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Musicians: John Charles Thomas, Margie Meinhart and unidentified

Collection Creator:
Rudolph Wurlitzer Company  Search this
Container:
Box 21, Folder 12
Type:
Archival materials
Date:
circa 1930s-1950s
Collection Restrictions:
Collection is open for research.
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:
Wurlitzer Company Records, 1860-1984, Archives Center, National Museum of American History
See more items in:
Wurlitzer Company Records
Wurlitzer Company Records / Series 7: Photographs used in Wurlitzer Advertising and Public Relations / 7.1: Promotional and Advertising Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0469-ref857

Ruth Ellington Collection of Duke Ellington Materials

Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Names:
Tempo Music, Inc.  Search this
Ellington, Duke, 1899-1974  Search this
Extent:
33 Cubic feet (77 boxes, 3 oversize folders)
Type:
Collection descriptions
Archival materials
Business records
Correspondence
Audiotapes
Music
Photographs
Date:
1923–1992
Summary:
The collection consists of correspondence, appointment books, business records, music manuscripts, sound recordings, photographs, and ephemera documenting the activities of Duke Ellington and the management of Tempo Music, Incorporated. There is a small amount of material relating to the Ellingotn family.
Scope and Contents:
The Ruth Ellington Collection of Duke Ellington Materials includes music manuscripts (circa 1930-1981), sound recordings, Duke and Ruth Ellington's business and personal correspondence (1942-1991), business records covering the years 1923-1988, performances and programs covering the years 1951-1989, numerous awards and honors to Ellington and the orchestra, and personal papers relating to the Ellington family. Also among the materials are minutes of business meetings, letters, and newspaper clippings relating to the Duke Ellington Society in New York city, the certificate of incorporation and invitations for the Ellington Cancer Center, and slides, film, and home videos. The collection is arranged into eleven series.
Arrangement:
Divided into eleven series:

Series 1: Music Manuscripts, Scripts and Compositional Materials, 1930-1981, undated

Subseries 1.1: Music Manuscripts, undated

Subseries 1.2: Published Books, 1943-1986, undated

Subseries 1.3: Oversize Materials, undated

Subseries 1.4: Music Manuscript Notebooks and Untitled Music, undated

Subseries 1.5: Tempo Music, Incorporated Copyright Sheets of Non-Ellington Material, undated

Subseries 1.6: Uncopyrighted Submissions, 1958-2002, undated

Subseries 1.7: Notes, Scripts and Compositions, 1958-1969, undated

Series 2: Business Records, 1923-1988, undated

Series 3: Performance Materials, 1951-1989, undated

Series 4: Publicity, 1935-1992, undated

Series 5: Awards and Recognition, 1936-1989, undated

Series 6: Correspondence, 1942-1991, undated

Series 7: Photographs, 1937-1990, undated

Series 8: Family Papers, 1911-1981, undated

Series 9: Other Artists, 1955-1986, undated

Series 10: Harry Carney Materials, 1938-1959

Series 11: Audiovisual Materials, circa 1946-1970

Subseries 11.1: Sound Recordings, circa 1946-1970

Sub-subseries 11.1.1: Duke Ellington Concerts

Sub-subseries 11.1.2: Duke Ellington Volumes 1 through 58

Sub-subseries 11.1.3: Duke Ellington and His Orchestra

Sub-subseries 11.1.4: Duke Ellington Jazz Society Guest Talks

Sub-subseries 11.1.5: Interviews

Sub-subseries 11.1.6: Miscellaneous

Sub-subseries 11.1.7: Non-Ellington Materials

Sub-subseries 11.1.8: 16" Transcription Discs

Subseries 11.2: Moving Images, 1929 - 1970
Biographical / Historical:
Born in 1915, Ruth Dorothea Ellington Boatwright was the sister and only sibling of Edward Kennedy "Duke" Ellington. Sheltered and doted upon, she was almost sixteen years younger than her brother. She attended elementary and junior high schools in the Washington Metropolitan area and finished her basic schooling in New York City where the family moved in the early 1930s. Her mother, Daisy, died there in 1935, followed by her father, J. E. in 1937. Sometime after those life altering events, Ms. Ellington graduated from the New College program at Columbia University with a degree in biology.

In 1941, Duke Ellington established Tempo Music, and surprised his sister Ruth, by installing her as president of the company. He had a strong desire to maintain control of his own publishing, television, and recording rights, and after his sister's graduation, Duke felt that she could assist in accomplishing this goal.

Ruth's duties at Tempo included signing contracts, arranging some travel at Duke's request, and, most importantly, keeping Duke's music copyrighted. According to her own interview statement, she never arranged bookings. Other interests included hosting a Sunday salon for musicians, appearing at and listening to recording studio sessions once or twice a year, and keeping in touch with the older band members' wives. The older band members (i. e., Johnny Hodges, Harry Carney, Otto Hardwick, and Arthur Wetsol) along with the earlier singers (Ivie Anderson, Joya Sherrill, Marie Cole, and Kay Davis) were like family to Ruth.

In the 1950's, she was host of a radio program on WLIB in New York on which she interviewed guests including the writer Ralph Ellison.

Ruth Ellington's first marriage to Daniel James, a journalist and political scientist, produced two sons Michael and Stephen James. This marriage ended in divorce and she later married McHenry Boatwright, an operatic baritone. Boatright died in 1994.

Ruth was active in the National Association for the Advancement of Colored People. She was a founder of the jazz ministry of St. Peter's Lutheran Church in Manhattan and a friend of the first designated jazz pastor, the Reverend John Garcia Gensel.

After Duke's death in 1974, Ruth maintained Tempo until 1995 when she sold fifty one percent of the company to a New York publishing firm, Music Sales. Ruth Dorothea Ellington Boatwright died in 2004 at the age of 88 in Manhattan. She was survived by her two sons.
Provenance:
The collection was donated to the National Museum of American History in 1991. A second set of materials was received from Ruth Ellington Boatwright in 1993.
Restrictions:
Collection is open for research. Researchers must handle unprotected photographs with gloves. Copyright restrictions. Contact staff for information. Only reference copies of audiovisual materials are available for use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz musicians -- United States  Search this
Jazz  Search this
Music -- 20th century  Search this
Musicians -- United States  Search this
Genre/Form:
Business records -- 20th century
Correspondence -- 1930-1950
Audiotapes
Music
Photographs -- 20th century
Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0415
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0415
Online Media:

International Sweethearts of Rhythm Collection

Creator:
Cron, Rosalind  Search this
International Sweethearts of Rhythm  Search this
Piney Woods School  Search this
Moon, Dixie Hardy  Search this
Hughes, Cathy  Search this
Names:
United Service Organizations (U.S.)  Search this
Woods, Helen Jones, 1923-2020  Search this
Extent:
1 Cubic foot (4 boxes)
Type:
Collection descriptions
Archival materials
Books
Newspaper clippings
Photographs
Publicity photographs
Date:
1933-2010
bulk 1939-1946
Summary:
The International Sweethearts of Rhythm Collection focuses on the all-female, racially and ethnically diverse big band group that started in 1937 and disbanded in 1949. The collection contains news clippings, photographs, correspondence, ephemera from USO travels, and newsletters. Also included are books related to the group, as well as a tribute CD and a 33 rpm vinyl sound recording.
Scope and Contents:
The collection consists mostly of photographs and news clippings documenting the International Sweethearts Band of Rhythm's performances, rehearsals, and travels. It also includes tribute materials to the band, including books and audio CDs.
Arrangement:
The collection is divided into three series.

