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

Creator:
DeVincent, Sam, 1918-1997  Search this
Extent:
79 Boxes
Type:
Collection descriptions
Archival materials
Date:
circa 1828-1980
Summary:
Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.

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

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

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

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

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

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

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

This series is arranged in the following subseries: 3:1 Minstrel Show and Blackface Entertainers; 3:2 Uncle Tom's Cabin; 3:3 African-American Folk-song and Spirituals; 3:4 Songs about African-American/Vocal Ragtime; 3:5 Instrumental and Ragtime Music; 3:6 Ragtime Composers and Publishers; 3:7 Blues and Jazz Music; 3:8 Composers and Performers.
Arrangement note:
Arranged in 9 subseries.

3.1: Minstrel Shows and Blackface Entertainers

3.2: Uncle Tom's Cabin

3.3: African-American Folk-songs and Spirituals

3.4: Songs about African-American/Vocal Ragtime

3.5: Instrumental and Ragtime Music

3.6: Ragtime Composers and Publishers

3.7: Blues and Jazz Music

3.8: Composers and Performers

3.9: Ephemera
Materials in Other Organizations:
Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana

This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.
Materials in the Archives Center, National Museum of American History:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)
Forms Part Of:
Series 3: African-American Music forms part of the Sam DeVincent Collection of Illustrated American Sheet Music .

An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.
Provenance:
This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0300.S03
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 3: African American Music
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep890e4c587-014e-4836-8164-82069059301b
EDAN-URL:
ead_collection:sova-nmah-ac-0300-s03
Online Media:

Duke Ellington Collection

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
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
Online Media:

BLK Vol. 5 No. 1

Published by:
Alan Bell, American  Search this
Edited by:
Alan Bell, American  Search this
Subject of:
Kenneth Errol Reeves, American, born 1951  Search this
Black Gay and Lesbian Leadership Forum, American, 1988 - 2003  Search this
Reggie Williams, American, 1951 - 1999  Search this
National Task Force on AIDS Prevention, American, 1985 - 1998  Search this
Phill Wilson, American, born 1956  Search this
Lambda Legal Defense and Education Fund, American, founded 1973  Search this
Nia Collective, American, founded 1987  Search this
Pat Norman, American, born 1939  Search this
African-American Lesbian and Gay Alliance, American, founded 1986  Search this
Magic Johnson, American, born 1959  Search this
Simon Nkoli, South African, 1957 - 1998  Search this
Gay and Lesbian Organization of Witwatersrand, South African, 1988 - 1997  Search this
David N. Dinkins, American, born 1927  Search this
Tina Turner, American, 1939 - 2023  Search this
Rosa Parks, American, 1913 - 2005  Search this
WRFG, American, founded 1973  Search this
Medium:
ink on paper (fiber product)
Dimensions:
H x W x D: 10 13/16 × 8 1/4 × 1/8 in. (27.4 × 20.9 × 0.3 cm)
Type:
magazines (periodicals)
Place made:
Los Angeles, Los Angeles County, California, United States, North and Central America
Place depicted:
Cambridge, Middlesex County, Massachusetts, United States, North and Central America
Chicago, Cook County, Illinois, United States, North and Central America
Philadelphia, Philadelphia County, Pennsylvania, United States, North and Central America
San Francisco, San Francisco county, California, United States, North and Central America
Los Angeles, Los Angeles County, California, United States, North and Central America
Sausalito, Marin County, California, United States, North and Central America
Washington, District of Columbia, United States, North and Central America
Atlanta, Fulton County, Georgia, United States, North and Central America
Malibu, Los Angeles County, California, United States, North and Central America
Kalamazoo, Kalamazoo County, Michigan, United States, North and Central America
Anaheim, Orange County, California, United States, North and Central America
New York City, New York, United States, North and Central America
Date:
January 1994
Topic:
African American  Search this
Activism  Search this
Associations and institutions  Search this
Black Press  Search this
Communities  Search this
Health  Search this
Identity  Search this
LGBTQ  Search this
Mass media  Search this
Politics  Search this
Race relations  Search this
Sexuality  Search this
U.S. History, 1969-2001  Search this
Violence  Search this
Women's organizations  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Alan Bell
Object number:
2018.108.39ab
Restrictions & Rights:
© BLK Publishing Company, Inc
Permission required for use. Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Movement:
HIV/AIDS Activist Movement
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd58786f58e-d621-4f73-a3f3-8e12cb1e81f5
EDAN-URL:
edanmdm:nmaahc_2018.108.39ab

