The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.
Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.
The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.
The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.
Other photographs are of works of art, most of which depict William's works.
Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:
Missing Title
Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)
Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)
Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)
Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)
Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)
Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)
Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)
Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)
Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)
Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.
Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.
In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.
In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.
Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.
William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.
Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.
The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
This collection consists of 265 photographic slides and 1 audio cassette recording made by former Peace Corps volunteer G. Gage Skinner while living and traveling in Chile and Colombia in the 1960s-1970s. Images include portraits, landscapes, ceremonies, and daily village life. Audio recording includes songs, chants, and musical instruments.
Scope and Contents:
The G. Gage Skinner collection consists of 265 photographic slides and 1 audio cassette recording made by former Peace Corps volunteer G. Gage Skinner while living and traveling in Chile and Colombia in the 1960s-1970s. Series 1: Chile, 1964-1966, includes images of individual portraits, landscapes, ceremonies, and daily village life of the Mapuche peoples of what is now the Araucanía Region of Chile. Also part of Series 1 is an audio recording of songs, chants, and musical instruments from a 1965 Nguillatún fertility ceremony near Lumaco, Chile. Series 2: Colombia, 1972, includes images of landscapes and daily village life of the Ika (Ica/Arhuaco) and Kogi (Kagaba) peoples of the area near Donachui in the Sierra Nevada de Santa Marta mountain range of Colombia. Images include a particular focus on Ika (Ica/Arhuaco) dwellings and architecture, weaving, trade goods, and agriculture.
Arrangement:
This collection is arranged in two series. Series 1: Chile, 1964-1966 and Series 2: Colombia, 1972.
Biographical / Historical:
G. Gage Skinner is a former Peace Corps volunteer, having served in Chile, 1964-1966, and later in Colombia, 1969-1972. A student of cultural anthropology and a graduate of San Diego State University, Skinner has taught at the college level, and has published on a wide range of topics, including beekeeping, the fur trade, and the history of the American West.
Related Materials:
The Peace Corps Community Archives at American University in Washington, DC maintains a collection of manuscript materials donated by G. Gage Skinner documenting his Peace Corps service in Chile and Colombia. These materials include diaries, biographical information, training materials, and publications. In addition to material culture objects in the NMAI Object Collections donated by Skinner, there are also a large number of objects documenting Mapuche culture which he donated to the San Diego Museum of Man's ethnographic collections.
Separated Materials:
G. Gage Skinner also donated a number of material culture objects to the NMAI Object Collections, documenting the Mapuche, Ika (Ica/Arhuaco), and Kamsá (Sebondoy) peoples of Chile and Colombia. The object numbers are 27/0087 - 27/0089 and 27/0102 - 27/0108.
Provenance:
This collection was donated by G. Gage Skinner in 2017 and 2018.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Identification of specific item; Date (if known); G. Gage Skinner collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
The original manuscript for Coltrane's compositionA Love Supreme.
Scope and Contents:
The music manuscript is the original 1964 manuscript of A Love Supreme, a work that exalts the greatness, power, and love of God. The collection includes handwritten music, doodles, lyrics, and notes. A Love Supreme is thought to be one of the greatest jazz albums of all time.
Biographical / Historical:
John Coltrane was born September 23, 1926 in Hamlet, North Carolina. Surrounded and influenced by music from a young age, Coltrane trained in Philadelphia at Granoff Studios and the Ornstein School of Music. He went on to play in the U.S. Navy Band when he was called to military service during World War II.
When the war was over, Coltrane played with the likes of Jimmy Heath, the Eddie "CleanHead" Vinson Band, and Dizzy Gillespie. In 1958, he joined the Miles Davis Quintet and became famous for his three-on-one chord approach and "sheets of sound," a method of playing multiple notes a one time.
Coltrane formed his own quartet by 1960 with pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison. It was with this group that he created his famous A Love Supreme, a work that discusses the greatness, power, and love of God. Coltrane believed that everyone should contribute positively to the world, and his way of doing so was creating positive thought patterns through his music.
Coltrane accumulated much recognition throughout his career, including a posthumous 1982 Grammy Award for Best Jazz Solo Performance for "Bye Bye Blackbird" and the organization's esteemed Lifetime Achievement Award. In 1995, he was honored by the United States Postal Service with a commemorative postage stamp. He also has a street named on the Universal Studios lot in his honor. Coltrane's former home has been turned into a National Historic Landmark to commemorate his influence on American culture.