Series 1: Piney Woods School, 1937-1944

Series 2: Rosalind Cron Materials, 1933-2005

Series 3: Dixie Hardy Moon Materials, 1935-1951
Biographical / Historical:
The International Sweethearts of Rhythm were a racially and ethnically mixed swing band, all of whose members were women. They were organized in 1937 by Laurence Clifton Jones, who started the Piney Woods School near Jackson, Mississippi. He formed the band from students at Piney Woods and the band toured to raise money for the school, performing at fairs, dance halls, churches, and theaters. In 1939, the band began to tour outside of Mississippi and traveled across the American South and Midwest. In 1941 they separated from Piney Woods, started out on their own as professional musicians and relocated to Arlington, Virginia. While in Arlington, the band recruited professional musicians to replace the underage students who stayed in school. The band's venues included the Apollo Theatre and Savoy Ballroom in New York and the Howard Theatre in Washington DC They performed frequently at military bases and were quite popular during World War II. In response to requests from GIs serving overseas, the Sweethearts undertook a six month tour of Europe starting in July 1945. The tour was supported by the United Service Organization (USO) Camp Shows. The band played in Paris, France and throughout Germany, including the cities of Heidelberg, Stuttgart, Munich, and Mannheim. The group disbanded in 1949, but reunited for a reunion in 1980 at the Third Annual Women's Jazz Festival in Kansas City.

Rosalin Cron was born in Boston, Massachusetts in 1925 and began playing music at nine years old. She joined the band in 1943 and primarly played the alto saxophone, but was also trained to play the clarinet and flute. Cron was a part of the overseas tour. She was with the band until 1946. Dixie Hardy Moon is the niece of founder Laurence Clifton Jones. Catherine (Cathy) Hughes, was born in 1947 in Omaha, Nebraska. She is the granddaughter of founder Laurence Clifton Jones and her mother, Helen Jones Woods (1923-2020), played the trombone with the Sweethearts. Hughes is considered a media pioneer and founder of Radio One/TV One.
Provenance:
Collection donated to the Archives Center in 2011 by Rosalind Cron.
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.
Topic:
Bands (Music) -- 1940-1950  Search this
Big band music  Search this
Female (Musical group)  Search this
Jazz -- 20th century -- United States  Search this
Musicians  Search this
Women musicians -- 1930-1950  Search this
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Books -- 20th century
Newspaper clippings
Photographs -- 20th century
Publicity photographs
Citation:
International Sweethearts of Rhythm Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1218
See more items in:
International Sweethearts of Rhythm Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1218
Online Media:

Standing Pose of Dorothy Kirsten

Artist:
Wayman Elbridge Adams, 1883 - 1959  Search this
Sitter:
Dorothy Kirsten, 1910 - 1992  Search this
Dimensions:
205.7 x 177.8cm (81 x 70")
Type:
Painting
Date:
mid 20th Century
Topic:
Costume\Headgear\Hat  Search this
Nature & Environment\Animal\Dog  Search this
Equipment\Staff  Search this
Dorothy Kirsten: Female  Search this
Dorothy Kirsten: Performing Arts\Performer\Musician\Singer\Opera  Search this
Dorothy Kirsten: Performing Arts\Performer\Musician\Singer\Soprano  Search this
Portrait  Search this
Object number:
DLR00976
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4b160f99b-f827-41cd-bf4a-4de65d28749e
EDAN-URL:
edanmdm:npg_DLR00976

Carlos de Wendler-Funaro Gypsy Research Collection

Collector:
Community Life, Div. of, NMAH, SI  Search this
Community Life, Div. of, NMAH, SI  Search this
Photographer:
Alland, Alexander, Sr. (Alexander Landschaft), 1902-1989  Search this
Author:
Kaslov, Steve, ca. 1888-1949 (King of the Red Bandanna Romany Gypsies )  Search this
Names:
Jura, Chaiko (Gypsy leader)  Search this
Kaslov, Pupa  Search this
Kaslov, Steve, ca. 1888-1949 (King of the Red Bandanna Romany Gypsies )  Search this
Extent:
4.3 Cubic feet (15 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Journals
Dissertations
Scrapbooks
Manuscripts
Place:
West Virginia -- 1930-1950
New Jersey -- 1930-1950
Maspeth (Queens, Long Island, N.Y.) -- 1930-1950
New York (N.Y.) -- photographs -- 1930-1950
Date:
circa 1920-1975
Scope and Contents:
This collection consists of 4.3 cubic feet of manuscript, print, and photographic materials created or collected by Carl de Wendler-Funaro (1898-1985) in pursuit of his interest in Gypsy life and culture. (Carlos de Wendler-Funaro used several forms of his name; he wrote mostly as Carl de Wendler-Funaro.) The -collection was brought to the attention of the Division of Community Life, National Museum of American History, by Matt T. Salo and donated to the Smithsonian by Dr. de Wendler-Funarol's widow, Cornelia de Funaro, in May 1985, through Richard E. Ahlborn, Curator.

The number and breadth of the photographic materials, especially, the accompanying documentation and their representation of many Gypsy groups in a single time period, make this collection an important resource for research.

Print and Manuscript Materials

The print and manuscript materials in the collection are organized-into six series: (1) materials for which Carl de Wendler-Funaro is author, co-author or editor; (2) materials about de Wendler-Funaro; (3) correspondence; (4) journals, books, or extracts from them, by various authors; (5) newspaper and magazine articles; (6) photomechanical images from newspapers, magazines, and books.

The manuscript materials include drafts of portions of planned books, reading notes, and Gypsy language notes and transcriptions. De Wendler-Funaro seems to have planned two books. One was to have been a book of his photographs, with accompanying essays describing his encounters with Gypsies, the other a work on Gypsies, especially those in the United States. The major element of the second book was to have been the history of the Rom in this country as told by Steve Kaslov. The second work was to have included the manuscripts, 'The Last Caravan,' on Romnichels in the United States; 'Romanian Gypsies in Maspeth Village,' on the Ludar; 'Hungarian Gypsies,' orx these musicians in the United States; and some folk tale materials. Several outlines for the two books are in the collection.

The draft materials written with Steve Kaslov include an account of the Gypsy leader Chaiko Jura. The account, which seems to approach legend at some points, describes his immigration to the United States, adventures in this country, and death. Also among the draft materials, and intended to follow in the proposed book, is what may be termed an official biography of Steve Kaslov (c. 1888-1949). Apparently tentatively entitled "The Ways of my People,' the manuscript recounts a few incidents, told at length, in the experiences of Kaslov's family and social network from about 1900 to about 1938.

De Wendler-Funaro's notes suggest that the Kaslov biography was dictated to an unnamed lawyer in the early 1930s and given to de Wendler-Funaro in 1934. Kaslov dictated the story of Chaiko to de Wendler-Funaro. (Perhaps this is the source of a statement in the New York Sun, June 20, 1941, that Kaslov had written two books.)

The okaslov manuscripts' are written mostly in a variety of American English common among American Rom. Parts of the biographical section are written in the first person, others in the third. Cultural material includes descriptions of weddings, funerary ritual, business transactions, conflicts and conflict resolution. As factual sources the manuscripts are unreliable: dates, for example, are only very approximate; birth places for Steve Kaslov and his family are incorrect.

