Search Results

Creator:

Delaware, Lackawanna and Western Railroad  Search this

Donor:

ConRail  Search this

Collector:

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

National Museum of American History (U.S.). Division of Work and Industry  Search this

Names:

Passaic Steel Company (Paterson, N.J.)  Search this

Extent:

22.3 Cubic feet (1 box, 59 map-folders)

Type:

Collection descriptions

Archival materials

Photograph albums

Cyanotypes

Place:

Paterson (N.J.)

Hoboken (N.J.)

Date:

1878-1971

Scope and Contents:

The collection consists of: a 1903 book of photographs entitled "Illustrations Showing the Works of the Passaic Steel Company at Paterson, New Jersey"; photograph albums (including several cyanotype albums) of the port of Hoboken, the terminal and buildings and other structures; a "souvenir" photograph album of the Clarks Summit/Halstead cut-off, 1914, published by the American Society of Civil Engineers; reports from the 1950s and 1960s itemizing the precise costs of the elements of the Hoboken terminal; track maps; and approximately 10,000 oversized drawings, tracings and blueprints of structures built by the railroad.

Arrangement:

Collection divided into two series.

Series 1: Business Records

Series 2: Drawings

Historical:

The Delaware, Lackawanna & Western Railroad Company was incorporated in Pennsylvania on April 7, 1832, as the Liggetts Gap Railroad Company. Its name was changed to the Lackawanna & Western Railroad Company on April 14, 1851, and to the Delaware, Lackawanna & Western (DL&W) Railroad Company on March 11, 1853, at which time it absorbed the Delaware & Cobbs Gap Railroad Company.

The first section of railroad, from Scranton to Great Bend, opened in October, 1851. The Southern Division of the railroad was opened between Scranton and the Delaware River on May 27, 1856, forming a more direct route to New York City in connection with the Warren Railroad and the Central Railroad of New Jersey. The DL&W leased the Morris & Essex Railroad in 1868 and, after upgrading it to permit a heavy coal tonnage, secured its own line to New York Harbor. Other extensions carried the Lackawanna to Utica, Syracuse, Ithaca, and Oswego in central New York State and to Buffalo in the early 1880s. The DL&W had a particular advantage in that it was allowed to directly operate coal mines. The DL&W began mining on its own account in 1851, when a Coal Department was organized. The Lackawanna was exceptionally well placed to supply both New York City and New England via the Southern Division and also upstate New York, the Great Lakes, and Canada via the Northern Division.

The DL&W was still bound by its 1856 traffic contract with the Central of New Jersey, and on March 16, 1872, the two companies agreed to consolidate, being managed by a joint committee of directors from the two companies. However, the two companies were actually now competitors, with roughly parallel lines between Scranton and New York. The consolidation broke up after about a year over arguments as to which company would be the dominant partner. All connection between the two companies was severed in 1875.

During the long presidency of the conservative Samuel Sloan (1867-1899), the road became extremely prosperous as a coal hauler. Financial control was exercised by Moses Taylor and his National City Bank of New York, who had bought into the company at the time of the Panic of 1857. In March 1876 the DL&W converted from 6-foot gauge to standard gauge.

In 1880 Jay Gould acquired an interest in the company and promoted its extension to Buffalo (1882), giving it a significant share of the truck line business for the first time. However, Taylor and his successors refused Gould any further voice in the management. In 1890 William Rockefeller became a director, reflecting the alliance between the Standard Oil group and the National City Bank.

William H. Truesdale replaced Sloan as president and began a massive modernization of both the company's management and the physical plant. The company began issuing full annual reports for the first time since 1857. Two major line relocations were built to the highest engineering standards, across western New Jersey and between Scranton and Binghamton, to improve grades and clearances. They featured massive cuts and fills and huge viaducts, the Tunkhannock Viaduct, 240 feet high, being the largest concrete arch bridge in the world. The DL&W was a pioneer in the adoption of reinforced concrete construction for all types of structures. Under Truesdale's successor, John M. Davis, the principal New Jersey commuter services were electrified in the early 1930s.