Oral history interview with Don Freeman

Interviewee:
Freeman, Don, 1908-1978  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
New Deal and the Arts Oral History Project  Search this
United States. Works Progress Administration  Search this
Henri, Robert, 1865-1929  Search this
Marsh, Reginald, 1898-1954  Search this
Pollock, Jackson, 1912-1956  Search this
Sloan, John, 1871-1951  Search this
Tolegian, Manuel J. (Manuel Jerair), 1911-1983  Search this
Wickey, Harry  Search this
Extent:
1 Sound tape reel (Sound recording, 5 in.)
19 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 June 4
Scope and Contents:
Interview of Don Freeman conducted 1965 June 4, by Betty Hoag McGlynn, for the Archives of American Art, in his home, in Santa Barbara, Calif. Freeman speaks of his childhood in San Diego with his guardian; his high school years spent in St. Louis at a public school Prineipia (and his teacher Kathryn Cherry); the knowledge of his artistic destiny as a child; his move to New York City in 1929; his time spent working as an unbooked trumpet player for jazz orchestras on Broadway; his formative years at the Art Students League under the guidance of John Sloan;
the influence of Robert Henri and "Art Spirit;" his decision to do illustrations for the theater section of the Herald Tribune of ongoing performances; his time spent studying with Harry Wickey (etcher and sculptor); his relationship and marriage to wife Lydia as well as description of life in downtown Manhattan immediately following the stock market crash ; time at Art Students League studying along side with Jackson Pollock, Manuel Tolegian, Whitney Darrel; his decision to work for the WPA in
the graphics department completing lithographs (1933-1934); "Freedom of the Press," a painting completed around the same time and the possible influence of Reginald Marsh; his interest in a project called "Paint for the People" (a public works project for the New York Subway system); time spent illustrating for the WPA theater magazine "The Living Magazine;" his opinions concerning acetate and stone as well as the use of mezzotint; his personal magazine which he published for four years (name unknown); a general summary of his feelings towards the WPA as an artistic force; his separation from the Union Uprisings due to his success within the program;
his work on "Our Flying Navy" a series of illustrations (now compiled as a book) used for advertisement for the Navy; his participation in the Association of American Artists before his term spent in the Army during WWII; his budding career as a children's books writer and illustrator (Barton Press); his illustrations for William Soroyan"s The Human Comedy; his move back west and his son Roy; and his current occupation of giving "Chalk Talks" around the country, speaking with students about art, music, theater.
Biographical / Historical:
Don Freeman (1908-1978) was an Illustrator from New York, N.Y. Went to New York City at the age of 21. Studied with John Sloan and Harry Wickey at the Art Students League.
General:
An unrelated interview of Ben Messick conducted by B. Hoag McGlynn is also on this tape.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Illustrators -- California -- Interviews  Search this
Federal aid to the arts  Search this
Artists' materials  Search this
Illustration of books  Search this
Prints -- Technique  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.freema65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw995547556-a986-4ffc-a847-4f83d6982a0b
EDAN-URL:
ead_collection:sova-aaa-freema65
Online Media:

Anton Refregier papers

Creator:
Refregier, Anton, 1905-  Search this
Names:
ACA Galleries  Search this
Bard College -- Faculty  Search this
Gosudarstvennyĭ Ėrmitazh (Russia)  Search this
National Council of American-Soviet Friendship (U.S.)  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
United States. Works Progress Administration  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
World Peace Council  Search this
De Diego, Julio, 1900-  Search this
Dreyfuss, Henry, 1904-  Search this
Elisofon, Eliot  Search this
Evergood, Philip, 1901-1973  Search this
Fast, Howard, 1914-2003  Search this
Geddes, Norman Bel, 1893-1958  Search this
Greenwood, Marion, 1909-1970  Search this
Kent, Rockwell, 1882-1971  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Morley, Eugene, 1909-1953  Search this
O'Higgins, Pablo, 1904-  Search this
Packard, Emmy Lou, 1914-1998  Search this
Randall, Byron, 1918-1999  Search this
Refregier, Lila  Search this
Siqueiros, David Alfaro  Search this
Yavno, Max  Search this
Extent:
35.9 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Greeting cards
Interviews
Cartoons (working drawings)
Scrapbooks
Transcripts
Photographs
Diaries
Sketches
Place:
Chile
Soviet Union
Guatemala
Mexico
Date:
circa 1900-circa 1990
Summary:
The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, 15 diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, 10 scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.
Scope and Content Note:
The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.

Biographical material contains legal records such as Refregier's will and marriage and death records, passports, resume material and 2 interview transcripts.

Correspondence, both chronological and alphabetical, constitutes almost a third of the collection and documents all aspects of Refregier's career including his work for the WPA, private commissions, representation by ACA Galleries, his involvement with groups such as the Woodstock Artists Association and his teaching work for institutions such as Bard College. Also documented are his involvement with local political groups and international organizations such as the National Council of American-Soviet Friendship and the World Peace Council, and travels including visits to the Soviet Union. Notable correspondents include Henry Dreyfuss, Philip Evergood, Rockwell Kent, Emmy-Lou Packard, and Byron Randall. Correspondence also includes family letters written primarily by Refregier to Lila Refregier, in addition to greeting cards received by the Refregier family, many of which contain original arwork.

Writings are primarily by Refregier and include drafts of many essays and autobiographical writings, in addition to copies of published works including Natural Figure Drawing, An Artists Journey and Sketches of the Soviet Union.