Evidence in the manuscripts indicates that de Wendler-Funaro hoped, through 1976, to publish these texts in some form. Apparently Kaslov made a first attempt to publish in 1940, when he sent a draft to Eleanor Roosevelt. Mrs. Roosevelt sent the manuscript on to George Bye, a literary agent, who returned it in 1941 as unpublishable, calling it a Oterribly disorganized manuscript .... [Kaslov] is now working with a doctor (de Wendler-Funarol who claims to be an author but the results are very unhappy' (Correspondence in FDR Library).

Correspondence in the collection (series 3) includes letters to and from de Wendler-Funaro; drafts of letters by Steve Kaslov, soliciting aid for Gypsy education; and correspondence between the U.S. Consulate in Matamoros, Mexico, and the U.S. Department of State. According to Mrs. de Funaro, Carl de Wendler-Funaro destroyed his other correspondence before his death.

Many of the books, journals, articles, and extracts in the collection (series 4)- are materials upon which de Wendler-Funarol's dissertation is based. They include typed transcriptions of published articles as well as printed matter; dates of the materials range from 1554 to 1979.

The collection includes about 2,000 photoprints, including multiple copies, and 2,000 negatives. These materials are organized into eleven series: (7) photographs by de Wendler-Funaro: Gypsies in the United States; (8)photographs by de Wendler-Funaro: Gypsies outside the United States; (9) heirloom photographs'; (10) photographs by other creators; (11) photographs ;rom commercial agencies; (12) photographs of non-Gypsies; (13) photocopies, of numbered photos, in numerical order; (14) negatives; (15) contact sheets made from negatives from by the Smithsonian Office of Printing and Photographic Services, 1986; (16) scrapbook sheets; (17) slides made from negatives and prints by the Smithsonian Office of Printing and Photographic. services, 1986.

The original photographs by Carlos de Wendlet-Funaro span the,period 1922 to 1966, but the majority were taken from about 1932 to about 1942. More than half the photographs are of the Rom group of Gypsies in the United States, and most of these were taken in New York City from about 1938 to about 1942. Other original photos by de Wendler-Funaro are of other Gypsy groups in the United States -- Ludar, Romnichels, 'Black Dutch,w and Hungarian musicians -- as well as of Gypsies in Mexico, Holland, Germany, Austria, France, England, and Hungary. Photographs by other creators include copies of portraits collected from Gypsy families, photos by other photographers, and commercial news photographs collected by de Wendler-Funaro.

De Wendler-Funaro seems to have used the photographs to gain access to Gypsy families and communities (many photos show Gypsies examining albums and sets of pictures). Some photographs were published in his 1937 article, and in two articles by Victor Weybright (1938a, 1938b). De Wendler-Funaro apparently also used lantern slides made from these photographs in lectures on the subject of Gypsies; a handbill advertising his availability on the lecture circuit is part of the collection.

Manuscript drafts for book outlines, introductions, and accompanying essays show that de Wendler-Funaro long nurtured hopes of publishing a popular tool-, 'Incorporating his photographs. To this end he numbered and captioned more than a hundred of these; a partial list of captions is part of the manuscript files. For the most part, the captions are not very helpful in understanding Gypsy cultures. Photocopies of these pictures with captions, in numerical order, are in box 8. With some exceptions, most of the photographs can be used to study costume, personal ornament, and kinesics; these will not be listed separately as subjects in the inventory. The photos of the Rom in New York City show several types of traditional costume, contemporary modish dress, and a wide range of variations on both. Taken together with the "heirloom photos' collected from the same group, they show change and variety in men's and women's dress.

In the photographs of individuals and groups one may compare, for example, sitting positions of women with relation to costume and use (or non-use) of chairs.

Most of the photographs of Rom taken in New York City show Gypsies relaxing on stoops or in the street during the summer, a common pastime in their neighborhoods. They contain little culturally specific information other than that discussed above.

Information on housing is most clearly represented in photographs of camps, in which the type of tent and, to some extent, the relationships of tents, are visible. All the tents shown appear to be commercially made. Since it was the practice to raise the tent walls in good weather, many photos also show tent interiors, with wooden platform floors used on non-grassy sites (Rom) or linoleum as a ground cloth (Romnichel). The use of featherbeds; either alone (Rom) or with bedsteads (Romnichel) is documented.

There are few photographs showing the use of interior space in urban storefront or apartment dwellings (Rom). The photographs taken in the Maspeth, Long Island, 'Gypsy village' show exteriors of the shacks built@by the Ludar.

Of cooking and heating equipment, the cast-iron or sheet-metal stoves of the Romnichels are most evident. The Rom are shown using a variety of equipment, the traditional trivet (Mexico), the Coleman-type camp stove (U.S), and the pot-bellied coal stove (New York City).

Photographs of autos and trucks, auto-drawn luggage trailers (Romnichels in the North), and horse-drawn wagons (by the horse and mule trading Romnichels in the South) reveal something of the transport of people and goods.

A few photographs show subjects at work, but most work pictures are static demonstrations or mere associations with productive enterprise. There are demonstrations of coppersmithing and fender repair work (Rom), and manufacture of rustic furniture (Romnichels), as well as posed demonstrations of palm-reading. Romnichels in the South are shown posing with horses and mules. The business that appears most frequently is fortune-telling, through photographs of roadside business tents (Romnichel); amusement, fair, and resort-area tents and stands (Rom); and canvas facades, banners and signs carrying the fortune-teller's message.

Ritual life is poorly represented in the photographs. There are some photos of a funeral procession, and one interior shot of a funeral; two photos of a saint's-day feast; one of a memorial feast; and one set taken in preparation for Christmas festivities. Curiously, there are no photographs of Rom weddings. The dearth of pictures of rituals and celebrations, which form so important a part of Rom life, may be due to difficulties with interior lighting.

Because of internal and other inconsistencies, exact dating of the photographs is often difficult. Discrepancies of as much as ten year occur in some of the dates in de Wendler-Funaro's notes.
Arrangement:
Collection is arranged into seventeen series.
Biographical / Historical:
According to information supplied by Mrs. de Funaro, Carl de Wendler-Funaro was born in Brooklyn, New York, on October 12, 1898. After attending Boys' High School and Erasmus Hall High School in Brooklyn, he attended the University of Illinois and Cornell University, receiving a bachelor's degree in entolomology from Cornell in 1923. Subsequently he taught foreign languages at New York University, the McBurney School of the YMCA in New York City, Newark Academy and Wagner College. He began graduate work in the late 1930s, and in 1958 earned a doctorate from Columbia University with a dissertation on 'The Gitano in Spanish Literature' (a copy is in the collection, Box 1, folders 2 and 3). De Wendler-Funaro retired from teaching in 1963; he died in Tucson, Arizona on February 15, 1985.

Carl de Wendler-Funaro was an avid amateur collector of insects, especially Coleoptera, as well as shells, minerals, stamps and coins; his insect collections were donated to the American Museum of Natural History in New York.

