While living in Bali and operating the Kuta Beach Hotel, the Kokes also began a business purchasing local Balinese goods and selling them to American customers, primarily the props department of Metro-Goldwyn-Mayer Studios. This series contains documents related to these transactions, including bills of sale, receipts, shipping information, and inventories.
Arrangement:
Arranged chronologically.
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
Robert and Louise Koke Collection, FSA.A2019.05. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of BASAbali.
These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after
approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no
manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead.
Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from
1907 to 1946 and can be useful.
Historical Note:
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called
the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the
Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of
Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives;
two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents
of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded
to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice
since that time.
The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A.
Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard
Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas
R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A.
Wallace, William A. Wheeler, Henry Wilson.
Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White,
William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.
Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell,
Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin,
Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey,
Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull,
Wallace H. White, Jr., Robert Enoch Withers.
Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth,
Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel
Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton,
Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce,
Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R.
Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards
Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.
Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George
Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings,
John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward
H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius
Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley,
John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston
Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton
Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton,
Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson,
Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
George Sidney (1916-2002) was a film director during the Golden Age of Hollywood filmmaking (1927-1954). He spent the longest period of his career at Metro-Goldwyn-Mayer (MGM) until the 1950s. He later produced and directed films for Columbia Pictures and Paramount Pictures. He was a president of the Directors Guild of America and an avid photographer. He was the recipient of three awards from the Academy of Motion Picture Arts and Sciences (Oscar). The collection consists of photographs, photographic negatives, personal and business materials, and film. The collection also contains material created by George Sidney's uncle, George Sidney, vaudevillian and motion picture actor.
Scope and Contents:
The George Sidney Collection consists of approximately eighty-eight cubic feet of photographs and materials from the Hollywood director George Sidney, most dealing with his career in motion pictures. Sidney was an avid photographer and collector of photographs documenting extremely well the Hollywood film community during the Studio Era (1927-1954) of filmmaking. The bulk of the collection is from Sidney's most productive years, circa 1937-1968.
MGM's motto was "More Stars than there are in Heaven" and the researcher would be advised that the extent of this collection is such that it is impossible to list and identify all of the celebrities and personalities photographed, both behind and in front of the camera. There are stills from Sidney's many productions as well as his on-set personal photographs. There are photographs from dinner parties, and many studio and film community functions. Productions are dated to their generally accepted first theatrical release date (Los Angeles and New York) and in the case of a Broadway show to their opening date.
Arrangement:
The collection is arranged into six series.
Series 1: Photographs, Photographic Negatives, and Slides, 1914-1996, undated.
Subseries 1.1: The Camera Eye of George Sidney, undated.
Subseries 1.2: Productions (Motion Picture, Stage, and Radio), 1921-1968.
Subseries 1.3: Personalities and People, 1932-1996, undated.
Subseries 1.4: Personal and Family, 1914-1992, undated.
Subseries 1.5: Family Photograph Albums and Scrapbooks, 1918-1950, undated.
Subseries 1.6: Travel and Locations, 1940-1981, undated.
Subseries 1.7: Studio, Entertainment, and Public Events, 1949-1995, undated.
Series 2: Production Ephemera, Posters, Scripts, 1930-1991, undated.
Subseries 2.1: Production Posters, 1943-1964, undated
Subseries 2.2: Production Ephemera and Scripts, 1930-1991, undated
Series 3: Office Files and Personal Material, 1903-2002, undated
Subseries 3.1: Personal Material, 1944-2002, undated
Subseries 3.2: Correspondence, Random Files, Indices, and Inventories, 1903-2002, undated
Series 4: Music Manuscripts, Sheet Music, and Music Related Material, 1885-1992, undated
Subseries 4.1: Music Manuscripts, 1937-1960, undated
Subseries 4.2: Sheet Music, 1885-1990
Subseries 4.3: Music Related Material, 1971-1992, undated
Series 5: Audiovisual, 1933-2001, undated
Subseries 5.1: Film, 1940-1960, undated
Subseries 5.2: Audio, 1933-2001, undated
Subseries 5.3: Video, 1989-2001, undated
Series 6: George Sidney (1877-1945), 1909-1945, undated
Biographical / Historical:
George E. Sidney was born in New York, New York on October 4th, 1916 into a show business family. His father Louis K. Sidney (birth surname Kronowith) (1891-1958) was a Broadway producer, actor-manager, and one of the vice-presidents of Loew's Incorporated. Sidney's mother, Hazael Mooney (?-1969), was a vaudeville performer, part of a sister act known as The Mooney Sisters. She was a native New Yorker, daughter of prominent New York City attorney Henry Mooney. She and Louis were married at her home, 12 West 109th Street, New York. Another residence was 179 West 63rd Street.