The collection contains diaries and journals from 12 years in various formats including published and handmade day planners and typed and handwritten journal entries. They include sketches and primarily record travel and daily activities including specific projects such as the New York World's Fair mural (1938-1939).

Mural and Tapestry files document individual commissions bid on and/or completed by Refregier. The creation of the Rincon Annex Post Office mural and subsequent controversies over its subject matter are well-documented here, as are many of Refregier's commissions for banks, hospitals, hotels, shopping centers, and schools.

Exhibition files document at least 15 of Refregier's exhibitions, including his first one-man show at ACA Galleries (1942) and his exhibition of paintings at the Hermitage Museum (1967) in what was then Leningrad.

Personal business records contain addresses of contacts. Scattered records referencing market values for Refregier's work can be found throughout the series in records such as bills and receipts, financial notes and tax records.

Printed material provides extensive coverage of Refregier's entire career through announcements, invitations, catalogs, and news clippings. His interests in art, literature, music, theater and politics are also well-represented in these files.

The collection contains 10 scrapbooks, mostly in fragmented condition, which contain a mixture of photographs, sketches and other artwork, notes and fragments of writings, and printed material. The scrapbooks document a variety of subjects including Refregier's family life, travels to Guatemala and the Soviet Union, and the artist at work.

Artwork consists primarily of artwork by Refregier in the form of mural design sketches and cartoons in various media, including pencil, ink and pastel, in addition to 21 sketchbooks, many of which also contain journal entries and notes. Also found here are prints and reproductions of Refregier's "Peace card" block engravings for every year from 1950-1973, with the exception of 1970.

Photographs document all phases of Refregier's career and include family photographs dating from circa 1900, photos of Refregier in the studio including work for the WPA, Refregier and other artists and individuals at events and parties from the 1940s-1970s, travel snapshots probably taken in Chile, Guatemala, Mexico, and the Soviet Union, and photographs of artwork and installations. Individuals pictured include Julio de Diego, Marion Greenwood, Rockwell Kent, Pablo O'Higgins and David Siqueiros; also, a series of press photographs by Albert A. Freeman pictures Refregier with Howard Fast, Norman Bel Geddes, Marion Greenwood, John Kingsbury, Yasuo Kuniyoshi and Harry Stockwell. One photograph by Eliot Elisofon, 2 by Eugene Morley and 4 by Max Yavno can also be found here.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1925-1980 (Box 1; 0.25 linear ft.)

Series 2: Correspondence, 1912-circa 1990s (Boxes 1-11, 36, OVs 38, 45; 10.2 linear ft.)

Series 3: Writings, circa 1930s-circa 1970s (Boxes 11-14, OV 45; 3.3 linear ft.)

Series 4: Diaries and Journals, 1923-1979 (Box 15; 0.6 linear ft.)

Series 5: Mural and Tapestry Files, circa 1930s-circa 1970s (Boxes 15-18, 36, OVs 38, 45, 46, RD 42; 3.65 linear ft.)

Series 6: Exhibition Files, 1942-1981 (Boxes 18-19; 0.6 linear ft.)

Series 7: Personal Business Records, 1920s-1980s (Boxes 19-20; 1.8 linear ft.)

Series 8: Printed Material, circa 1920s-1980s (Boxes 21-28, 36; 7.4 linear ft.)

Series 9: Scrapbooks, 1930s-1960s (Boxes 28, 37, BV 47; 1.1 linear ft.)

Series 10: Artwork, circa 1930s-circa 1970s (Boxes 28-30, 36, OVs 40, 41, RDs 42-44; 3.5 linear ft.)

Series 11: Photographic Material, ca. 1900-1980s (Boxes 31-35, 39; 4.5 linear ft.)
Biographical Note:
Russian-born Woodstock painter Anton Refregier (1905-1979) immigrated to the United States in 1920. Refregier was well-known for his sometimes controversial social realist murals for the WPA.

After an apprenticeship to the sculptor, Vasilief, in Paris, Anton Refregier attended the Rhode Island School of Design from 1920-1925 and studied with Hans Hofmann in Germany in 1927. He had his first one-man show at ACA Galleries in New York City in 1942 and settled in Woodstock, New York, with his wife, Lila, and three children Anton, Jr., Brigit and Aleksandre, where he became a prominent member of the artist community.

Refregier completed several social realist murals for the federal Works Progress Adminstration (WPA) program, including one at the New York Worlds Fair in 1939 and the controversial Rincon Annex Post Office mural in San Francisco begun in 1941. He also completed interior design installations for businesses such as the nightclub, Cafe Society Uptown, and the restaurant, The Cookery, in New York City. In addition to being an easel and mural painter Refregier worked in tapestry, mosaic, ceramic, and collage, and completed many commissions for hotels, banks, hospitals, restaurants, synagogues, supermarkets and deparment stores throughout the country.