De Wendler-Funaro's interest in Gypsies, according to his manuscripts, began in childhood. The manuscripts and one published article indicate that this interest continued to be personal, rather than professional,,,,apd @hat,,he, did not pursue his contacts with Gypsies systematically. (it was, not, 'until' the late 1940s that anthropologists began systematic studies of GYPSY.@ cultures.) It appears that de Wendler-Funaro sought out Gypsies in fairgrounds, amusement parks and urban storefronts, collecting specimens of language and taking photographs. Irving Brown's letter to de Wendler-Funaro (1929), and de Wendler-Funarol's article in Leisure (1937) refer to his visits to amusement parks. Some of his Romnichel (English Gypsy) subjects recall him as the man who drove along the roads, stopping to take pictures wherever he saw a tent. About 1938 de Wendler-Funaro became involved with a Committee on Gypsy Problems of the Welfare Council, a social service agency of New York City. This involvement may have been an outgrowth of his association with Steve Kaslov, styled by some a Gypsy king. De Wendler-Funaro seems to have served as Kaslov's amanuensis.
Gypsies in the United States:
Several groups, all known to outsiders as "Gypsies," live today in the United Sates. In their native languages, each of the groups refers to itself by a specific name, but all translate their self-designations as 'Gypsy' when speaking English. Each had its own cultural, linguistic, and historical tradition before coming to this country, and each maintains social distance from the others. An overview of these groups and their interethnic relations is presented in "Gypsy Ethnicity: Implications of Native Categories and Interaction for Ethnic Classification," by Matt T. Salo.

Rom

The Rom arrived in the United States from Serbia, Russia and Austria-Hungary beginning in the 1880s, part of the larger wave of immigration from southern and eastern Europe in the late 19th and early 20th centuries. Primary immigration ' ended, for the most part, in 1914, with the beginning of the First World War and subsequent tightening of immigration restrictions (Salo and Salo 1986). Many people in this group specialized in coppersmith work, mainly the repair and retinning of industrial equipment used in bakeries, laundries, confectionaries, and other businesses. The Rom, too, developed the fortune-telling business in urban areas.

Two subgroups of the Rom, the Kalderash ('coppersmiths') and, Machwaya natives of machva,' a county in Serbia) appear in the photographs iiv, this collection. De Wendler-Funaro identified some, but not all, Kalderash as, 'Russian Gypsies.' Another group he identified as "Russian Gypsies' seem, to,, be the Rusniakuria ('Ruthenians'), who in New York are known as musicians and singers.

Ludar

The Ludar, or "Romanian Gypsies,' also immigrated to the United States during the great immigration from southern and eastern Europe between 1880 and 1914. Most of the Ludar came from northwestern Bosnia. Upon their arrival in the United States they specialized as animal trainers and show people, and indeed passenger manifests show bears and monkeys as a major part of their baggage. Most of de Wendler-Funarols photographs of this group were taken in Maspeth, a section of the borough of Queens in New York City, where the Ludar created a village of home-made shacks that existed from about 1925 to 1939, when it was razed. A similar settlement stood in the Chicago suburbs during the same period. One of de Wendler-Funarols manuscripts, "Romanian Gypsies at Maspeth Village,' (box 1, folder 9), and a letter from Ammiee Ellis, a social worker (box 2, folder 2), refer to this settlement.

Romnichels

The Romnichels, or English Gypsies, began to come to the United States from England in 1850. Their arrival coincided with an increase in the demand for draft horses in agriculture and then in urbanization, and many Romnichels worked as horse-traders. After the rapid decline in the horse trade following the First World War, most Romnichels relied on previously secondary enterprises, 'basket-making,* including the manufacture and sale of rustic furniture, and fortune-telling. Horse and mule trading continued to some extent in southern states where poverty and terrain slowed the adoption of tractor power (Salo and Salo 1982).

Photoprints in box 6, folders 2 through 10, correspond with de Wendler-Funarols trip described in his manuscript 'In Search of the Last Caravan' (box 1, folder 10). Discrepancies between this manuscript and the photos should be noted. De Wendler-Funarols notes date this trip variously between 1931 and 1945. I have dated it about 1940. Although one man appears as a frequent subject in the largest set of photos (box 6, folders 22 and 23), in the manuscript, de Funaro mentions having missed meeting him.

'Black Dutch'

Gypsies from Germany, whom de Wendler-Funaro refers to 'as Chikkeners (Pennsylvania German, from the German Zigeuner), sometimes refer to themselves as wblack Dutch.w They are few in number and claim to have largely assimilated to Romnichel culture. They are represented in de Wendler-Punarols photographs by a few portraits of one old man and briefly referred to in the manuscript mIn Search of the Last Caravan.*

Hungarian Gypsies

The Hungarian musicians also came to this country with the eastern European immigration. In the U.S. they continued as musicians to the Hungarian and Slovak immigrant settlements.
Provenance:
Collection donated by Mrs. Cornelia de Funaro, June 26, 1985.
Restrictions:
Collection is open for research.
Rights:
Photographs by de Wendler-Funaro are available for reproduction. Fees for commercial use. Permission to reproduce photographs by Alexander Alland must be granted by the photographer's estate; other photographs may have copyright restrictions.
Topic:
Funeral rites and ceremonies -- manuscripts -- Gypsies  Search this
Wagons, Gypsy -- 1920-1980  Search this
Weddings -- manuscripts -- Gypsies  Search this
Orthodox Eastern Church -- Photographs -- 1920-1980  Search this
Tents -- Photographs -- 1920-1980  Search this
Housing -- Photographs -- Wagons -- 1920-1980  Search this
Bears -- performing -- 1920-1980 -- Maspeth (N.Y.)  Search this
Housing -- Photographs -- Tents -- 1920-1980  Search this
Labor and laboring classes -- Photographs -- 1920-1980  Search this
Coppersmiths -- 1930-1950  Search this
Musicians -- 1930-1950  Search this
Furniture-making -- 1930-1950  Search this
Horse-trading -- 1930-1950  Search this
Fortune-telling -- 1930-1950  Search this
Training -- Animals -- 1930-1950  Search this
Collectors and collecting  Search this
Gypsies -- 1920-1980 -- United States  Search this
Costume -- Gypsies -- 1920-1980  Search this
Portraits -- Gypsies  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1900-1950
Journals -- 1930-1950
Dissertations
Scrapbooks -- 20th century
Photographs -- Black-and-white negatives -- Acetate film -- 1930-1950
Manuscripts -- 1920-1970
Citation:
Carlos de Wendler-Funaro Gypsy Research Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0161
See more items in:
Carlos de Wendler-Funaro Gypsy Research Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0161
Online Media:

Joel Dorn Papers

Creator:
Dorn, Joel, 1942-2007  Search this
Names:
Atlantic Records.  Search this
Extent:
8 Cubic feet (17 boxes)
Type:
Collection descriptions
Archival materials
Clippings
Account books
Photographs
Correspondence
Date:
1966-1987
Summary:
Recording session logs, correspondence, newsclippings, photographs, and accounting sheets and ledger documenting Dorn's career as a producer for Atlantic Records.
Scope and Contents:
The Dorn Papers consist of correspondence, publicity files, and session reports. The correspondence includes letters, memoranda, contracts, lyrics, and demo records/tapes documenting the personal and business interactions between Dorn and the artists. The publicity files include press packets, black and white photos, and newspaper and magazine articles. The session reports include receipts for studio and equipment rental. Also included in the collection are the financial records, accounting ledgers, royalty statements, and bills from Dorn's two production companies, The Masked Announcer and Please and Thank You Music. The papers are arranged alphabetically by either the performers last name or the name of the music group. Oversized materials have been placed at the end of the collection but are listed alphabetically.

