

Date:

1933-1935

Summary:

This collection of New NegroOpinion newspapers spans from December 16, 1933 to April 18, 1935, and measures 1.67 linear feet. The Washington, DC-based paper was published weekly by the New Negro Alliance, which was established in 1933 by John Aubrey Davis, Belford V. Lawson, and M. Franklin Thorne to protest discrimination in employment practices in stores doing business in black neighborhoods. William H. Hastie, the first African American federal judge served as the assistant editor and a columnist for the weekly.

Arrangement:

The collection is arranged into two series.

Series 1: December 1933 - December 1934

Series 2: January 1935-April 1935

Biographical / Historical:

John Aubrey Davis, Belford V. Lawson, and M. Franklin Thorne established the New Negro Alliance in 1933 to protest discrimination in employment practices in stores doing business in black neighborhoods. On August 28th of that year, the manager of the Hamburger Grill on U Street in the District of Columbia fired his all black staff and replaced them with whites. Black customers, led by Washingtonian John Aubrey Davis maintain a boycott and picketed until the manager relented and brought the black workers back—with an increase in pay and a reduction in hours.

After the Hamburger Grill, their campaigns targeted the A&P grocery stores, the High Ice Cream Company, Peoples Drug Store, Kaufman's Department Store, and finally, the Sanitary Grocery Company (later Safeway grocery stores)—which led them all the way to the Supreme Court. Mary Church Terrell, Mary McLeod Bethune, and many other prominent black Washingtonians joined the picket lines. Walter E. Washington, later the first black mayor of the city, Eugene Davidson (later head of the D.C. NAACP), Howard University professor N. Naylor Fitzhugh, John Aubrey Davis, attorney Belford V. Lawson, Jr., M. Franklin Thorne (later manager of Langston Terrace housing project), R. Grayson McGuire (owner of the McGuire family funeral homes), and Robert C. Weaver were among the leaders of the New Negro Alliance.

The organization's tactics were unique. The Alliance conducted survey research in the neighborhoods surrounding a retail store that did not hire black employees. They then shared their research findings with the store managers, and requested that hiring policies be changed to hire the same percentage of black employees as there were customers. If the store refused, the Alliance would begin a community education campaign, distributing literature that explained their demands. Finally, if the store still refused to meet their demands they would organize a picket line and a boycott of the store by all those who supported an end to the exclusion of black employees.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist at ACMarchives@si.edu

Rights:

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

Topic:

African American newspapers  Search this

African Americans -- Employment  Search this

Civil rights -- United States  Search this

Citation:

Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.10-012.3

See more items in:

New Negro Opinion newspaper

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa73f0e8f94-2e36-4f0b-abdd-a62b7b23eb6a

EDAN-URL:

ead_collection:sova-acma-10-012-3

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

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

Collector:

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

Extent:

400 Cubic feet

Type:

Collection descriptions

Archival materials

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks

Music

Clippings

Awards

Audiotapes

Place:

New York (N.Y.) -- 20th century

Harlem (New York, N.Y.) -- 20th century

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

Date:

1903 - 1989

Summary:

The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.

Scope and Contents:

Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.

Arrangement:

Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974

Biographical / Historical:

A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.

Related Materials:

Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Separated Materials:

Artifacts related to this collection are in the Division of Culture and the Arts (now Division of Cultural and Community Life) and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

"

Provenance:

The collection was purchased through an appropriation of Congress in 1988.

Restrictions:

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

Rights:

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

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

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

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

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

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep850a376a1-6b6d-48bc-9076-cffef76fea2c

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Collection Creator:

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

Bunch, Lonnie G.  Search this

United States. Department of Agriculture  Search this

National Association of State Universities and Land-Grant Colleges.  Search this

Extent:

1 Videocassettes (Video 8)

Container:

Box 2, Video AC0614-OV0003

Type:

Archival materials

Moving Images

Videocassettes (video 8)

Collection Restrictions:

Collection is open for research. Reference copies must be used. Access and use of audiovisual materials available in the Archives Center reading room.