Louis K. Sidney began working for Loew's Incorporated in 1923. He managed theatres in Denver, Pittsburgh, Toledo, Dayton, and New York. Later he was in charge of stage productions for the theatre circuit. He was in charge of MGM's East Coast film production facility in New York. He and Hazael followed son George to Los Angeles in 1937. Louis produced two motion pictures at MGM, The Big Store with the Marx Brothers and Hullabaloo. After February 1951, he was a member of the four man executive committee in charge of MGM. At his retirement in 1955, Louis K. had risen to the position of vice-president of Loew's, Incorporated. He served as vice-president and director of the Motion Picture Producers Association, as a director of the Motion Picture Relief Fund, and the Hollywood Coordinating Committee.
George Sidney had two uncles in show business, Jack Sidney, known as "Jack of Spades" a black-face comedian, and Sidney's half-uncle, George Sidney (1877-1945) (real name Samuel Greenfield), a vaudeville comic. George had a successful Broadway and screen career, most notably as the bum, Busy Izzy, a character that lasted on the vaudeville circuit from 1901-1915. His initial Broadway success was in a show entitled Welcome Stranger that ran for 309 performances. Welcome Stranger had an extensive touring schedule across the United States. In conjunction with Charlie Murray, he developed a comedy act known as Cohen and Kelly that was not only a vaudeville success but easily made the transition to motion pictures. The Cohens and Kellys films became a motion picture franchise for Universal Studios in 1924. He was married to Carrie Weber (?-1940). George was a member of the Friars Club and an avid sports fan. He owned a racehorse named Kibbitzer.
George Sidney made his on-screen debut in The Littlest Cowboy (1921) starring Tom Mix. He moved to Los Angeles in 1930. Sidney went to work as a messenger at MGM. Louis B. Mayer's nickname for Sidney was "boy". Sidney flourished at the studio and by the time he was twenty he was directing screen tests and one-reel shorts. He directed installments in the Our Gang and Little Rascals series, as well as the Pete Smith and the Crime Does Not Pay series. He won back-to-back Oscars for two of his shorts, Quicker'n a Wink (1940) and Of Pups and Puzzles (1941). His feature film directing debut was Free and Easy (1941) starring Robert Cummings. His first major film musical was the all-star, war time musical, Thousands Cheer (1943), starring Kathryn Grayson and Gene Kelly. Sidney always indicated he viewed films as entertainment and seems to have rejected the auteur theory of directing embraced by some of his well known colleagues such as John Ford and Vincent Minnelli. His film, The Three Musketeers (1948), starring Gene Kelly and Lana Turner, was one of MGM's highest grossing films in the post World War Two period. He won his third Oscar for the short, Overture to 'The Merry Wives of Windsor, in 1954. Jupiter's Darling (1955) with Esther Williams was Sidney's last film for MGM. He was loaned to Columbia Pictures to direct The Eddy Duchin Story (1956), after which his contract at MGM ended.
Sidney went on to become an independent producer and director at Columbia Pictures where he directed such films as Pal Joey (1957), starring Frank Sinatra, and Bye Bye Birdie (1963) starring Ann-Margret. He returned to MGM in the 1960s to make A Ticklish Affair (1963), starring Shirley Jones and Viva Las Vegas (1964), starring Ann-Margret and Elvis Presley. His last film was the musical Half a Sixpence (1967) starring Tommy Steele for Paramount Pictures. Sidney also directed and produced for television most notably Who Has Seen the Wind (1964). He financed and founded Hanna-Barbera Productions in 1944. He was a two-term president, 1951-1959 and 1961-1967, of the Directors Guild of America (DGA), earlier known as the Screen Directors Guild (SDG).