The papers document Joel Dorn's career as a producer between 1966 and 1982. During this period his work with several important artists stands out: Roberta Flack, Eddie Harris, Rahsaan Roland Kirk, Yusef Lateef, Les McCann, Bette Midler, Charlie Mingus, David "Fathead" Newman, Leon Redbone, and Max Roach.

Of special interest are Dorn's production files for the soundtrack to the film "Boardwalk" and for the play "The Me Nobody Knows". The Best of Series Notes contains song lists and memos regarding several "Best of..." albums, including Rahsaan Roland Kirk, David Newman, and Yusef Lateef. In addition there is the Commodore Series containing information on various compilations of classic artists on the Commodore label, and a catalog of Rahsaan Roland Kirk recordings that survived the Longbranch fire of 1979.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Joel Dorn began his career in 1961 as a disc jockey for WHAT FM, a Philadelphia jazz station. His tenure at WHAT FM lasted until 1967 when he joined Atlantic Records as an assistant for Nesuhi Ertegun, one of the founders of Atlantic. Dorn remained at Atlantic until 1974, eventually rising to the position of Vice President His accomplishments at Atlantic included the discovery and signing of Roberta Flack and Bette Midler, and the production of their early recordings. Dorn produced many other records for Atlantic, including recordings from notable artists such as Les McCann, Eddie Harris, Rahsaan Roland Kirk, Max Roach, Herbie Mann, Yusef Lateef, and David (Fathead) Newman.

Joel Dorn won four Grammy's while at Atlantic: two Records Of The Year for "First Time Ever I Saw Your Face" and "Killing Me Softly" by Roberta Flack, Jazz Record Of The Year for AKeith Jarrett and Gary Burton", and Best Original Cast Album for "The Me Nobody Knows." Dorn left Atlantic Records in 1974 and continued to produce recordings through his two production companies, The Masked Announcer and Please And Thank You Music. Over the next eight years Dorn produced recordings for Leon Redbone, Peter Allen, and the group Asleep At The Wheel. During this period Dorn was awarded Best Country and Western Instrumental for, "One O'clock Jump" by Asleep At The Wheel and two Gold albums for his Leon Redbone recordings.

In 1982 Dorn took a two-year sabbatical from the recording industry. After this sabbatical he briefly promoted music for the World Wrestling Federation. In 1986 Dorn began work on a compilation of unreleased live recordings from various American musicians. In 1989 he established Night Records, a label dedicated to live jazz, and released albums by Rahsaan Roland Kirk, Les McCann, and Eddie Harris. Dorn is currently a full time consultant for Rhino Records, and has been working on re-releasing the classic Atlantic Records jazz catalog. Dorn's other recent projects include: a seven CD history of John Coltrane's Atlantic years and a series devoted to Coltrane's live European performances, a series of five CD's and five videos from the Montreux Jazz Festival archives, a three CD history of classic performances at the Newport Jazz Festival, a four CD history of Ella Fitzgerald's Decca years, a new album by Charles Lloyd ,an album by Cuban guitarist Rene Toledo, and releases of rare performances by Horace Silver with Joe Henderson, and Mose Allison.
Provenance:
Mr. Joel Dorn, Gift, 9/8/1995.
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.
Topic:
Music -- Publishing  Search this
Music -- 20th century  Search this
Jazz musicians -- United States  Search this
Jazz musicians  Search this
African American musicians  Search this
Musicians  Search this
Musicians -- Salaries, etc  Search this
Genre/Form:
Clippings
Account books -- 20th century
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1950-2000
Correspondence -- 1930-1950
Citation:
Joel Dorn Papers, 1967-1982, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0536
See more items in:
Joel Dorn Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0536
Online Media:

Tony Alderman Country Music Collection

Source:
Musical Instruments, Division of (NMAH, SI)  Search this
Community Life, Div. of, NMAH, SI  Search this
Creator:
Alderman, Alonzo (Tony) Elvis, 1900-1983 (musician)  Search this
Former owner:
Community Life, Div. of, NMAH, SI  Search this
Musical Instruments, Division of (NMAH, SI)  Search this
Names:
Hill Billies (Musical group)  Search this
Old Fiddler's Convention  Search this
Stoneman, Ernest V.  Search this
Extent:
4 Cubic feet (5 boxes)
Type:
Collection descriptions
Archival materials
Correspondence
Audiotapes
Clippings
Papers
Sheet music
Date:
1927-1983
Summary:
Alonzo Elvis "Tony" Alderman played country music with the Galax Dixie Concert Band and The Hill Billies. During the 1950s through 1970s he recorded old-time and early country music, primarily at festivals and conventions. Alderman recorded many of the open-reel audiotapes in the collection at the Old Time Fiddlers Convention in Galax, Virginia.
Scope and Contents:
The collection is divided into two series. Series one contains 98 1/4" open reel audiotapes primarily of the Galax Fiddler's Convention (1959-1963) made by Tony Alderman and three audio disc recordings. Series two contains manuscript materials including bills and receipts, correspondence, sheet music, newspaper clippings, performance announcements, and publications.
Arrangement:
The collection is organized into two series.

Series 1, Audiovisual, 1950-circa 1970

Series 2, Manuscript Materials, 1927-1976
Biographical / Historical:
Alonzo Elvis "Tony" Alderman, (1900-1983) was introduced to old-time music at an early age by his relatives in Galax, Virginia. Alderman learned to play trumpet, French horn, and, inspired by Earnest "Pop" Stoneman, the country fiddle. He first performed publicly with the Galax Dixie Concert (brass)Band.

In the late spring of 1924, he formed a group with John Rector, Al Hopkins, and Joe Hopkins. Rector convinced the band to record a record. Unfortunately, due to technical problems the recording session was unsuccessful.

Undaunted, the quartet travelled to OKeh Studios in January of 1925 where they recorded six songs under the supervision of Ralph Peer. When Peer asked the band's name Al Hopkins replied, "We're nothing but a bunch of hill billies from North Carolina and Virginia. Call us anything." Reportedly Inspired by his reply, Peer named the group "The Hill Billies."

"The Hill Billies" released their first record in February 1925. In May of that year while performing at a fiddler's convention sponsored by the Ku Klux Klan in Montana, Tennesee, they recruited Charlie Bowman from Gray Station, Tennessee to join them. Later that year 'The Hill Billies' left OKeh and joined the Combined Vocalion Brunswick Company to work with artist and repertoire man Jim O'Keefe. On the Vocalion label the band's name remained the same, but on the Brunswick label it changed to "Al Hopkins and His Buckle Busters."

For the next several years, the "Pine Hill Billies" performed across the country, made several more records, and broadcast on WRC radio in Washington, D.C. After the group disbanded in 1932,Tony Alderman moved to Washington, D.C. to work as an x-ray technician, as well as an investor, and he experimented with aerial photography.