After successful government prosecution of the other anthracite railroads for antitrust violations, the DL&W voluntarily divested itself of its Coal Dept., which became the Glen Alden Coal Company in 1921.

After World War II the DL&W hoped to merge with its principal western connection, the Nickle Plate, but was unsuccessful. After continuing losses from commuter service and heavy storm damage to its main lines in 1955, the company began to explore the possibility of consolidation with the roughly parallel Erie Railroad. The merger, forming the Erie Lackawanna Railroad Company, took effect on October 17, 1960.

Source

Delaware, Lackawanna and Western Railroad Company records, Accession 1643, Manuscripts and Archives Department, Hagley Museum and Library

Related Materials:

Materials at Other Organizations

Manuscripts and Archives Department, Hagley Museum and Library

Delaware, Lackawanna and Western Railroad Company records, 1849-1960

Delaware, Lackawanna and Western Railroad Company Coal Department photographs (Accession 1990.267), Audiovisual Collections and Digital Initiatives Department

The Enderlin Collection of Delaware, Lackawanna and Western Railroad Company Records, 1835-1956

The collection consists of material acquired by Enderlin during his career with the Lackawanna, primarily the kind of historical miscellany that flowed into the secretary's office. Two-thirds of the collection consists of newsclippings on labor matters (ca. 1900-1919), and the remainder of agreements, letters of resignation, statistics and rough minutes. John G. Enderlin was born on August 16, 1888. In 1903, he began work as an office boy in the New York City headquarters of the Delaware, Lackawanna and Western Railroad Company, rising through the ranks in the president's and secretary's offices to become secretary-treasurer in 1933. He retired at the end of 1956 and died on September 28, 1981.

Syracuse University Libraries

Lackawanna County Historical Society

The Delaware, Lackawanna & Western Railroad was one of the largest and most prosperous anthracite mining and transporting companies in Pennsylvania.Their records consist of minutes of the DL&W and its two direct predecessors.

Provenance:

The oversized items were donated to the Division of Mechanical and Civil Engineering by Consolidated Rail Corporation (ConRail) through William M. Wehner in 1987. Provenance for the rest of the collection is unknown.

Restrictions:

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

Rights:

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

Topic:

Railroads -- Buildings and structures  Search this

Railroads  Search this

Railroad stations -- United States  Search this

Genre/Form:

Photograph albums -- 20th century

Cyanotypes

Citation:

Delaware, Lackawanna and Western Railroad Records, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1074

See more items in:

Delaware, Lackawanna and Western Railroad Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82dc280d2-5ac8-418a-a422-7194d28d2b2a

EDAN-URL:

ead_collection:sova-nmah-ac-1074

Creator:

Freer, Charles Lang, 1856-1919  Search this

Extent:

131 Linear feet (29 architectural drawings)

Type:

Collection descriptions

Archival materials

Diaries

Financial records

Correspondence

Photographs

Place:

China

Syria

Egypt

India

London (England)

Japan

Boston (Mass.)

Detroit (Mich.)

Washington (D.C.)

Kandy (Sri Lanka)

Sri Lanka

Anuradhapura (Sri Lanka)

Date:

1876-1931

Summary:

The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.

Scope Content:

The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.

Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.

Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.

Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.

Organization of the Papers:

This collection is organized into twelve series.