Collection Rights:

Reproduction may be limited due to intellectual property rights. No releases exist.

Collection Citation:

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection, 1992-1993, Archives Center, National Museum of American History, Smithsonian Institution.

See more items in:

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection / Series 1: Oral Histories / Tuskegee University

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep87d60f5c0-96ff-4551-98d9-953afc3c55eb

EDAN-URL:

ead_component:sova-nmah-ac-0614-ref63

Collection Creator:

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

Bunch, Lonnie G.  Search this

United States. Department of Agriculture  Search this

National Association of State Universities and Land-Grant Colleges.  Search this

Extent:

1 Videocassettes (Video 8)

Container:

Box 1, Video AC0614-OV0001

Type:

Archival materials

Moving Images

Videocassettes (video 8)

Date:

1993 June 18

Collection Restrictions:

Collection is open for research. Reference copies must be used. Access and use of audiovisual materials available in the Archives Center reading room.

Collection Rights:

Reproduction may be limited due to intellectual property rights. No releases exist.

Collection Citation:

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection, 1992-1993, Archives Center, National Museum of American History, Smithsonian Institution.

See more items in:

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection / Series 1: Oral Histories / Alabama A&M University

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep869a93fc4-d24f-433b-98c3-3347cb83c88f

EDAN-URL:

ead_component:sova-nmah-ac-0614-ref35

Collection Creator:

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

Bunch, Lonnie G.  Search this

United States. Department of Agriculture  Search this

National Association of State Universities and Land-Grant Colleges.  Search this

Extent:

1 Videocassettes (Video 8)

Container:

Box 1, Video AC0614-OV0002

Type:

Archival materials

Moving Images

Videocassettes (video 8)

Collection Restrictions:

Collection is open for research. Reference copies must be used. Access and use of audiovisual materials available in the Archives Center reading room.

Collection Rights:

Reproduction may be limited due to intellectual property rights. No releases exist.

Collection Citation:

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection, 1992-1993, Archives Center, National Museum of American History, Smithsonian Institution.

See more items in:

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection

Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection / Series 1: Oral Histories / Florida Agricultural and Mechanical University (FAMU)

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep889ee7619-dd06-43cc-8273-cf1aef30d210

EDAN-URL:

ead_component:sova-nmah-ac-0614-ref43

Creator:

Mundel, Marvin Everett, 1916-1996 (industrial engineer)  Search this

Names:

A.O. Smith Company  Search this

Aji-no-moto Corporation  Search this

Albert Trostel and Sons  Search this

Aluminum Goods Manufacturing Comp  Search this

American Colortype Company  Search this

American Institute of Industrial Engineers  Search this

Asian Productivity organization  Search this

Barbar and Coleman  Search this

Bridgestone  Search this

Briggs & Stratton Corporation  Search this

Buffalo China Company  Search this

Cindahy Brothers Company  Search this

College of Technology Birmingham, England  Search this

E.I. du Pont de Nemours & Company  Search this

Gardner Board and Carton Company  Search this

Hamilton Manufacturing Company  Search this

Herbst Shoe Manufacturing Company  Search this

Japan Productivity Center  Search this

Japanese Management Association  Search this

Kanaki Gear Plant  Search this

Kanebo Spinning Co.  Search this

Kawasake Dockyard  Search this

Lockheed Shipbuilding and Construction Comp  Search this

Milwaukee Dental Research Group  Search this

Milwaukee Gas Company  Search this

Mitsubishi Heavy Industries Ltd.  Search this

Nihon Denso  Search this

Nippon Electric Company  Search this

Nippon Kokan Tsurumi  Search this

Pillsbury Mills  Search this

Purdue University  Search this

S.C. Johnson and Son  Search this

Society for the Advancement of Management  Search this

Stephan A. Young Company  Search this

Sumitomo  Search this

Walgreen's  Search this

Western Printing and Lithography Corp  Search this

Westover Engineers  Search this

Yanmar Diesel Engine Company  Search this

Deming, Edwards  Search this

Gambrell, C.B.  Search this

Extent:

15 Cubic feet (36 boxes)

75 Motion picture films

Type:

Collection descriptions

Archival materials

Motion picture films

Photographs

Field notes

Motion photographs

Diagrams

Loop films

Motion pictures (visual works)

Transparencies

Correspondence

Charts

Place:

United States Navy Long Beach Naval Shipyard

United States Rock Island Arsenal

Date:

1937-1996

Summary:

The Marvin E. Mundel Industrial Engineering Collection contains correspondence, reports, data, notes, publications, books, charts, certificates, awards, writings, photographs, films and videos that document the life and career of Marvin Mundel, a well-known expert in the field of work management and productivity enhancement.

Scope and Contents:

The Marvin E. Mundel Industrial Engineering Collection contains correspondence, reports, data, notes, publications, books, charts, certificates, awards, writings, photographs, films and videos that document the life and career of Marvin Mundel and demonstrate his work practices and teaching techniques.

The collection is organized chronologically into eleven series: Biographical Materials, Writings, Industrial Engineering, Work Methods, Purdue University, Time and Motion Study, Government Work, Japanese Consulting, Asian Productivity Organization, Dupont Case Study, and Films and Videos. While the years in each series may overlap, the separation of series demonstrates the evolution of Mundel's work and teachings. Photographs can be found throughout the collection. Information about the film and video series is located in Appendix A.

Series 1, Biographical Materials, 1953-1996, consists of documentation about Mundel and his career. The series contains bibliographies and curriculum vitae, correspondence, documentation on his memberships in Industrial Engineering groups, photographs, and certificates.

Series 2, Writings, 1937-1994, brings together Mundel's papers, speeches, books, and publications. When possible, the writings are arranged chronologically. The remaining writings are arranged by topic. This series should not be considered a definitive bibliography of Mundel's writings.

Series 3, Industrial Engineering, 1954-1995, combines Mundel's research with correspondence to and from other Industrial Engineers. It also includes Mundel's contributions to the Encyclopedia Britannica on "Industrial Engineering," "Work Measurement," and "Memomotion."

Series 4, Work Methods, undated, contains documents such as forms, office procedure manuals, visual aids, and printed matter about office equipment that offer insight into Mundel's work methods and innovative methods of making his own office more efficient.

Series 5, Purdue University, 1951-1957, documents his teaching career at the Industrial Engineering Department as well correspondence from his trip to England where he taught classes on industrial engineering.

Series 6, Time and Motion Study, 1952-1984, includes notes, data, printed matter, correspondence, charts, and photographs from his consultant work for various companies. This series contains seven subseries: Subseries 1, Consulting Work, 1954-1966; Subseries 2, Correspondence, 1956-1960; Subseries 3, Course work, undated; Subseries 4, Equipment, undated; Subseries 5, Film, 1952-1984; Subseries 6, Memberships, 1970-1977; and Subseries 7, Research, 1957.

Subseries 1, Consulting work, 1954-1966, contains correspondence and data from the corporations that hired Mundel as a consultant. Subseries 2, Correspondence, 1956-1960, the contains letters to and from people with diverse interests in time and motion study. Many people wrote to Mundel asking for advice with projects. Visual aids and handouts make up Subseries 3, Course work. In order to create memomotion, Mundel needed to refine certain electrical and motor parts on the cameras and projectors with which he worked. Subseries 4, Equipment, undated, have brochures on many different kinds of motors and switches. Subseries 5, Film, 1952-1984, contains most of the documentation that relates directly to films and video cassettes in this collection. Mundel was active in many organizations related to industrial engineering that shared his interests in time and motion study. Finally, copies and clippings make up the research subseries, 1957.

Series 7, Government Work, 1952-1971, documents Mundel's work for the government, from his work at Rock Island Arsenal to seminars for NASA. This series contains correspondence, data, reports, course work, visual aids, and photographs. The consulting work is arranged in a chronological manner and, in some instances, alphabetically.