In 1970, Alderman retired to Golden Beach in St. Mary's County, Maryland. He joined the "Over the Hill Gang" and played at local celebrations, including solos for the National Council for Traditional Arts festivals, the Smithsonian Institution's Festival of American Folklife, and various holiday celebrations held by the Smithsonian Institution, National Museum of American History.
Related Materials:
University of North Carolina. Southern Folklife Collection

Letter. Tony Alderman to Archie Green, 1961. Archie Green Collection (#20002).
Restrictions:
Collection is open for research. Only reference copies of the audiotapes and audio discs may be used.
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:
Country music  Search this
Music -- Performance  Search this
Musical saw music  Search this
Musicians  Search this
Genre/Form:
Correspondence -- 1930-1950
Audiotapes
Clippings
Papers
Sheet music
Citation:
Tony Alderman Country Music Collection, 1927-1976, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0211
See more items in:
Tony Alderman Country Music Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0211

Steinway & Sons Records and Family Papers

Creator:
Steinway, William  Search this
Steinway, Henry Ziegler  Search this
Steinway family  Search this
Steinway & Sons  Search this
Krüsi, Bartholomew, Rev.  Search this
Source:
Musical History, Division of (NMAH, SI)  Search this
Names:
CBS  Search this
German Presbyterian Church (New York, N.Y.)  Search this
Lehman, Lilly  Search this
Steinway, Fred T., 1860-1927  Search this
Steinway, Henry (Heinrich Engelhard Steinweg), 1797-1871  Search this
Steinway, John  Search this
Steinway, Theodore (C.F. Theodore Steinweg), 1825-1889  Search this
Former owner:
Musical History, Division of (NMAH, SI)  Search this
Extent:
6 Cubic feet (12 boxes, including photographs and microfilm)
Type:
Collection descriptions
Archival materials
Business records
Diaries
Catalogs
Correspondence
Microfilms
Photographs
Minute books
Business letters
Love letters
Letters
Letter books
Date:
1857-1919
Summary:
Records of the Steinway & Sons piano company and a daily diary of William Steinway, a key figure in the rise of the company to international prominence in the nineteenth century. The records document overall operations of the company, individual piano serial numbers, and the business and personal life of William Steinway, a prominent figure in New York business, politics, and musical life.
Scope and Contents:
The collection consists of an original diary (and microfilm copies) kept by William Steinway and microfilm copies of nineteenth century business records of Steinway & Sons. There also are business and family photographs and some miscellaneous documents.
Arrangement:
Series 1, William Steinway Diary, 1861-1896

Series 2, Steinway Business Records, 1858-1910

Series 3, Steinway Family Materials, 1877-1882

Series 4, Rev. Bartholomew Krüsi Materials, 1857-1919
Biographical / Historical:
Heinrich Engelhard Steinway (Steinweg) (born 1797, Wolfshagen, Germany; died 1871, New York City) made his first piano in 1836. In 1850 he immigrated to America and settled in New York City with his wife, three daughters, and four of his five sons. He and his sons Charles, Henry, Jr., and William at first worked for various New York piano makers until 1853 when they formed the partnership of Steinway & Sons. One year later Steinway & Sons' square pianos won first prize at the Metropolitan Mechanics Institute Exhibition (held at the Smithsonian Institution in Washington, D.C.) and in 1855 won the Gold medal for the best piano (an over-strung iron-frame square piano) in the American Institute Fair at the Crystal Palace in New York City. In 1859, Henry, Jr. patented (patent no. 26,532, December 20, 1859) a design for a one-piece over-strung iron frame for the grand piano that won praise, a gold medal, and international recognition at the 1867 Paris Exposition.

The firm faced a crisis in 1865 when two of Heinrich's sons died: Henry (born 1831), who was responsible for the first seven patents, and Charles (born 1829). The family prevailed on the eldest son, C. F. Theodor (1825 1889), to sell his partnership as a piano manufacturer in Braunschweig, Germany, and to join his family in New York City. Not eager to sever all his ties in Germany, Theodor spent time in both countries until his death, contributing technical innovations that resulted in forty-one patents. One of these patents was for the duplex scale in 1872. Several of the following generation worked with the firm, including Fred T. Steinway (1860-1927), son of Charles, who served in London, Hamburg, and New York City.

C. F. Theodor Steinway's technical skills were matched by the entrepreneurial skills of his brother William (1835 1896). William was a creative businessman who played the piano, sang tenor, and supported the musical life of New York City. His promotional and marketing techniques, and his cultivation of eminent musicians and association with aristocratic patrons, helped to make Steinway & Sons so successful. William Steinway was prominent in New York City social and political life.

In 1880, Steinway & Sons opened a Hamburg branch. The firm was sold in 1972 to CBS. Subsequent owners include the Birmingham Brothers (Steinway Musical Properties, 1985-1995) and Steinway Musical Instruments, Inc. (1995-).
Related Materials:
The LaGuardia and Wagner Archives at LaGuardia Community College/CUNY is the largest repository of Steinway materials. It holds extensive business records as well as personal papers and photographs. The Steinway family loaned seventy folders of Steinway family correspondence to the National Museum of American History in October, 1984, and a program of transcription and translation was begun by the Steinway Diary Project. The original correspondence was transferred to the Archives Center in August 1985 and, at the request of Henry Z. Steinway, transferred to the LaGuardia and Wagner Archives in March, 1990. Additional Steinway materials are at the New York Historical Society, the University of Maryland Performing Arts Library, and other repositories. The control file for this collection has further information on the location of Steinway materials.

The Archives Center's N W Ayer Advertising Agency Records contains advertising proof sheets for Steinway & Sons from 1900 through 1963. The Piano series of the Warshaw Collection of Business Americana contains five folders of material on Steinway. The Industry on Parade Film Collection has a short, 1953 film (reel #156) on Steinway's manufacture of pianos in its Long Island plant. The Sohmer & Company Records contain three folders of trade literature from Steinway. These include catalogs, pamphlets, and booklets on the Steinway family genealogy and on the Steinway piano used at the White House. Sohmer, also a New York City piano manufacturer, collected copies of competitors' sales catalogs and other publications.
Separated Materials:
The Division of Culture and the Arts holds several Steinway and Sons pianos.
Provenance:
Henry Z. Steinway donated the William Steinway diary on April 2, 1996.
Restrictions:
The collection is open for research use. Researchers must use positive microfilm copy of diary. Researchers must handle unprotected photographs with gloves.
Rights:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Topic:
Keyboard instruments -- Manufacturing  Search this
Travel  Search this
United States -- History -- Civil War, 1861-1865  Search this
Politics -- New York (N.Y.)  Search this
Church Interiors  Search this
Piano  Search this
Piano makers  Search this
Genre/Form:
Business records
Diaries
Catalogs
Correspondence -- 1930-1950
Microfilms -- Negative
Photographs -- 1850-1900
Minute books
Business letters
Love letters
Letters
Letter books
Photographs -- Black-and-white photoprints -- 1900-1910
Citation:
Steinway and Sons Piano Company Collection, 1857-1919, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0178
See more items in:
Steinway & Sons Records and Family Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0178
Online Media:

Clotilde Arias Papers

Topic:
Star-spangled banner (Song)
Donor:
Arias, Roger  Search this
Creator:
United States. Dept. of State  Search this
Arias, Clotilde, 1901-1959  Search this
Thompson, J. Walter (advertising agency).  Search this
Extent:
3 Cubic feet (8 boxes)
Type:
Collection descriptions
Archival materials
Immigration records
Music
Contracts
Correspondence
Compact discs
Scrapbooks
Sheet music
Parts (musical)
Songbooks
Photographs
Commercial art
Date:
1919-1957
2009
Summary:
This collection documents the life and career of Peruvian musician, composer, and translator Clotilde Arias. Her work includes a Department of State-commissioned translation of "The Star-Spangled Banner" titled "El Pendón Estrellado", advertising jingles, original compositions, and translations of music originally written in English. She also was heavily involved in numerous Pan-American organizations including La Unión de Mujeres Americanas/United American Women.This collection contains correspondence, music manuscripts, photographs,newspaper clippings and printed materials, and four compact discs.
Scope and Contents:
The collection documents the life and career of Clotilde Arias, who was chosen by the U.S. State Department to write a Spanish translation to "The Star Spangled Banner," during the years of the Good Neighbor Policy. In addition to materials related to her translation of the National Anthem, entitled "El Pendón Estrellado," the collection includes music manuscripts, lyrics, composition notebooks, parts for instruments, and correspondence with the State Department. This collection also contains papers related to Arias's work in advertising, her work as a translator, and her own business records. Personal papers include correspondence, immigration and naturalization documents, printed material, and photographs as well as items from a scrapbook. Also included are compact discs containing images from items in the collection.
Arrangement:
This collection is composed of six series.