Series 1: Genealogical and Biographical Data

Series 2: Correspondence

Series 3: Diaries

Series 4: Freer Colleague Materials

Series 5: Art Inventories

Series 6: Financial Materials

Series 7: Exhibition Loan Files

Series 8: Biblical Manuscripts and Gold Treasure Files

Series 9: American School of Archaeology in China

Series 10: Printed Material

Series 11: Outsize Material

Series 12: Photographs

Biographical Note:

1854 February 25 -- Born in Kingston, New York

1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)

1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad

1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker

1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works

1883 -- Begins collecting European prints

1884 -- Peninsular Car Company constructs plant on Ferry Avenue

1887 -- Meets Howard Mansfield (1849-1938)

1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)

1887 -- Purchases a small Japanese fan attributed to Ogata Korin(1658-1715)

1887 -- Buys land on Ferry Avenue

1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York

1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan

1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)

1892 -- Moves to Ferry Avenue house

1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms

1893 -- Lends American paintings to World's Columbian Exposition in Chicago

1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist

1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan

1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston

1899 -- Takes part in consolidation of railroad-car building companies then retires from active business

1900 -- Attends Exposition International Universelle in Paris

1900 -- Buys villa in Capri with Thomas S. Jerome

1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit

1902 -- Meets Dikran Kelekian (1868-1951)

1902 -- Spends summer in Britain building Whistler collection

1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room

1904 -- Purchases Whistler's Peacock Room

1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution

1905 -- Smithsonian committee visits Freer in Detroit

1906 -- United States government formally accepts Freer's gift on January 24

1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5

1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan

1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware

1909 -- Tours Europe to study art museums

1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China

1910 -- On last trip to Asia, visits Longmen Buddhist caves in China

1911 -- Suffers stroke

1912 -- Lends selection of objects for exhibition at Smithsonian Institution

1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer

1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington

1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit

1915 -- Settles in New York City

1915 -- Site of future Freer Gallery of Art is determined

1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September

1918 -- After falling ill in Detroit, Freer travels to New York for treatment

1918 -- Work on the museum building is delayed by the war

1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art

1919 -- Dies in New York City on 25 September and is buried in Kingston, New York

1919 -- Construction of Freer Gallery completed

1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery

1923 -- Freer Gallery opens to the public on May 9

1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto

Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.

Index:

Index to cross-referenced correspondents in the series Charles Lang Freer correspondence

Beal, Junius E. -- See: -- Warring, Joseph Stephens

Black, George M. -- See: -- Saint-Gaudens, Augustus

Board of Education (Kingston, New York) See: Michael, M. J.

Bonner, Campbell See: University of Michigan

Boughton, George H. See: Yardley, F. C.

British Museum See: Binyon, Laurence; Hobson, R. L.

Brown, Harold H. See: Art Association of Indianapolis

Buchner, Evelyn B. See: Knoedler, M., and Company

Buckholder, C. H. See: Art Institute of Chicago

Butler, S. B. See: Unidentified correspondents

Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.

Carpenter, Newton H. See: Art Institute of Chicago

Caulkins, Horace James See: Pewabic Pottery

Chao, Shih-chin See: Gunn, Chu Su

Chicago & North Western Railway Co. See: Hughett, Marvin

Clark, Charles Upson See: Clark, Arthur B.

Cleveland Museum of Art See: Whiting, Frederic Allen

Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich

Commission of Fine Arts See: Moore, Charles

Corcoran Gallery of Art See: Minnigerode, C. Powell

Crocker, Anna B. See: Portland Art Association

Dannenberg, D. E. See: Karlbeck, Orvar

De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection

De Ricci, Seymour See: Ricci, Seymour de

Defnet, William A., Mrs., See: Franke, Ida M.

DeMotte See: Vigouroux, J.

Detroit Institute of Arts See: Detroit Museum of Art

Detroit Publishing Company See: Livingstone, W. A.

Detroit School of Design See: George Hamilton; Stevens, Henry

DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.

Dyrenforth, P. C. See: Philip, Rosalind Birnie

Eddy, Arthur J. See: Philip, Rosalind Birnie

Eggers, George Williams See: Art Institute of Chicago

Farr, Daniel H. See: Robinson and Farr

Farrand School (Detroit) See: Yendall, Edith

Field Museum of Natural History (Chicago) See: Laufer, Berthold

Flagg, Frederick J. See: Allen, Horace N.

Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.

French, M. R. See: Art Institute of Chicago

Fu, Lan-ya See: Pang, Lai-ch'en

Fujii, Yoshio See: Yoshio, Fujii

Gerrity, Thomas See: Knoedler, M., and Company

Goupil Gallery See: Marchant, William

Gray, William J. See: Barr, Eva

Great Lakes Engineering Works See: Hoyt, H. W.

Grolier Club See: Philip, Rosalind Birnie

Heinemann, W. See: Philip, Rosalind Birnie

Holden, Edward S. See: West Point, U. S. Military Academy

Hudson, J. L. See: Weber, William C.

Hutchins, Harry B. See: University of Michigan

Hutchins, Charles L. See: Art Institute of Chicago

Kelekian, H. G. See: Kelekian, Dikran G.

Kent, H. W. See: Metropolitan Museum of Art

Lee, Kee Son See: Li, Chi-ch'un

Levy, John See: Schneider, A. K.

Library of Congress See: Rice, Richard A.; Wright, Helen

Louvre (Paris, France) See: Midgeon, Gaston

Matsuki, Z. See: Matsuki, Kihachiro

McKim, Mead and White See: White, Stanford

Mills, A. L., Colonel See: Saint-Gaudens, Augustus

Miner, Luella See: Lien, Hui Ch'ing Collection

Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.

Monif, R. Khan See: Rathbun, Richard

Museum of Fine Arts, Boston See: Lodge, John Ellerton

Naser, Katen & Nahass See: Katen, K.

Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie

Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.

Peabody Museum See: Morse, Edward Sylvester

Pennsylvania Academy of the Fine Arts See: Trask, John E. D.

Perry, Mary Chase, Miss., See: Pewabic Pottery

Philip, Ronald M. See: Philip, Rosalind Birnie

Pope, G. D. See: Barr, Eva

Reinhart, A. G. See: Gottschalk, E.

Reitz, Sigisbert Chrétien Bosch See: Bosch-Reitz, Sigisbert Chrétien

Rutgers College See: Van Dyke, John C.

Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus

Saint-Gaudens, Homer See: Saint-Gaudens, Augustus

Samurai Shokai See: Nomura, Yozo

San Francisco Art Association See: Laurvik, J. Nilsen

Scribner's, Charles, Sons See: Van Dyke, John C.

Shaw, Wilfred B. See: University of Michigan

Shirae, S. Z. See: Yamanaka and Company

Smith College See: Clark, Arthur B.

Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.