In his personal life, Sidney was married in 1942 to legendary MGM drama coach, Lillian "Burnsie" Burns Salzer (1903-1998). He was eight years her junior. They lived at the Sidney home (1140 Tower Road) in Beverly Hills. They divorced in the mid 1970s. For a brief time Sidney maintained a penthouse apartment for George Sidney Productions at 144 South Beverly Drive, Beverly Hills. He maintained a suite (301) in the Palm Wilshire Building, 9201 Wilshire Boulevard in the 1970s. He married his second wife, Jane Adler Robinson (?-1991), second wife and widow of actor Edward G. Robinson (1893-1974), around 1978. The house at 1140 Tower Road was sold and Sidney moved to the Robinson home at 910 Rexford Drive in Beverly Hills. Sidney married his third wife, Corinne Kegley Entratter (1937-?), widow of showman and Las Vegas entrepreneur John Entratter, in 1991. Sidney was a prolific photographer. He collected art and was apparently an avid gardener. He was a member of the Royal Horticultural Society. He died in Las Vegas, Nevada in May 2002.
Related Materials:
The Harry Warren Collection, AC0750
The Groucho Marx Collection, AC0269
Sidney related artifacts from Sidney's films are housed in the Division of Culture and the Arts, National Museum of American History, Smithsonian. There are scrapbooks donated by the Sidney Estate in the collection of the Cinema-Television Library, Doheny Library, University of Southern California, consisting of eleven volumes containing photographs, correspondence, publicity documents, and other materials, circa 1933-1963.
Provenance:
This collection was donated to the Archives Center in 2005 by Corinne Entratter Sidney, widow of George Sidney.
Restrictions:
Collection is open for research but is stored off-site. Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.
Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.
Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period.
Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
The Archives Center does not own exclusive rights to these materials. All requests for permission to use these materials for non-museum purposes must be addressed directly to the Archives Center, and the Archives Center will forward the request to the copyright holder. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Topic:
Motion picture production and direction Search this
Motion picture producers and directors Search this
Luther Davis (1916-2008) was an awarding winning writer, playwright and screenwriter. He won a Antoinette Perry (Tony) Award in 1954 for the musical Kismet. He was the playwright for Lady in a Cage, and Grand Hotel and many other productions.
Scope and Contents:
This collection contains scripts, screenplays, and teleplays written by Luther Davis for the stage, screen, and television with related documents. Also included are writings for publications, business papers, and personal papers and photographs.
Series 1, Articles and Fiction, 1936-1946, 2003. This series consists of articles and stories written for magazines, published and unpublished. This series is divided into two subseries:
Subseries 1, Articles and Non-Fiction, 1936-1946 and 2003. Articles published in magazines or other publications and unpublished manuscripts.
Subseries 2, Fiction, 1936-1940s and undated. Stories published in magazines and unpublished manuscripts.
Series 2, Works for Film, 1946-2003. This series consists of treatments, scripts and screenplays for films, produced and unproduced. This series is divided into two subseries:
Subseries 1, Screenplays, Produced, 1946-1972. Drafts and scripts for films produced and materials relating to their production such as advertising and reviews. Photographs for several films are also included and copies of novels used as sources.
Subseries 2, Screenplays, Unproduced, 1940s-2003. Drafts and scripts developed but unproduced and research materials for these projects.
Series 3, Works for the Theater, 1944-2007. This series consists of scripts for stage plays and musicals, produced and unproduced. This series is divided into two subseries:
Subseries 1, Theatrical Productions, 1944-2004. Scripts and other materials related to those productions. These include documents relating to adapting, financing, and promotion of the productions, as well as source materials, photographs, and reviews. Some materials relate to productions in foreign countries.
Subseries 2, Theatrical Works, Unproduced, 1937-2007. Scripts and partial scripts, ideas, outlines and research materials for these projects.
Series 4, Works for Television, 1956-1997. This series consists of scripts for television programs, produced and unproduced. This series is divided into two subseries:
Subseries 1, Television Productions, 1960-1971. Scripts and other materials related to these productions.
Subseries 2, Works for Television, Unproduced, 1956-1997. Scripts and partial scripts, ideas, outlines and research materials.
Series 5, Business and Personal Records, 1916-2007. This series consists of two subseries:
Subseries 1, Business Records, 1941-2006. Correspondence, news clippings, awards, general casting research and story research materials.
Subseries 2, Personal Records, 1916-2007. Documents, scrapbook pages, military records, news clippings, photographs, correspondence, miscellaneous personal items.
Series 6, Works by Others, 1939-1979. This series consists of stories and scripts written by others.