Series 1: Personal Papers, 1923-1956

Series 2. Music Materials, 1921-1953

Series 3. "El Pendón Estrellado"/"The Star Spangled Banner," 1919-1954, 2009

Series 4. "Himno de las Américas"/"Hymn of the Americas," 1939-1945

Series 5. Miscellaneous Printed Materials, 1942-1956

Series 6. Photographs and Scrapbook, 1939-1957
Biographical / Historical:
Clotilde Arias was a Peruvian-born musician, composer, and translator who lived in New York City following her migration from Iquitos, Peru, to the United States in the 1920s. Her full name was Maria Clotilde Arias and she briefly took her husband Jose Anduaga's last name during their marriage from 1929 to 1942 but was known most often as Clotilde Arias. With Jose Anduaga, Arias had one son, Roger Arias. While she is known for her Department of State-commissioned translation of "The Star-Spangled Banner" titled "El Pendón Estrellado," Arias worked diligently as a translator and musician in a variety of contexts as well as working with a variety of organizations that promoted Pan-Americanism. Prior to her life in the United States, Arias worked for the Iquitos newspaper El Oriente writing satirical pieces related to local issues. Arias died in 1959 in New York City.
Provenance:
Donated to the Archives Center, National Museum of American History, by Clotilde Arias's son, Roger Arias in 2010.
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.
Topic:
Translations  Search this
Translators  Search this
Good neighbor policy  Search this
National songs  Search this
advertising  Search this
Composers  Search this
Women musicians -- 1930-1950  Search this
Women musicians  Search this
Advertising agencies  Search this
Women in the advertising industry  Search this
Women -- Peru  Search this
Women composers  Search this
Music by women composers  Search this
Women composers -- United States  Search this
Pan-Americanism  Search this
Commercial art  Search this
Jingles (Advertising songs)  Search this
Jingles (Advertising songs) -- Writing and publishing  Search this
Minorities in advertising  Search this
Music in advertising  Search this
Women translators  Search this
Naturalization records  Search this
Genre/Form:
Immigration records
Music -- Manuscripts
Contracts
Correspondence -- 20th century
Compact discs
Scrapbooks -- 20th century
Sheet music -- 1920-1960
Parts (musical)
Songbooks
Photographs -- 20th century
Commercial art
Citation:
Clotilde Arias Papers, 1919-1957, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1164
See more items in:
Clotilde Arias Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1164
Online Media:

Virgil Whyte "All-Girl" Band Collection

Collector:
Kovan, Florice Whyte  Search this
Author:
Whyte, Virgil (bandleader)  Search this
Names:
United Service Organizations (U.S.)  Search this
Virgil Whyte's "All-Girl" Band  Search this
Extent:
3 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Postage stamps
Videotapes
Audiotapes
Postcards
Soap
Labels
Letterheads
Announcements
Clippings
Photomechanical prints
Photographs
Packages
Diaries
Place:
Racine (Wis.) -- 1940-1950
Date:
1942-1948, 1991-1993
Scope and Contents:
Includes 7 VHS videotapes and 1 audio tape produced by Florice Whyte Kovan, containing interviews and recollections by some band members. Studio portraits and snapshot photographs in 3 scrapbooks, which also contain display advertisements and newspaper clippings from about the band, 1940s. Snapshots include documentation of the band's travels and leisure activities while on the road, including swimming, horseback riding, etc. Packaged hotel soap bars collected by Betty Hansen during the bands' touring documents their itinerary, as do picture postcards written by Alice Smaus Jacoby.
Arrangement:
The collection is divided into seven series.

Series 1: Unmounted snapshots

Series 2: Scrapbooks

Series 3: Alice Smaus Jacoby's postcards

Series 4: Packaged soap samples

Series 5: Audiovisual Materials

Series 6: Framed Portrait Photoprints

Series 7: Oversized Photoprints

The scrapbook pages are arranged in original order, apparently partly chronological, but series 1 snapshots are in topical order.
Biographical / Historical:
Founded 1942 in Racine, Wis., by Virgil Whyte, his "all-girl" band was composed of young Racine women. Whyte was instructor, manager, and the initial leader on drums; later his sister Alice took over as drummer. After initial success in Racine and elsewhere in Wisconsin, the band began to accept engagements in other parts of the country, eventually touring the U.S. The band's success drew other acts and performers, including Jill Fontaine and the Wilford Mae Trio, Sam Hearn (known as "Schlepperman"), the Woodson Sisters, and Paul La Verre and Bro. They did U.S.O. tours, entertaining servicemen.

The principal donor, a free-lance researcher and writer, is the daughter of Virgil Whyte.
Provenance:
Collection donated by Florice Kovan, 1993.
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.
Topic:
Travel photography -- 1940-1950 -- U.S.  Search this
Barracks -- 1940-1950  Search this
Railroad passenger cars  Search this
Horseback riding -- 1940-1950  Search this
Tap dancers -- 1940-1950  Search this
Singers -- 1940-1950  Search this
Comedians -- 1940-1950  Search this
Jazz musicians -- 1940-1950  Search this
Band music -- 1940-1950  Search this
World War, 1939-1945 -- Musicians  Search this
Horses -- 1940-1950  Search this
Women musicians -- 1930-1950  Search this
Beaches -- 1940-1950  Search this
Swimming pools -- 1940-1950  Search this
Swimming -- 1940-1950  Search this
Jazz -- 1940-1950  Search this
Portraits -- Women  Search this
Genre/Form:
Postage stamps
Videotapes
Audiotapes
Postcards
Soap -- Packaged
Labels
Letterheads
Announcements
Clippings
Photomechanical prints
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950
Packages
Diaries
Citation:
Virgil Whyte's "All-Girl" Band Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0503
See more items in:
Virgil Whyte "All-Girl" Band Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0503
Online Media:

Arturo Toscanini

Artist:
Benno Elkan, 1877 - 1960  Search this
Sitter:
Arturo Toscanini, 25 Mar 1867 - 16 Jan 1957  Search this
Type:
Sculpture
Date:
1937-
Topic:
Arturo Toscanini: Male  Search this
Arturo Toscanini: Performing Arts\Performer\Musician\Conductor  Search this
Portrait  Search this
Credit Line:
Owner: Metropolitan Opera Association
Object number:
NY590139
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4223a78f6-6722-45d8-8bec-5436cc1a4700
EDAN-URL:
edanmdm:npg_NY590139