Society of Arts and Crafts (Detroit) See: Plumb, Helen

Societe des Beaux-Arts See: Reid, Alexander

Stevens, George W. See: Toledo Museum of Art

Stratton, Mary Chase Perry See: Pewabic Pottery

Tanaka, Kichijiro See: Yamanaka and Company

Tuttle, William F. See: Art Institute of Chicago

Union Trust Company (Detroit) See: Philip, Rosalind Birnie

United States Military Academy See: West Point, U. S. Military Academy

University of Chicago See: Zug, George Breed

University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon

Ushikubo, D. J. R. See: Yamanaka and Company

Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College

Warren, Edward K. See: Philip, Rosalind Birnie

Warring, Stephen See: Warring, Joseph Stephens

Watkin, Williams R. T. See: Philip, Rosalind Birnie

Watson, Margaret, Miss See: Parker, Margaret Watson

Whistler, Anna See: Stanton, Anna Whistler

Whiting, Almon C. See: Toledo Museum of Art

Williams College See: Rice, Richard A

Wright, F. G. See: Orbach and Company

Yatsuhashi, H. See: Yamanaka and Company

Index to cross-referenced correspondence in the series Whistler correspondence

Bell, William See: Unidentified correspondents

Brown, Ernest See: Painter Etchers' Society, Committee

Cowen, John T. See subseries: Charles Lang Freer Correspondence

Ford, Sheridan See: Reid, Alexander

Haden, Francis Seymour See: Painter Etchers' Society, Committee

Haden, Francis Seymour, Lady See: Haden, Deborah Whistler

Leighton, Frederick, Baron See: Campbell, Lady Colin

Moore, Albert See: Reid, Alexander

Morley, Charles See: Pall Mall Gazette

Morris, Harrison S. See: Reid, Alexander

Pennell, Joseph See: Miscellaneous typescripts

Pennsylvania Academy of the Fine Arts See: Reid, Alexander

Prange, F. G. See: Reid, Alexander

Societe des Beaux-Arts See: Reid, Alexander

Society of Portrait Painters See: Reid, Alexander

Stevens Fine Art See: Reid, Alexander

Studd, Arthur See: Miscellaneous typescripts

[Vanderbilt?], George, Mrs. See: George, Mrs.

Whistler, William McNeill, Mrs. See: Whistler, Nellie

Whistler Memorial Committee See: Miscellaneous typescripts

Related Material:

The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.

Provenance:

Gift of the Estate of Charles Lang Freer.

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Art, American -- Collectors and collecting  Search this

Art, Asian -- Collectors and collecting  Search this

Art -- Collectors and collecting  Search this

Architecture -- Asia  Search this

Genre/Form:

Diaries

Financial records

Correspondence

Photographs

Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

Identifier:

FSA.A.01

See more items in:

Charles Lang Freer Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3f1a0e3e0-630c-48d4-ba28-485946b1d615

EDAN-URL:

ead_collection:sova-fsa-a-01

Collector:

Gatschet, Albert S. (Albert Samuel), 1832-1907  Search this

Names:

Albuquerque Land and Irrigation Company  Search this

Carpintero, Mariano  Search this

Extent:

16 Pages

Culture:

Sandia Pueblo  Search this

Indians of North America -- Southwest, New  Search this

Type:

Collection descriptions

Archival materials

Pages

Newsclippings

Date:

November, 1899

Scope and Contents:

Also newsclipping, 1 column. Note on flyleaf by Gatschet, "Hodge said, April 1, 1904, that Tiwa and Tewa were not exactly the same dialect," explains Gatschet's previous unawareness of this distinction.

Local Numbers:

NAA MS 1553

Local Note:

Newsclipping marked Times, November 15, 1899, entitled "Protest of the Pueblos," concerns the visit of Pueblo delegation, including Mariano Carintero, to Secretary of Interior Hitchcock to protest encroachment on lands of Pueblo Indians and white farmers by Albuquerque Land and Irrigation Co.

Topic:

Federal-Indian relations -- Sandia  Search this

Tiwa language  Search this

Language and languages -- Documentation  Search this

Genre/Form:

Newsclippings

Citation:

Manuscript 1553, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS1553

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3f84ff40f-5678-4c0a-b0a7-6b6b2d162fec

EDAN-URL:

ead_collection:sova-naa-ms1553

Creator:

Gatschet, Albert S. (Albert Samuel), 1832-1907  Search this

Petroff, Ivan  Search this

Latham, R. G. (Robert Gordon), 1812-1888  Search this

Brown, J. Ross  Search this

McDonald, Furman  Search this

Smith, Nimrod Tom  Search this

Hoffman, Walter James, 1846-1899  Search this

W., H. D.  Search this

Dalrymple, Edwin A., 1818-1881  Search this

Shea, John Gilmary, 1824-1892  Search this

Smith, Buckingham, 1810-1871  Search this

Marban, M. P. P. Pedro  Search this

Rohde  Search this

Bruhl  Search this

Pinart, A. L. (Alphonse Louis), 1852-1911  Search this

Pike, Albert, 1809-1891  Search this

Informant:

Tomazin, Ignatius, 1843-1916  Search this

Porter, Pleasant  Search this

Naumoff  Search this

Kamilkoishin ?, Nicolai  Search this

Robertson, A. E. W. (Ann Eliza Worcester), 1826-1905  Search this

Correspondent:

Eells, Myron, 1843-1907  Search this

Denison, James D.  Search this

McCain, Frank  Search this

Extent:

253 Pages

Culture:

Chippewa  Search this

Seminole Indians  Search this

Anishinaabe (Chippewa/Ojibwa)  Search this

Quechan (Yuma/Cuchan)  Search this

American Indian -- California  Search this

Hoh  Search this

Eskimos  Search this

Chugach  Search this

Kuskwogmiut Yup'ik (Kuskokwim Eskimo)  Search this

Kiowa  Search this

Yokuts  Search this

Cherokee  Search this

Quechua  Search this

Coushatta (Koasati)  Search this

Catawba Indians  Search this

Chitimacha  Search this

Seminole  Search this

Euchee (Yuchi)  Search this

Apalachee (archaeological)  Search this

Beothuk Indians  Search this

Natchez  Search this

Quileute  Search this

Klamath  Search this

Hitchiti Seminole  Search this

Chimakum  Search this

Woccon  Search this

Pamunkey  Search this

Moxo (Mojo)  Search this

Indians of North America -- California  Search this

Indians of North America -- Subarctic  Search this

Arctic peoples  Search this

Indians of North America -- Northwest Coast of North America  Search this

Indians of North America -- Great Plains  Search this

Indians of North America -- Plateau  Search this

Type:

Collection descriptions

Archival materials

Pages

Newsclippings

Place:

Alaska -- Names, place

Alaska -- Names, tribal

California

South America

Bolivia

Peru

Date:

ca. 1881-1886

Scope and Contents:

Contains vocabularies and other linguistic notes on a variety of American Indian languages. Mainly transcripts by Gatschet from other sources; includes some material recorded by Gatschet, and a few original manuscripts sent to him by others.

Contents: Alaska: Ms Vocabulary 1449, pages 49-52. Petroff, Ivan. "Aliaskan Names, Ivan Petroff." 2 pages, in A. S. Gatschet's handwriting. List of Alaskan place and tribal names with notes on each. Apalachee: Ms Vocabulary 1449, pages 103-104. [Gatschet, A. S.] Apalachee [vocabulary], with Pl[easant] Porter [Creek inft.]." 2 pages, in Gatschet's handwriting. Comparison of Apalachee words with Creek. Gatschet indicates: "(Copied in Apal. book, July 1889)." Beothuk: Ms. Vocabulary 1449, pages 27-41. [Gatschet, A. S.] Beothuk vocabularies, notes, and bibliographic references. 14 1/2 pages, mostly in Gatschet's handwriting. (pages 27-28 and 35-36 are in R. G. Latham's hand.) Working notes for Gatschet's published article on Beothuk -- comment by M. R. Haas, 11/58. California (Yuman ?): Ms Vocabulary 1449, pages 122-123; 124 (?) Brown, J. Ross Extract from "J. Ross Brown. Sketch of the exploration of lower Cal. San Franc[isco ?], 1869. H. H. Bancroft & Co., 177 pp." 2 pages, in A. S. Gatschet's handwriting. Miscellaneous notes on lower California tribes and languages, with list of some of the tribes in the area and their approximate locations. California: Ms Vocabulary 1449, page 148. [Gatschet, A. S.] Bibliographic references relating to California. 1 page, in A. S. Gatschet's handwriting. Furman, McDonald Ms Vocabulary 1449 file: Catawba. Page 159 "An Indian's Petition." No date. Newsclipping. 1 slip. Ms Vocabulary 1449 Woccon and Catawba comparative vocabulary No date. Autograph document. 6 pages. Pages 87-89 and 93-94. Ms Vocabulary 1449, page 186a and ff. Eells, M. Comparison of numerals in Chemakum, Quileute, and Hoh, 1 page and accompanying letter to A. S. Gatschet, August 24, 1883, from M. Eells, Skokomish, Mason Co., Wash., 2 pages, handwritten. Ms Vocabulary pages 108-110. [Gatschet, A. S.] "Mtn. Cherokee's names (topographical). Nimrod Tom Smith [inft ?], 1/2 breed, in Swain Co., North Car., P. O. Quallatown...April 18, '82." 3 pages, in Gatschet's handwriting. List of Cherokee place names and locations. Chippewa: Ms Vocabulary 1449, pages 178-80. [Gatschet, A. S.] "Odjibwe - Local and tribal names. Ign. Tomazin [inft.], Jan. 31, '83." 3 pages, in Gatschet's handwriting. Also (page 180) short extract from Dorman, Primitive Superstitions, page 148, on Ojibwa cannibalism, in Gatschet's handwriting.