Series 8, Japanese Consulting, 1959-1987, documents Mundel's consulting work for Japanese corporations. The files are arranged alphabetically by company and contain research, data, charts, notes, reports, and correspondence about each manufacturing firm. His notebooks and trip files give insight into his cultural understanding of Japanese firms and his teaching practices. Of special interest are the notebooks that contain photographs and firsthand experiences of adapting to Japanese culture and understanding Japanese work practices.

Series 9, Asian Productivity Organization, 1973-1994, consists of year and country files of Mundel's seminars throughout the Far East. The course work, notes, visual aids, reports, and photographs demonstrate Mundel's shift in emphasis from work measurement to managerial organization. This series also contains books published by the Asian Productivity Organization (APO) that give a context to Mundel's work and writings.

Series 10, Dupont Case Study, 1978-1984, contains correspondence, data, notes, reports, research, and visual aids concerning one of the many American companies where Mundel consulted. Dupont was selected because of its prominence in the American business world.

Series 11, Films and Videos, circa 1939-1973, is comprised of 16mm films and 1⁄2" VHS videocassette tapes. The bulk of the series is 16mm films. The films relate to the documents in Series 6: Time and Motion Studies. There are six subseries: Rating Films, 1939-1973; Memomotion Films, circa 1948-1959; Multi-Image Loops, circa, 1956-1958; Instructional Films, circa 1939-1962; Travel Films, circa 1955-1958 and Papers, undated.

Films are labeled either OF, RF, OV, or RV, for Original Film, Reference Film, Original Video, and Reference Video, respectively. [Example: For "676.24 OF Roll Edge on Sheet Metal Disc, circa 1960 (REF. FILM 676.24 and REF. VIDEO 676.70)," 676 is the collection number; 24 is the item number; OF means original film; "Roll Edge on Sheet Metal Disc" is the title; 1960 is the date followed by any reference copies. In this case there are both a reference film and a reference video. The Archives Center will eventually have reference copies for all of the films. for researchers to view.

Subseries 1, Rating Films, circa 1939-1973, represents Mundel's work with rating or pace films. This technique films a worker doing a repetitive work unit and allows trained motion study analysts to establish time standards. These films show a wide variety of jobs held by both men and women, American workers and Japanese workers. There are three groups of films:

Demonstration Rating Films: These films have the same format as titles with 10 scenes of workers doing a work unit at different paces. The films are arranged according to Mundel's numerical system and retain the original titles. These films should be projected at 1000 frames per minute.

Poultry Rating Films: These are rating films that Mundel did for the USDA and the Consumer Protection Programs.

Miscellaneous Films: These are Mundel's rating films for Tung Sol, ASF, Woods Veterans Hospital, and Montfort. There is also a rating film taken by an English company.

Subseries 2, Memomotion Films, circa 1948-1959, includes memomotion examples that were incorporated into instructional films. Memomotion is a filming technique created by Mundel. Time and motion analysts film a non-repetitive or extended crew activity at one frame per second and then project the film at normal speed. In this manner, the analyst can record a longer work period at a fraction of the cost and be able to analyze the film much more quickly. Memomotion is often used in conjunction with work flow diagrams.

Subseries 3, Multi-Image Loops, circa 1956-1958, combines seven of Mundel's multi-image loops onto one film core. The films display twelve images of rating films at the same time. The worker in each image is working at a different pace (fastest in the top left-hand corner and the slowest in the bottom right-hand corner). Time and motion study analysts could watch the loops for as long as they needed to get an idea of what the range of paces for a certain job could be. The loops were disassembled and spliced together for preservation and viewing purposes.

Subseries 4, Instructional Films, circa 1939-1962, includes Mundel's attempts to educate others about his filming techniques and overall industrial engineering themes. The films teach ways to improve productivity through motion studies, how to make memomotion films, and the College of Technology, Birmingham, England's method of making microscope slides.

Subseries 5, Travel Films, circa 1955-1958, includes films that combine Mundel's love for travel and different cultures with film documentation of Japanese seminars.