William Christopher Handy

Artist:
Beauford Delaney, 1901 - 1979  Search this
Sitter:
William Christopher Handy, 16 Nov 1873 - 28 Mar 1958  Search this
Type:
Painting
Date:
1930-1950
Topic:
William Christopher Handy: Male  Search this
William Christopher Handy: Performing Arts\Performer\Musician\Composer  Search this
William Christopher Handy: Performing Arts\Performer\Musician\Singer\Rhythm and Blues  Search this
William Christopher Handy: Performing Arts\Performer\Musician\Bandmaster  Search this
William Christopher Handy: Performing Arts\Performer\Musician\Horn\Trumpet  Search this
William Christopher Handy: Performing Arts\Performer\Musician\Blues  Search this
Portrait  Search this
Credit Line:
Owner: Tennessee State Museum
Website: www.tnmuseum.org/
Object number:
TN900404
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm46eb1036d-2d6d-41cc-b08a-c25a7ffa9288
EDAN-URL:
edanmdm:npg_TN900404

Portrait of the Late Giuseppe De Luca as Rigoletto

Artist:
Paolo Ghiglia, 20th Century  Search this
Sitter:
Giuseppe De Luca, 1876 - 1950  Search this
Medium:
Unknown
Dimensions:
Sight (Accurate): 132.5 x 98.2cm (52 3/16 x 38 11/16")
Type:
Painting
Date:
mid 20th Century
Topic:
Giuseppe De Luca: Male  Search this
Giuseppe De Luca: Performing Arts\Performer\Musician\Singer\Opera  Search this
Portrait  Search this
Credit Line:
Owner: Metropolitan Opera Association
Object number:
NY590024
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm435e39f11-f91d-46f0-82c5-8651bf0e0790
EDAN-URL:
edanmdm:npg_NY590024

Roy Ellsworth Harris

Artist:
Enit Kaufman, 1897 - 1961  Search this
Sitter:
Roy Ellsworth Harris, 1898 - ?  Search this
Medium:
Watercolor on paper
Dimensions:
45.8 x 36.2cm (18 1/16 x 14 1/4")
Type:
Painting
Date:
c. 1940 - 1945
Topic:
Roy Ellsworth Harris: Male  Search this
Roy Ellsworth Harris: Performing Arts\Performer\Musician\Composer  Search this
Portrait  Search this
Credit Line:
Owner: New-York Historical Society
Website: www.nyhistory.org/
Object number:
1947.210 NYHS
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm45121c245-6df5-4c0c-8708-c877de266b9d
EDAN-URL:
edanmdm:npg_1947.210_NYHS

Hans Kindler

Artist:
Jacob Epstein, 10 Nov 1880 - 19 Aug 1959  Search this
Sitter:
Hans Kindler, 1892 - 1949  Search this
Medium:
Bronze with marble base
Dimensions:
Height: 38.1 cm (15"), without base
Type:
Sculpture
Date:
mid 20th Century
Topic:
Hans Kindler: Male  Search this
Hans Kindler: Performing Arts\Performer\Musician\Conductor  Search this
Portrait  Search this
Credit Line:
Owner: Private collection
Object number:
VA990118
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm49dc09fc6-d663-4aca-b5e0-bf211a99c341
EDAN-URL:
edanmdm:npg_VA990118

Eddie Condon

Artist:
William Auerbach-Levy, 1889 - 1964  Search this
Sitter:
Albert Edwin Condon, 16 Nov 1905 - 4 Aug 1973  Search this
Medium:
Black and gray ink on paper
Dimensions:
Image: 33.5 × 12 cm (13 3/16 × 4 3/4")
Sheet: 57.5 × 28.8 cm (22 5/8 × 11 5/16")
Type:
Drawing
Date:
c. 1937-1947
Topic:
Caricature  Search this
Costume\Dress Accessory\Tie\Bowtie  Search this
Albert Edwin Condon: Male  Search this
Albert Edwin Condon: Literature\Writer  Search this
Albert Edwin Condon: Performing Arts\Performer\Musician\Guitarist  Search this
Albert Edwin Condon: Performing Arts\Performer\Musician\Jazz  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.89.136
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4282204fa-220a-4697-96f4-5a4164cc9f4f
EDAN-URL:
edanmdm:npg_NPG.89.136

John Treville Latouche

Artist:
Pavel Fyodorovitch Tchelitchew, 21 Sep 1898 - 31 Jul 1957  Search this
Sitter:
John Treville Latouche, 13 Nov 1917 - 7 Aug 1956  Search this
Medium:
Watercolor and gouache
Dimensions:
66 × 50.8cm (26 × 20")
Type:
Painting
Date:
mid 20th Century
Topic:
John Treville Latouche: Male  Search this
John Treville Latouche: Literature\Writer\Poet  Search this
John Treville Latouche: Literature\Writer\Playwright  Search this
John Treville Latouche: Performing Arts\Performer\Musician\Lyricist  Search this
Portrait  Search this
Credit Line:
Owner: Museum of the City of New York, Theatre Collection
Website: www.mcny.org/
Object number:
67.143
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm47828f5cb-3308-4db9-b0b7-eb26b6ac60ff
EDAN-URL:
edanmdm:npg_67.143

Gelatin silver print of Lil Green, Queen of The Blues

Photograph by:
Bloom Photography, American  Search this
Subject of:
Lil Green, American, 1919 - 1954  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Sheet): 9 13/16 × 7 3/4 in. (24.9 × 19.7 cm)
H x W (Image): 9 × 7 3/8 in. (22.9 × 18.7 cm)
Type:
gelatin silver prints
portraits
Place captured:
Chicago, Cook County, Illinois, United States, North and Central America
Date:
1939-1954
Topic:
African American  Search this
Photography  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2015.97.38.25
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd575c0f634-e14f-435c-836e-e21252ecf257
EDAN-URL:
edanmdm:nmaahc_2015.97.38.25
Online Media:

Photograph of the Scoby Browne Quartet autographed by "Duke"

Photograph by:
Unidentified  Search this
Subject of:
Scoby Browne  Search this
Unidentified Man or Men  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W: 8 1/8 × 10 in. (20.6 × 25.4 cm)
Type:
gelatin silver prints
portraits
Date:
1930s - 1950s
Topic:
African American  Search this
Instrumentalists (Musicians)  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Paxton and Rachel Baker
Object number:
2014.3.11
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd515228f3b-c6ad-43ea-adfd-8ddf17a2359a
EDAN-URL:
edanmdm:nmaahc_2014.3.11
Online Media:

Photographic print of Ira Tucker, Sr.

Created by:
Unidentified  Search this
Subject of:
Ira Tucker Sr., American, 1925 - 2008  Search this
Medium:
ink on photographic paper
Dimensions:
H x W: 5 1/8 x 3 1/4 in. (13 x 8.3 cm)
Type:
photographs
portraits
Date:
ca. 1945
Topic:
African American  Search this
Gospel (Music)  Search this
Photography  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift from Ira Tucker, Jr. of the Dixie Hummingbirds
Object number:
2013.13.4
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5bbad09c8-21b8-47f5-9e23-4fcf13942145
EDAN-URL:
edanmdm:nmaahc_2013.13.4
Online Media:

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