Refregier taught at various institutions including Stanford University, the University of Arkansas, and Bard College and his publications inlcude Natural Figure Drawing (1948), An Artist's Journey (1965), and Sketches of the Soviet Union (1978). He traveled regularly to the Soviet Union to explore and exchange ideas about art and culture and as a representative of the World Peace Council.

Anton Refregier died in Moscow in October 1979 while visiting the Soviet Union. His work can be found in many museums including the Corcoran Gallery of Art, the Metropolitan Museum, the San Francisco Museum of Art, and the Whitney Museum of American Art.
Related Material:
Also found in the Archives of American Art are an oral history interview with Anton Refregier, 1964, Nov. 5 by Joseph Trovato; and Papers regarding Anton Refregier mural controversy, 1953.
Provenance:
Donated 1983 by Lila Refregier, widow of Anton Refregier, and in 1992 by Brigit R. Sutton, Refregier's daughter.
Restrictions:
Use of original papers requires an appointment.
Rights:
Authorization to quote or reproduce for purposes of publication requires written permission from Bridget R. Sutton via Bridget's son, Tim Sutton. Contact Reference Services for more information.
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.
Topic:
Tapestry  Search this
Art -- Study and teaching  Search this
Political clubs  Search this
Muralists -- New York -- Woodstock  Search this
Art -- Commissioning  Search this
Painters -- New York (State) -- Woodstock  Search this
Mural painting and decoration -- Archival resources -- 20th century  Search this
Designers -- New York (State)  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Travel diaries
Greeting cards
Interviews
Cartoons (working drawings)
Scrapbooks
Transcripts
Photographs
Diaries
Sketches
Citation:
Anton Refregier papers, circa 1900-circa 1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.refranto
See more items in:
Anton Refregier papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9545f99ed-0a65-4626-904d-8dda5c569fcf
EDAN-URL:
ead_collection:sova-aaa-refranto

Public programs - Music, theater and dance

Container:
Box 43 of 87
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 11-001, Warren M. Robbins Papers
See more items in:
Warren M. Robbins Papers
Warren M. Robbins Papers / Series 7: Museum of African Art, 1961-1981 / Box 43
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa11-001-refidd1e19087

Musical Theater in America Conference, CAH and others, 1981

Container:
Box 17 of 20
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 07-142, National Museum of American History, Division of Music, Sports, and Entertainment, Curatorial Records
See more items in:
Curatorial Records
Curatorial Records / Box 17
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa07-142-refidd1e12614

Native Peoples Musicians and Music Collection

Donor:
Troutman, John William  Search this
Extent:
3.1 Cubic feet (10 boxes)
Type:
Collection descriptions
Archival materials
Advertisements
Correspondence
Photographs
Sheet music
Date:
1892-2004, undated
Summary:
Collected archival materials documenting the instruction, performance, and promotion of American Indian and Native Hawaiian music.
Content Description:
Collection documents the instruction, performance, and promotion of American Indian and Native Hawaiian music. Materials include photographs, correspondence, sheet music, magazines, instructional materials, advertisements, programs, promotional material, record albums, and ephemera. Materials continue to be added to this collection.
Arrangement:
Collection is arranged into seven series:

Series 1: Musicians and Bands, 1904-2004, undated

Series 2: Music, 1892-1953, undated

Subseries 2.1: Sheet Music, 1900-1958, undated

Subseries 2.2: Folios, 1892-1948

Series 3: Schools, 1906-1908, undated

Series 4: Hawaiian Instrument Instructional Materials, 1914-1948, undated

Series 5: Publications, 1920-1945, undated
Related Materials:
Materials in the Archives Center, National Museum of American History, Smithsonian Institution

Warshaw Collection of Business Americana, Subject Categories; "Indians", "Wild West", "Hawaii", "Schools" NMAH.AC0060,

Underwood and Underwood Glass Stereograph Collection, NMAH.AC0143

Sam DeVincent Collection of Illustrated American Sheet Music, Series 4: Songwriters, NMAH.AC0300

Sam DeVincent Collection of Illustrated American Sheet Music,Series 5: Politics and Political Movements, NMAH.AC0300

Sam DeVincent Collection of Illustrated American Sheet Music, Series 8: Geography, NMAH.AC0300

Sam DeVincent Collection of Illustrated American Sheet Music, Series 9: Domestic and Community Life, NMAH.AC0300

Sam DeVincent Collection of Illustrated American Sheet Music, Series 11: Entertainment, NMAH.AC0300

Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western, and Folk Music NMAH.AC0300

Sam DeVincent Collection of Illustrated American Sheet Music, Series 21: Musical Instruments, NMAH.AC0300

Sam DeVincent Collection of Illustrated American Sheet Music, Series 22: Native American, NMAH.AC0300