Series 7, Audio-Visual Materials, 1976-1991, undated. This series consists of two subseries:
Subseries 1, Audio Materials, 1976-1991, undated. Audio cassettes for Timbuktu! and Grand Hotel stage productions. Radio interviews with Davis and others.
Subseries 2, Video Materials, 1979-1990, undated. Video cassettes for Timbuktu!, 1990 Tony Awards, and film Daughter of the Mind.
Arrangement:
The collection is arranged into seven series.
Series 1, Articles and Fiction, 1936-2003, undated
Subseries 1.1, Articles and Non-Fiction, 1936-2003
Subseries 7.2, Video Materials, 1979-1990, undated
Biographical / Historical:
Luther Berryhill Davis was born in Brooklyn, New York on August 29, 1916. He attended Culver Military Academy, graduating in 1934. At Yale University he was a member of the Yale Literary Society and contributed stories and essays to the Yale Literary Magazine. While at Yale, he began writing plays and musicals and his work in these fields would define his long and successful career. Following his graduation he wrote articles on entertainment figures for Colliers and other publications until his enlistment as captain in the Army Air Corps. While serving, he wrote a breezy column for the service publication C.B.I. Roundup and covered aviation subjects for Air Force magazine for the duration of the war. He was promoted to the rank of major before his demobilization in 1945.
Returning to civilian life, Davis embarked upon a career as a writer for the stage, screen, and television that would continue for more than six decades. In the autumn of 1945, Davis's play Kiss Them for Me, adapted from a Frederic Wakeman novel, opened on Broadway and was adapted for film in 1955. In 1947 he wrote the screenplay for The Hucksters (also by Wakeman), starring Clark Gable. He worked as a screenwriter well into the 1980s.
Davis collaborated with Charles Lederer, Robert Wright, and George Forrest on the book and libretto for Kismet, an adaptation of Edward Knoblock's 1911 play. Kismet featured music based on the works of Alexander Borodin and won the Tony award for Best Musical in 1954. It was made into a film directed by Vincente Minnelli in 1955. In 1978, Davis produced a further adaptation titled Timbuktu! that was notable for its use of African themes and locales. Its cast included Eartha Kitt and Melba Moore, and it was choreographed by Geoffrey Holder. Timbuktu! was nominated for six Tonys, including one for Davis's script.
In 1956, Davis and partners Wright and Forrest purchased the rights to Vicki Baum's novel Menschhen in Hotel. The novel had been the source for Metro-Goldwyn-Mayer's (MGM) 1931 film, Grand Hotel. In 1958, Davis adapted the story for At the Grand, a production of the Los Angeles Civic Light Opera. Thirty-one years, and numerous revisions, later it opened on Broadway in 1989 as Grand Hotel, the Musical. Directed by Tommy Tune, it ran until 1992. In 1990, the show was nominated for twelve Tony awards and won six.
As a producer, Davis and partners brought the World War I drama Not About Heroes to Broadway with stars Edward Hermann and Dylan Baker in 1981. He also co-produced Eden Court off-Broadway with Ellen Barkin and Melanie Griffith in 1985.
Davis continued his work in film as writer and producer, most notably with his controversial film Lady in a Cage, a 1964 study of modern violence starring Olivia de Havilland. Other film scripts, such as A Lion is in the Streets (1953) and Across 110th Street (1972), also explored gritty, contemporary themes. These were a marked contrast to the wry comedy of some of his earlier screenplays.
As a writer for television, Davis's work earned him recognition from the Writer's Guild of America and Mystery Writers of America. Most of his television work was produced in the 1960s, including episodes for the series "Run for Your Life" and "Kraft Suspense Theater." He authored several movies for television, including Arsenic and Old Lace in 1968. His other works for television included comedies, dramas, mysteries and thrillers.
In his lengthy career, Luther Davis earned success because of both his talent and his extraordinary determination and energy. His papers include not only his works produced for film, stage, and television but an equal, if not greater number, of works never seen by audiences.
His tireless efforts with these projects, as well as the many that reached fruition, indicate a willingness to persevere that is essential to success; in 2007, when he was ninety-one years old, he wrote a treatment for a stage musical based on Princess of Mars by Edgar Rice Burroughs. Luther Davis died in 2008.
Provenance:
Donated to the Archives Center in 2009 by Davis's widow, Joan Bassie Davis.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Luther Davis Papers, 1916-2007, undated, Archives Center, National Museum of American History