Subseries 6, Papers, undated, contains papers directly related to the films. Of importance are the rating sheets which associate different percentages of efficiency to the paces in the film.

Arrangement:

This collection is divided into eleven series.

Series 1, Biographical Materials, 1953-1996

Series 2, Writings, 1937-1994

Subseries 1, Books, 1942-1994

Subseries 2, Papers, 1959-1989, undated

Subseries 3, Publications, 1937-1993, undated

Subseries 4, Speeches, undated

Subseries 5, University of Iowa Studies, 1938-1940

Series 3, Industrial Engineering, 1954-1995

Series 4, Work Methods, undated

Series 5, Purdue University, 1951-1957

Series 6, Time and Motion Study, 1952-1984

Subseries 1, Consulting Work, 1954-1966

Subseries 2, Correspondence, 1956-1960

Subseries 3, Course Work, undated

Subseries 4, Equipment, undated

Subseries 5, Film, 1952-1984

Subseries 6, Memberships-Industrial Management Society, 1970-1977

Subseries 7, Research, 1957

Series 7, Government Work, 1952-1971

Subseries 1, General, 1955-1967, undated

Subseries 2, Rock Island Arsenal, 1952-1958

Subseries 3, Consulting, 1959-1971

Subseries 4, Seminars, 1963-1969

Series 8, Japanese Consulting, 1959-1987

Subseries 1, Consulting, 1961-1980

Subseries 2, Correspondence, 1959-1980

Subseries 3, Keio University, 1960-1961

Subseries 4, Memberships, 1959-1987

Subseries 5, Notes, undated

Subseries 6, Photographs, undated

Subseries 7, Scrapbooks, 1960-1965

Subseries 8, Seminars, 1959-1967

Series 9, Asian Productivity Organization, 1973-1994

Subseries 1, Annual Reports, 1973-1994

Subseries 2, Books, 1985-1989

Subseries 3, General, 1976-1995, undated

Subseries 4, Seminars, 1973-1989

Subseries 5, Presentation Album of Jakarta Seminar, 1973

Series 10, DuPont Case Study, 1978-1984

Series 11, Films and Videos, circa 1939-1973

Subseries 1, Rating Films, circa 1939-1973

Subseries 2, Memomotion Films, circa 1948-1959

Subseries 3, Multi-Image Loops, circa 1956-1958

Subseries 4, Instructional Films, circa 1939-1962

Subseries 5, Travel Films, circa 1955-1958

Subseries 6, Papers, undated

Biographical / Historical:

Marvin Everett Mundel, born April 20, 1916, was a major figure in the fields of industrial engineering and time and motion studies. He is known particularly for his consulting work, seminars and teaching, as well as numerous publications based on his expertise in work management and productivity enhancement. He began his engineering career in 1936 with a B.S. in Mechanical Engineering from New York University (1936), followed by an M.S. and Ph.D. in Industrial Engineering earned in 1938 and 1939, respectively, from the State University of Iowa.

In the late 1930s and 1940s, work measurement studies were considered the state-of-the-art method for improving industrial production. Mundel continued and built upon the achievements of pioneers Frank and Lillian Gilbreth during his teaching career at both Bradley and Purdue Universities. He also conducted seminars at Marquette University Management Center and the University of Wisconsin's Extension Center in Milwaukee. In addition to his American teaching career, Mundel was a visiting professor at both the University of Birmingham in England and Keio University in Tokyo, Japan.

In 1952, Mundel started a consulting firm which aided corporations and governments in either work measurement consulting or, later in his career, industrial engineering consulting. His first clients were United States government agencies that wanted to gain control over lost revenue or manpower. His position from 1952 to 1953 at the Rock Island Arsenal in Illinois, as the first Director of the Army Management Engineering Training Program, transformed management techniques in the Army.

After his employment at Rock Island, Mundel began a series of consultant roles with corporations eager to standardize labor practices and make production more efficient. From 1953 to 1963, Mundel conducted time and motion studies at various manufacturing companies and developed techniques to measure work units. His most important contribution to the field of time and motion study was the development of memomotion, a stop-action filming technique used to determine time standards for work tasks.