Duke Ellington Collection, NMAH.AC.0301

History of the Royal Hawaiian Band Collection, 1836-1980, NMAH.AC.0361

Program in African American Culture Collection, NMAH.AC.0408

Ruth Ellington Collection, NMAH.AC.0415

Lonesome Pine Specials, NMAH.AC.0487

Benny Carter Collection, NMAH.AC.0757

Richard Becker Collection of Alex Bradford Gospel Music Materials, NMAH.AC.0761

Ben and Ruth Liman Jazz Film Collection, NMAH.AC.0775

Fletcher and Horace Henderson Music and Photographs, NMAH.A.C0797

Shirley Leonard Papers, NMAH.AC0919

Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, NMAH.AC1211

International Sweethearts of Rhythm Collection, NMAH.AC1218

McIntire Family Hawaiian Entertainers Collection, NMAH.AC1511
Provenance:
Collection was donated to the Archives Center, National Museum of American History, Smithsonian Institution by John W. Troutman, 2021.
Restrictions:
The collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- Hawaii  Search this
Genre/Form:
Advertisements
Correspondence
Photographs
Sheet music
Citation:
Native Peoples Musicians and Music Collection, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1512
See more items in:
Native Peoples Musicians and Music Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep87eb373d1-79b4-4ad4-96ac-b6a345a5937b
EDAN-URL:
ead_collection:sova-nmah-ac-1512

Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera

Donor:
Hauber, Joseph R.  Search this
Collector:
Stubblebine, Donald J., 1925-2010  Search this
Extent:
285 Cubic feet (600 boxes)
Type:
Collection descriptions
Archival materials
Posters
Playbills
Sheet music
Design drawings
Theater programs
Date:
1866-2009, undated
Scope and Contents:
One of the most comprehensive collections of material relating to musical stage and film productions, the collection consists of an assortment of material including sheet music written specifically for or included in stage and screen musicals, television programs, Big Band performances, and radio. Some productions may have been produced under more than one title, especially if the production was presented internationally.

The collection is arranged alphabetically by title of production or personality using proper name. Folders for each entry may include sheet music, ephemeral items related to that specific production or personality such as theater programs, reviews, and posters. There are a number of costume design drawings. Folders will rarely include full printed scores. Published scores were separated from this collection before donation.
Arrangement:
The collection is divided into six series.

Series 1, Stage Musicals and Vaudeville, 1866-2007, undated

Subseries 1.1, United States Stage Musicals, 1866-2007, undated

Subseries 1.2, Ziegfeld Productions, 1911-1958, undated

Subseries 1.3, British Stage Musicals, 1890-1943, undated

Subseries 1.4, Assorted Countries Stage Musicals, 1896-1935, undated

Series 2, Motion Pictures, 1912-2007, undated

Subseries 2.1, United States Motion Pictures, 1919-2007, undated

Subseries 2.2, British Motion Pictures, 1912-1988, undated

Subseries 2.3, Foreign Motion Pictures, Assorted Countries, 1921-1985, undated

Subseries 2.4, Silent Motion Picture Cue Sheets, 1915-1930, undated

Series 3, Television, 1933-2003, undated

Series 4, Big Bands and Radio, 1925-1998,undated

Subseries 4.1, Big Bands, 1929-1998, undated

Subseries 4.2, Radio, 1925-1948, undated

Series 5, Personalities, 1875-2009, undated

Series 6, Ephemera and Single Sheet Music, 1908-2005, undated
Biographical / Historical:
Donald J. Stubblebine was born on February 4, 1925 in Reading, Pennsylvania, to Edgar W. and Emma Stubblebine. He had an older brother Edgar W. Stubblebine, Jr. His father was a sheet metal worker employed by the railroad in Reading. Stubblebine was first exposed to musicals through motion pictures. His mother attended "dish night" with her son twice a week. During the Great Depression, in order to draw an audience, theaters would give out dishes with each admission. He credited this with beginning his love of musicals. By the 1940 United States Census his mother is listed as a widow. Stubblebine attended the Wharton School of Business of the University of Pennsylvania. After graduation he was employed for forty years as controller by the Chilton Publishing Company. He retired in 1994.

As a lifelong film and theater fan, Stubblebine began collecting sheet music, programs, and ephemera from stage and film musicals in the early 1970s. As his collection grew, so did his expertise in the history of musical theatre and film. He eventually authored four reference books dealing with United States and British stage and film musicals as well as films from Canada and Australia. He became an often sought-after expert in stage and film music. His obsession with collecting eventually filled his Philadelphia apartment with one of the largest collections of material centered on music in the United States. He collected not only the sheet music and scores from musicals but often collected copies of reviews, programs, photographs, and costume sketches.

Stubblebine died on May 1, 2010 in Philadelphia, Pennsylvania.
Provenance:
Donated to the Archives Center, National Museum of American History, Smitsonian Institution by Joseph Regis Hauber in memory of Donald J. Stubblebine, in 2010.
Restrictions:
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
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.