Coltrane died of liver disease in July 1967. His music is still heard today in various avenues of popular culture, including movies and television shows. Coltrane and his wife Alice had one child, Ravi, a prominent jazz saxophonist.
Related Materials:
Materials in the Archives Center
William Claxton Photographs, 1955-1960 (NMAH.AC.0695)
Audrey Wells "Women in Jazz" Radio Series, 1981-1982 (NMAH.AC.0899)
Provenance:
Collection purchased at auction, 2005.
Restrictions:
Copy available for general research use. Original manuscript available by special request.
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:
Music -- 20th century -- United States Search this
Hello, Dolly! is contained in four folders consisting of 1 published three-page piano vocal score, 1 two-page piano vocal score, 1 three-page short score, 1 two-page short score and 54 parts in Bb Major concert -- in ink, pencil and photocopy -- in unidentified hands (DE, Whaley, Jones, other?).
Folder A contains items in 3 groupings -- (i) Parts for trombone; bass. -- (ii) Part for 1 reed - tenor. -- (iii) Published three-page piano vocal score and part. Piano vocal score lyrics begin "I went away from the lights of Fourteenth Street ...". Part for unidentifed treble instrument (guitar?).
Folder B contains parts in 2 groupings -- (i) 6 reeds - Proc (3), Rab (4), Jimmy (2), Paul (4), tenor, Carney (4); 3 trumpets - 1 (2), 3 (2), 4 (2); 4 trombones - 1, 2 (3), 3 (4), trombone; bass. -- (ii) 1 reed - Pro; 2 trumpets - 1 (2), 2; 1 trombone - 1 (2).
Folder C contains items in 2 groupings -- (i) Two-page piano vocal score. Piano vocal score lyrics begin "Hello, Dolly, well hello, Dolly ...". Score appears incomplete. -- (ii) Parts for 4 reeds - alto 1, alto 3, tenor, baritone; 3 trumpets - 1, 2, 3; 2 trombones - 1, 2; bass; guitar.
Folder D contains short scores. Three-page short score indicates parts for clarinet, Rab, Proc, Paul, baritone, saxes, trumpets, trombones. Two-page short score indicates parts for saxes, baritone, trumpets, trombones. -- All items except Folder A, grouping iii and Folder B, grouping i from the Duke Ellington Library.
Biographical / Historical:
Folder A, grouping iii and Folder B, grouping i from the Mercer Ellington Library. There appear to be numbers from the Duke Ellington Band Book: 31, 58.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, torn, tape.
Other Title:
Dolly tutti.
Publication:
New York, N.Y., Edwin H. Morris & Company, Inc., 1963
Collection 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.
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 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.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Holographs
Music
Parts (musical)
Photocopies
Piano vocal scores
Published sheet music
Short scores
Sheet music
Manuscripts -- Music -- 1960-1970
Collection 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.
Portrait of my love is contained in one folder consisting of 1 published two page piano vocal score in C Major concert, and 1 eight page short score, 1 eight page conductor score and 9 parts in Db Major concert -- in ink and pencil -- in unidentified hands (ME, Whaley?).
Piano vocal score lyrics begin "There could never be a portrait of my love ...". Short score indicates parts for reeds, trumpets, trombones, bass, drums, voice. Lyrics begin as above. Conductor score indicates parts for alto, 2 tenors, baritone, 3 trumpets, 2 trombones, bass, voice. Score does not include lyrics. Parts for 3 reeds - alto, tenor, baritone; 3 trumpets - 1, 2, 3; trombone; bass; piano. -- from the Duke Ellington Library.
Biographical / Historical:
There appears to be a number from the Duke Ellington Band Book: 4.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair.
Publication:
New York, NY, Piccadilly Music Corp., 1961
Collection 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.
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 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.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Conductor scores
Copy scores
Music
Parts (musical)
Piano vocal scores
Published sheet music
Short scores
Manuscripts -- Music -- 1960-1970
Sheet music
Collection 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.
More is contained in two folders consisting of 1 two-page short score and 34 parts in C Major concert, and 1 published two-page piano vocal score in G Major concert -- in ink, pencil and photocopy -- in unidentified hands (BS, Whaley, Jones?).
Folder A contains scores. Short score indicates parts fro Proc, sax, baritone. Piano vocal score lyrics begin "More than the greatest love the world has known ...".