Chitimacha: Ms Vocabulary 1449, page 85 (top). [Gatschet, A. S.] "Shetimasha" vocabulary of 8 words, translated into French. 1/2 page, in A. S. Gatschet's handwriting. Eskimo: Ms Vocabulary 1449, page 45. Hoffman, Dr W. J. "Eskimo text obtained by Dr W. J. Hoffman, at San Francisco, Cal., from Naumoff, an Eskimo from Kadiak..." No date. 1 page in A. S. Gatschet's handwriting. Includes text and inter-linear translation, plus translation of same story from sign language. Note by Gatschet indicates that text is not in Kodiak dialect. Eskimo (Chugach) Ms Vocabulary 1449, pages 53-66. Petroff, Ivan "Vocabulary of Tchugatch-Inuit. Taken by Ivan Petroff, in June, 1881, at various places, chiefly at Nu'tchik or Port Etches, abt. 60 1/2 N. Lat. From full bloods. 14 pages, in A. S. Gatschet's handwriting. Also contains comparison with "Tchiglit" (Kopagmiut), in Gatschet's handwriting. "Partly entered in Mscr. vocab. Vol. 3." Eskimo (Kuskwogmiut): Ms Vocabulary 1449, pages 76-84; 85-86; 95-96. [Petroff, Ivan ?] "Kuskokvog-miut (Inuit) [vocabulary], from Nicolai Kamilkoishin [?] native of the tribe educated at the Russian Mission, Yukon R., at Ikomiut." 13 pages, in A. S. Gatschet's handwriting. Partly entered in Mscr. vocabulary, Volume IIId (note in Gatschet's handwriting.) Eskimo: Ms Vocabulary 1449, page 249. W--, H. D. "A curious race. The Mutes of northern Alaska. Their manner of living. Peculiar family relations - superstitions and queer customs." From the San Francisco Chronicle, Sunday November 14, 1886. 1 page, newsclipping. Hitchiti: Ms Vocabulary 1449, page 203 (bottom), 204 (bottom), 205. Robertson, Mrs A. E. "Acts. VIV, ii in Hitchiti" (page 203); "Hitchiti words from Mrs Robertson" (204); "Hitchiti verbs, by Mrs Robertson" (205). 3 pages, in A. S. Gatschet's handwriting. Kiowa: Ms Vocabulary 1449, page 26. Gatschet, A. S. "Phonetics of the Kayowe Language, by Albert S. Gatschet. Read before the A.A.A.S., Cincinnati, 1881." 1 page, clipping from published article. Note in margin in Gatschet's handwriting reads: "Science of Sept. 17, 1881. By John Michels, New York."