Reproduction restricted due to copyright or trademark.
Topic:
Silent films  Search this
Motion pictures  Search this
Vaudeville  Search this
Music -- United States  Search this
Motion pictures, British  Search this
Musical revue, comedy, etc  Search this
Music -- Performance  Search this
Musicals  Search this
Musical theater  Search this
Music -- 20th century  Search this
Music -- 19th century  Search this
Revues -- 1900-1910  Search this
Theater  Search this
Silent films -- Musical accompaniment  Search this
Genre/Form:
Posters -- 20th century
Playbills
Sheet music
Design drawings
Theater programs
Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.1211
See more items in:
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8ef54fc89-cd33-4842-ae7f-796642a67098
EDAN-URL:
ead_collection:sova-nmah-ac-1211
Online Media:

"The Squaw Man"

Collection Donor:
Hauber, Joseph R.  Search this
Collection Collector:
Stubblebine, Donald J., 1925-2010  Search this
Container:
Box 455, Folder 2
Type:
Archival materials
Date:
1914
Collection Restrictions:
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
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.

Reproduction restricted due to copyright or trademark.
Collection Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera / Series 2: Motion Pictures / 2.1: United States Motion Pictures
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8d810ed6d-6709-4d23-99da-d7f984c8b5fa
EDAN-URL:
ead_component:sova-nmah-ac-1211-ref14521

"The Squaw Man"

Collection Donor:
Hauber, Joseph R.  Search this
Collection Collector:
Stubblebine, Donald J., 1925-2010  Search this
Container:
Box 539, Folder 17
Type:
Archival materials
Date:
1905
Collection Restrictions:
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
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.

Reproduction restricted due to copyright or trademark.
Collection Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera / Series 1: Stage Musicals and Vaudeville / 1.1: United States Stage Musicals
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8cd17570f-030a-4f8f-b63a-988e73a7972c
EDAN-URL:
ead_component:sova-nmah-ac-1211-ref17928

"The Squaw Man"

Collection Donor:
Hauber, Joseph R.  Search this
Collection Collector:
Stubblebine, Donald J., 1925-2010  Search this
Container:
Box 586, Folder 16
Type:
Archival materials
Date:
1906
Collection Restrictions:
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
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.

Reproduction restricted due to copyright or trademark.
Collection Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera / Series 2: Motion Pictures / 2.1: United States Motion Pictures
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep81c55462a-262c-4672-b010-f83286f4242f
EDAN-URL:
ead_component:sova-nmah-ac-1211-ref19367

Pepper, Beverly - Correspondence

Collection Creator:
André Emmerich Gallery  Search this
Container:
Box 62, Folder 15
Type:
Archival materials
Date:
1994
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery Records and André Emmerich Papers
André Emmerich Gallery Records and André Emmerich Papers / Series 6: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6d6636c-0730-43b9-937a-f1eb59aebb8e
EDAN-URL:
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  • View Pepper, Beverly - Correspondence digital asset number 1

Odetta

Artist:
Otto Hagel, 12 Mar 1909 - 18 Jan 1973  Search this
Sitter:
Odetta, 31 Dec 1930 - 2 Dec 2008  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 34 × 26.4 cm (13 3/8 × 10 3/8")
Mount: 50.9 × 40.7 cm (20 1/16 × 16")
Mat: 71.1 × 55.9 cm (28 × 22")
Type:
Photograph
Date:
1964
Topic:
Costume\Jewelry\Earring  Search this
Interior  Search this
Costume\Jewelry\Ring  Search this
Music\Musical instrument\Guitar  Search this
Odetta: Female  Search this
Odetta: Performing Arts\Performer\Musician\Composer  Search this
Odetta: Society and Social Change\Reformer\Activist\Civil rights activist  Search this
Odetta: Performing Arts\Performer\Actor\Movie  Search this
Odetta: Performing Arts\Performer\Musician\Guitarist  Search this
Odetta: Performing Arts\Performer\Musician\Singer\Folk singer  Search this
Odetta: Grammy  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.89.188
Restrictions & Rights:
Usage conditions apply
Copyright:
© Center for Creative Photography, The University of Arizona Foundation
See more items in:
National Portrait Gallery Collection
Exhibition:
20th Century Americans: 1930-1960
On View:
NPG, South Gallery 321
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm441432686-b5af-4b30-9ec2-664c27ff0477
EDAN-URL:
edanmdm:npg_NPG.89.188

Poster for the 1997 West End (London) production of Damn Yankees

Performing artist:
Lewis, Jerry  Search this
Measurements:
overall: 10 in x 39 3/4 in; 25.4 cm x 100.965 cm
Object Name:
Poster
Date made:
1995
Date made:
1997
Subject:
Musical Theater  Search this
Credit Line:
Christopher Lewis
ID Number:
2001.0307.07
Accession number:
2001.0207
Catalog number:
2001.0207.07
See more items in:
Culture and the Arts: Entertainment
Popular Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a8-98e0-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1000811

Coat worn by Rosalind Russell in Auntie Mame

Measurements:
overall: 59 1/2 in x 22 in x 1/4 in; 151.13 cm x 55.88 cm x .635 cm
Object Name:
Custume, 2-Piece
costume, 2-piece
Other Terms:
Custume, 2-Piece; Female
Date made:
1958
Subject:
Musical Theater  Search this
Motion Pictures  Search this
Television  Search this
ID Number:
1979.0481.01
Accession number:
1979.0481
Catalog number:
1979.0481.01
See more items in:
Culture and the Arts: Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-42e0-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_361312