Folder B contains parts in 4 groupings -- (i) Parts for 4 reeds - alto , tenor 2, tenor 4, baritone; 4 trumpets - 1, 2, 3, 4; 3 trombones - 1, 2, 3. -- (ii) Parts for 2 trumpets - 1, 3; 3 trombones - 1, 2, 3. -- (iii) Parts for 1 trombone - 1; bass. -- (iv) Parts for 5 reeds - alto 1 (2), Proc (2), Paul (2), Jimmy, baritone (2); 4 trumpets - trumpet, 2, 3, 4 (2); 2 trombones - 2, 3.
Folder A and Folder B, groupings ii & iii from the Duke Ellington Library.
Biographical / Historical:
Folder B, groupings i & iv from the Mercer Ellington Library. There appears to be a number from the Duke Ellington Band Book: 64.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, torn, tape.
Publication:
New York, NY, Edward B. Marks Music Corporation, 1963
Collection 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.
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 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.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Holographs
Music
Parts (musical)
Photocopies
Piano vocal scores
Published sheet music
Short scores
Manuscripts -- Music -- 1960-1970
Sheet music
Collection 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.
Thompson, Daniel V. (Daniel Varney), 1902-1980 Search this
Extent:
(Boxes 6-9; 2.85 linear ft.)
Type:
Archival materials
Date:
1907-1970s
Scope and Contents note:
Writings consist mainly of manuscripts, drafts, research and miscellaneous notes; also included are diaries, poems, miscellaneous items, and a music score. Additional writings by Thompson and other authors are found among the subject files (Series 3).
Arrangement note:
The series is arranged as 3 subseries:
4.1: By Daniel Varney Thompson - Personal and Professional, 1921-1966
4.2: By Daniel Varney Thompson - Food and Garden, 1960s-1970s
4.3: By Other Authors, 1907-1967
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:
Daniel Varney Thompson papers, 1848-1979, bulk 1923-1979. Archives of American Art, Smithsonian Institution.
Collection consists of one letter and six music manuscripts by James H. "Eubie" Blake.
Scope and Contents:
The collection consists of one handwritten letter by Eubie Blake to Professor John Garvey, director of the University of Illinois Jazz Band, dated August 3, 1969. There are five undated manuscripts in Blake's hand of his arangements for the songs Manda, Poor Archie, Brittwood Rag, March of the Senegalese, and the W.C. Handy song, Yellow Dog Blues. In the letter Blake requests that Garvey, when playing any of these songs (for which he enclosed the manuscripts,) please mention his (Blake's) name as the arranger.
In the letter Blake also mentions Here Tis, but that manuscript was not included in this donation.
Arrangement:
Collection is arranged in one series.
Series 1: Letter and Music Manuscripts, 1969
Biographical / Historical:
James Herbert "Eubie" Blake, noted ragtime pianist, was born February 7, 1883 in Baltimore, Maryland. Some government records show his birth year as 1887. His parents Emily "Emma" Johnston and James Sumner Blake had formerly been enslaved. Blake was their only child to live to maturity. Blake learned to play the pump organ and the piano while still a young child. Blake began his career as a pianist, songwriter, and arranger in 1915 in Baltimore playing piano in Aggie Shelton's bordello. He formed a songwritng partnership with Noble Sissle in 1915. In 1921, their musical Shuffle Along became a hit on Broadway and ran for fourteen months. Blake's career spanned his entire life. Perhaps his most recognizable song, I'm Just Wild About Harry, is considered a standard of the American musical canon. His life was the subject of the Broadway musical, Eubie, that premiered in 1978.
Blake married twice first to Avis Elizabeth Cecelia Lee (1881-1939) the daughter of Lawrence and Florence Lee. After her death from tuberculosis in March 1939, Blake married Marion Gant Tyler (1896-1982), widow of Willie Tyler, violinist, and daughter of James H. Gant and Nattie Thomas, on December 27, 1945 in Norfolk, Virginia. Marion acted as his business manager until her death.
Blake died in Brooklyn, New York, on 1983 February 12. He and Marion are both buried in Cypress Hills Cemetery, Brooklyn, New York.
Sources
The New Grove Dictionary of Jazz, page 114. Death certificate for Avis Blake, dated 1939, New York, New York City Municipal Deaths, 1795-1949," database Family Search, accessed July 5, 2019
Certificate of Marriage for James Hubert Blake and Marion Louise Gant, dated 1945 December 27, Virginia Marriage Certificates, 1936-1988, Family Search, accessed July 5, 2019
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Lawrence Dwyer in 2016.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