Following his refinements of time and motion study, Mundel took his expertise to Japan where he offered his consultant services to various Japanese manufacturing firms during the 1960s. His interests evolved from time and motion studies to include work management and overall management organization consulting. During the 1960s and 1970s, Mundel also returned to government consulting in the United States with these new techniques, in offices such as the Bureau of the Budget and United States Department of Agriculture. This period marked an important evolution in Mundel's career, from time and motion study to work measurement and then to industrial consulting. Mundel was among the first consultants to export American management techniques to Japan, and, in his later career, to other Asian countries. He became an integral part of the Asian Productivity Organization, a group that helped developing Asian countries learn how to increase productivity. His seminars sought to provide corporations and governments with efficient management techniques so that Asia would become a strong economic center. Mundel was sensitive to cultural differences as well as varied methods of management and standards of productivity.

Mundel won the Gilbreth Award in 1982. He continued conducting seminars and writing books and articles well into the 1980s, until failing health prevented him from traveling. When Mundel died in 1996, he was well respected in the field of industrial engineering for his many contributions.

Provenance:

This collection was donated to the Archives Center at the National Museum of American History by Marvin Mundel's wife, Takako Mundel, in January, 1999.

Restrictions:

The collection is open for research use.

Rights:

Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Hospitals -- Materials management  Search this

Food processing plants  Search this

Industrial productivity -- measurements  Search this

Industrial films  Search this

Government consultants -- Asia -- Japan  Search this

Government productivity -- Japan  Search this

Machine shops  Search this

Slaughtering and slaughter-houses  Search this

Machinery industry  Search this

Punched card systems -- Machinery  Search this

Steel founding  Search this

Steel industry and trade  Search this

Plant layout  Search this

Diesel motor industry  Search this

Meat -- Packing  Search this

Shipbuilding industry  Search this

Meat inspection  Search this

Meat industry and trade  Search this

Pharmaceutical industry  Search this

Materials handling  Search this

Poultry -- Inspection  Search this

Dental offices  Search this

Box making  Search this

Greeting cards industry  Search this

United States Department of Agriculture  Search this

Refuse collection  Search this

Poultry industry  Search this

Shoe industry  Search this

Dental instruments and apparatus  Search this

Methods engineering  Search this

Industrial engineering -- 1930-2000  Search this

Chronophotography  Search this

Drafting table  Search this

Organizational effectiveness  Search this

Industrial management  Search this

Work measurement  Search this

Motion study  Search this

Genre/Form:

Photographs -- 20th century

Field notes

Motion photographs

Diagrams

Loop films

Motion pictures (visual works)

Transparencies

Correspondence -- 1930-1950

Charts

Citation:

Marvin E. Mundel Industrial Engineering Collection, 1937-1996, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0676

See more items in:

Marvin E. Mundel Industrial Engineering Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep885139741-4c32-4460-bb06-8cfb024e15c3

EDAN-URL:

ead_collection:sova-nmah-ac-0676

Collector:

C. M. Flint  Search this

Prep Count:

1

Preparation:

Envelope

Sex:

Female

Stage:

Adult

Place:

Meadow River Wildlife Management Area, Crawley Access, Greenbrier, West Virginia, United States

Collection Date:

21 Jun 2002

Taxonomy:

Animalia, Arthropoda, Insecta, Odonata, Zygoptera, Coenagrionidae

Published Name:

Argia tibialis (Rambur, 1842)

Barcode:

USNMENT00366173

USNM Number:

USNMENT366173

See more items in:

Specimen Inventory

Data Source:

NMNH - Entomology Dept.