Travel Trunk for Suzanne The Dancing Doll

Physical Description:
cardboard (overall material)
metal (overall material)
leather (overall material)
adhesive (overall material)
Measurements:
overall: 40 1/2 in x 21 in x 9 in; 102.87 cm x 53.34 cm x 22.86 cm
Object Name:
Trunk
Date made:
1940 - 1969
Subject:
Nightclubs  Search this
Puppetry  Search this
Musical Theater  Search this
Dance  Search this
Credit Line:
Don Zeitz Dellair and Tommy Wonder 123
ID Number:
1980.0157.04
Accession number:
1980.0157
Catalog number:
1980.0157.04
See more items in:
Culture and the Arts: Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a8-e02a-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1030890

Jeannette Eckman papers, 1937-1941

Creator:
Eckman, Jeannette, 1882-  Search this
Delaware Historical Records Survey  Search this
Subject:
Federal Art Project (Del.)  Search this
Federal Theater Project (Del.)  Search this
Federal Writers' Project (Del.)  Search this
Federal Music Project (Del.)  Search this
Citation:
Jeannette Eckman papers, 1937-1941. Archives of American Art, Smithsonian Institution.
Topic:
Federal aid to public welfare -- Delaware  Search this
Music and state -- Delaware  Search this
Theater and state -- Delaware  Search this
Art and state -- Delaware  Search this
Federal aid to the arts -- Delaware  Search this
Theme:
New Deal  Search this
Patronage  Search this
Record number:
(DSI-AAA_CollID)6997
(DSI-AAA_SIRISBib)209130
AAA_collcode_eckmjean
Theme:
New Deal
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209130

Sam DeVincent Collection of Illustrated American Sheet Music, Series 8: Geography

Creator:
DeVincent, Sam, 1918-1997  Search this
Extent:
100 Boxes
Type:
Collection descriptions
Archival materials
Date:
1794-1987
Summary:
Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.

Series 8: Geography is divided into three sections: the United States, Foreign Countries, and Natural Features.

An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.
Scope and Contents note:
The Geography Series is divided into three sections: the United States, Foreign Countries, and Natural Features. The more than 13,000 sheets date from 1830-1987 and include undated sheets that are probably earlier. The series comprises 33 cu. ft.

Song sheets about individual states of the United States are arranged alphabetically by State and the District of Columbia, and also by Area and are located in Subseries 8.1-8.52. North and South Carolina are listed together under "The Carolinas;" North and South Dakota are together under "The Dakotas." The Subseries 8.50-8.52 includes the Geographical Areas: New England, The South, and The West.

All songs about the Mississippi and Suwannee (Swanee) Rivers are in 8.51: The South. Songs about the Missouri River, the Pacific Ocean, and the Rocky Mountains are in 8.52: The West. Songs about other rivers that cross political boundaries (both US and foreign) are in 8.128: Water Features.

Foreign Countries listed alphabetically by country are covered in Subseries 8.53-8.126 which also includes several Geographical Areas such as Latin America, Scandinavia, and South Pacific. Because boundaries and names have changed over the course of time, some countries and regions are under their earlier political names. Examples: Bohemia (not the Czech Republic), Burma (not Myanmar), and Macedonia (not Albania, Greece, or old Yugoslavia).

In some cases, it was difficult to place the song. Our understanding of other cultures led to some very mixed images, both visual and verbal. Thus the Area category "Araby/Orient/Desert." Music with Spanish lyrics may be found under a country name or under the Area, "Latin America."

The final section Natural Features includes Subseries 8.127: Land Features and Subseries 8.128: Water Features. Note that "desert" songs have been place in subseries 8.121: Araby/Orient/Desert. Rivers that are primarily in one state or country are located in that specific state's Subseries. For example, the Hudson River is in Subseries 8.35: New York.. Mississipi and Swanee (Swanee) River songs are located in Subseries 8.51: The South. Other U.S. and foreign rivers, such as the Ohio and The Danube, that cross several boundaries are located in Subseries 8.128: Water Features.

The Ephemera file, arranged in the same subseries as the music, is described following the Container List. The Geography Ephemera file constitutes six (6) document boxes (2 cu. ft.).
Arrangement note:
Arranged in 6 subseries.

8.1: United States

8.2: United States (U. S. Regions)

8.3: Foreign Countries(Afghanistan - Italy)

8.4: Foreign Countries (Japan - Vietnam) & (Foreign Regions)

8.5: Natural Features

8.6: Ephemera
Materials in Other Organizations:
Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana

This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.
Materials in the Archives Center, National Museum of American History:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)
Forms Part Of:
Series 8: Geography forms part of the Sam DeVincent Collection of Illustrated American Sheet Music .

An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.
Provenance:
This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0300.S08
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 8: Geography
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89fa50ff3-7d86-4ec3-869a-85bcca6b437b
EDAN-URL:
ead_collection:sova-nmah-ac-0300-s08
Online Media:

Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western, and Folk Music

Creator:
DeVincent, Sam, 1918-1997  Search this
Extent:
94 Boxes
Type:
Collection descriptions
Archival materials
Date:
1839-1986, undated
Summary:
Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.

Series 16: Country, Western, and Folk Music contains approximately 11,500 pieces of sheet music and other materials documenting the development of and popular attitudes towards country, western, and folk music in the United States.

An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.
Scope and Contents note:
Series 16 contains approximately 11,500 pieces of sheet music and other materials documenting the development of and popular attitudes towards country, western, and folk music in the United States. The dates always refer to copyright of the music and not to the subject on the cover, songwriter's life, or other events. There are 78 boxes of sheet music and 16 boxes of ephemera. The ephemera section is arranged in the same subseries order as the music listing, described following the container list, with two additional subseries.

Subseries 1, Individual Male Entertainers, 1911-1983. Many entertainers were parts of groups from time to time, or had a spouse who was part of the team. With this in mind, it is important to search under subseries 2 and 3 if a name is not found in this subseries. Real names are used in place of stage names; i.e., "Uncle Ezra" is under Pat Barrett and "The Arkansas Woodchopper" is under Luther Ossenbrink.

Subseries 2, Individual Female Entertainers, 1902-1986, undated. If an individual's more significant work was with others, she would be in subseries 3, Groups. Example: Dale Evans and Roy Rogers are in subseries 3.

Subseries 3, Duos and Groups, 1910-1981, undated. The names in this section are listed in alphabetical order by the group name; i.e., "Lulu Belle and Scotty" is under "Lulu." Also see subseries 1 and 2 or individual names.

Subseries 4, The West, 1839-1984. The earliest copyright of this Series is "A Western Refrain (Westward Ho!)" in this subseries. Categories are: Covered Wagon and Wagon Train, "Home on the Range," Movie Cowboys and Showmen, Rodeo and Round-up, General Songs, and Folios. Note that folios specific to a category will be in that category.

Subseries 5, Barn Dance, Fiddle Tunes, and "Turkey in the Straw," 1878-1975. Sheets in the two Barn Dance folders have either "barn dance" in the title or cover illustrations of barn dances. The earliest music dates from 1878; the well-known WLS radio show National Barn Dance first aired in 1924. Researchers looking for more fiddle tunes than in this series will find them in the (future) series, Musical Instruments. In addition to the traditional "Turkey in the Straw," there are allied or companion pieces in this folder. Also see Series 20, Musicians and Musical Instruments and Series 18, Dance, Subseries 7, Jigs & Reels.

Subseries 6, Blues, Feuding, Hillbilly, Honky Tonk, and Yodeling, 1885-1975, undated. The Blues are country style dating 1929-1957. The items referring only to "hillbilly" are in this folder; see other subseries, especially Folios, for items with "hillbilly" included in the title. For more yodeling items, see Series 8, Geography, Switzerland.

Subseries 7, Miscellaneous Songs, 1913-1983. This is organized by publisher. By far the largest part is the Acuff-Rose/Milene output. The other named publisher is Combine Music Corp. Miscellaneous Publishers includes all other songs not particular to previous subseries. Subseries 8, Folios, 1914-1969, undated. Most of the folios are in this subseries but they are included in other sections where appropriate. Most of the folios have performers pictured on the covers. Also see Series 18, Dance and Series 20, Musicians and Musical Instruments.

Ephemera --Subseries 1-6 follow the same headings as for the sheet music. Subseries 7 contains materials concerning publishers. There is no subseries 8. Subseries 9 contains materials concerning the Grand Ole Opry. Subseries 10 is the largest section of ephemera and contains publications such as trade magazines and radio company newsletters.

Material related to this series within the DeVincent Collection may be found in Series 6, Movies; Series 10, Sacred Music and Religious Themes; Series 11, Entertainment; Series 18, Dance; and Series 20, Musicians and Musical Instruments.
Arrangement note:
Arranged in 9 subseries.

16.1: Individual Male Entertainers

16.2: Individual Female Entertainers

16.3: Duos and Groups

16.4: The West

16.5: Barn Dance, Fiddle Tunes, and Turkey in the Straw

16.6: Blues, Feuding, Hillbilly, Honky Tonk and Yodeling

16.7: Miscellaneous Songs

16.8: Folios

16.9: Ephemera
Materials in Other Organizations:
Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana

This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.
Materials in the Archives Center, National Museum of American History:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)
Forms Part Of:
Series 16: Country, Western and Folk Music forms part of the Sam DeVincent Collection of Illustrated American Sheet Music .

An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.
Provenance:
This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0300.S16
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western, and Folk Music
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a2cf0e07-0ab4-476d-9d27-1265a5935dbd
EDAN-URL:
ead_collection:sova-nmah-ac-0300-s16
Online Media:

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