GUID:

http://n2t.net/ark:/65665/3eb5f043f-1947-4269-9d7b-360990cbf060

EDAN-URL:

edanmdm:nmnhentomology_9281908

Collector:

C. M. Flint  Search this

Prep Count:

1

Preparation:

Envelope

Sex:

Male

Stage:

Adult

Place:

Meadow River Wildlife Management Area, Crawley Access, Greenbrier, West Virginia, United States

Collection Date:

21 Jun 2002

Taxonomy:

Animalia, Arthropoda, Insecta, Odonata, Zygoptera, Coenagrionidae

Published Name:

Enallagma hageni (Walsh, 1863)

Barcode:

USNMENT00379175

USNM Number:

USNMENT379175

See more items in:

Specimen Inventory

Data Source:

NMNH - Entomology Dept.

GUID:

http://n2t.net/ark:/65665/33e526897-b3fb-4186-8b9a-1faaf27b8259

EDAN-URL:

edanmdm:nmnhentomology_9294873

Biogeographical Region:

Neotropical  Search this

Collector:

C. M. Flint  Search this

Min. Elevation:

710  Search this

Prep Count:

1

Preparation:

Envelope

Sex:

Male

Stage:

Adult

Place:

Reserva Serra Bonita; trickle on road beyond manager's house, Camacan, Bahia, Brazil

Collection Date:

1 Jan 2014

Taxonomy:

Animalia, Arthropoda, Insecta, Odonata, Anisoptera, Gomphidae

Published Name:

Progomphus gracilis de Selys-Longchamps, 1854

Barcode:

USNMENT01754198

USNM Number:

USNMENT1754198

See more items in:

Specimen Inventory

Data Source:

NMNH - Entomology Dept.

GUID:

http://n2t.net/ark:/65665/3d7fc1382-80e1-4011-bda0-7f449929a144

EDAN-URL:

edanmdm:nmnhentomology_15479751

Creator:

National Museum of Natural History  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-11-05T20:07:03.000Z

YouTube Category:

Education  Search this

Topic:

Natural History  Search this

See more by:

smithsonianNMNH

Data Source:

National Museum of Natural History

YouTube Channel:

smithsonianNMNH

EDAN-URL:

edanmdm:yt_-5jMrimca8U

Creator:

National Museum of Natural History  Search this

Type:

YouTube Videos

Uploaded:

2019-07-29T02:57:28.000Z

YouTube Category:

Education  Search this

Topic:

Natural History  Search this

See more by:

smithsonianNMNH

Data Source:

National Museum of Natural History

YouTube Channel:

smithsonianNMNH

EDAN-URL:

edanmdm:yt_7zd7MwSF74o

Creator:

National Museum of Natural History  Search this

Type:

YouTube Videos

Uploaded:

2016-05-18T14:38:44.000Z

YouTube Category:

Education  Search this

Topic:

Natural History  Search this

See more by:

smithsonianNMNH

Data Source:

National Museum of Natural History

YouTube Channel:

smithsonianNMNH

EDAN-URL:

edanmdm:yt_Iu6OLgWBFhU

Creator:

National Museum of Natural History  Search this

Type:

YouTube Videos

Uploaded:

2021-05-19T01:15:09.000Z

YouTube Category:

Education  Search this

Topic:

Natural History  Search this

See more by:

smithsonianNMNH

Data Source:

National Museum of Natural History

YouTube Channel:

smithsonianNMNH

EDAN-URL:

edanmdm:yt_KENGikSYX2k

Creator:

National Museum of Natural History  Search this

Type:

YouTube Videos

Uploaded:

2012-04-25T18:56:02.000Z

YouTube Category:

Education  Search this

Topic:

Natural History  Search this

See more by:

smithsonianNMNH

Data Source:

National Museum of Natural History

YouTube Channel:

smithsonianNMNH

EDAN-URL:

edanmdm:yt_VLVeJJeKgSY

Creator:

National Museum of Natural History  Search this

Type:

YouTube Videos

Uploaded:

2019-01-29T16:36:11.000Z

YouTube Category:

Education  Search this

Topic:

Natural History  Search this

See more by:

smithsonianNMNH

Data Source:

National Museum of Natural History

YouTube Channel:

smithsonianNMNH

EDAN-URL:

edanmdm:yt_zyDnu18ax-Q