Klamath: Ms Vocabulary 1449, pages 133-136; 143-147. [Gatschet, A. S.] Queries relating to the Klamath language by Gatschet, with answers written in by various Indians from the Klamath Agency, Oregon (cf. letter of J. G. Dennison, page 142 of this manuscript). 9 pages, partially in Gatschet's handwriting. Klamath: Ms 1449, pages 137-142. Denison, James D. "Story of the birth of Aisis," a Klamath legend, and accompanying letter from J. G. Dennison to A. S. Gatschet, August 29, 1880, Klamath Agency, Oregon. 6 pages, handwritten. Klamath: Ms Vocabulary 1449, pages 149-152. McCain, Frank Letter to A. S. Gatschet, January 30, 1880, from Frank McCain, Klamath Indian Agency, Lake Co., Oregon, containing 22 word Klamath vocabulary. 4 pages, handwritten. Koasati: Ms Vocabulary 1449, pages 102; 204. Robertson, Mrs A. E. [and A. S. Gatschet] "Koassadi. Supplement to words by Mrs A. E. Robertson, copied in Vocab. No. 2, obtained from [---illeg.]"; short vocabulary of verbs "from vocab. Vol 2, Koassati of Mrs Robertson"; and passage from "Actorum XIV, 11, in Koasata." 2 pages, in A S. Gatschet's handwriting. Page 102 contains a short list of Koasati words (probably from Mrs Robertson) with corresponding Choctaw equivalents (supplied by Gatschet [?] from the "Ch. grammar"; passage from Acts XIV, ii in Koasati with inter-linear translation, presumably by Gatschet; and list of Koasati verbs, no source mentioned. Page 204 contains the same bible passage in Koasati, with slightly different English translation, and list of same verbs, identified as being from "vocab. Vol 2...of Mrs Robertson." Pamunkey: Ms Vocabulary 1449, page 46. Dalrymple, Rev Mr 17 word Pamunkey vocabulary collected by Rev Dalrymple in 1844 at King William County, Virginia. (Hist Mag., N. Y. II, page 182) and short note from J. G. Shea. 1 page, in A. S. Gatschet's handwriting. See National Anthropological Archives Manuscript 4069, referring to the original of the Dalrymple Manuscript in Maryland Historical Society, Baltimore.

Seminole: Ms Vocabulary 1449, page 182. [Buckingham-Smith, etc. ?] "Seminole Local Names. Buck. Smith, Beach, p. 125 (with Stidham)." 1 page, in A. S. Gatschet's handwriting. South America (Mojo): Ms Vocabulary 1449, page 187. Marban, M. P. P. Pedro "Moxo 6 Mojo. M.P.P. Pedro Marban, de la Compania de Jesus, Superior [ ]. Arte de la Lengua Moxa, con su vacabulario y cathecismo. Colegio de San Pablo (Lima), 1701. pages 664, etc." 1 page, in Gatschet's handwriting. Notes on Mojo language. South America (Miscellaneous): Ms Vocabulary 1449, page 128. Rohde, [ ] "Rohde on Sudamerika"...(1883-84)." 1 page, in A. S. Gatschet's handwriting. Miscellaneous extracts relating to South American Indian tribes. South America (Miscellaneous): Ms Vocabulary 1449, page 97-101. Miscellaneous notes on South America copied by Gatschet from various published sources. 5 pages, in Gatschet's handwriting. South America Peru: (Quechua): Ms Vocabulary 1449, page 239. Bruhl, -- "Inquiries by Bruhl on Kechua. Oct. 1885." 1 page, in A. S. Gatschet's handwriting. 9 word Quechua vocabulary. Yokuts (Cholovone): Ms Vocabulary 1449, pages 231-236. Pinart, Alph. L. "Yatchikumne [Cholovone, in Bureau of American Ethnology Bulletin 30], near Stockton, Cal. Alp. L. Pinart, 1880." 6 pages, in A. S. Gatschet's handwriting. Notes (written in French) on the various Cholovone dialects, and vocabulary with some words translated into English and some into Spanish. Yuchi and Natchez: Ms Vocabulary 1449, page 106 Pike, Gen Albert "Elements of Inflection [of the verb to have]. Yuchi (Pike, p.--) & Naktche." 1 page, in A. S. Gatschet's handwriting. Yuchi and Natchez: Ms Vocabulary 1449, page 107 Pike, Gen. Albert "Albert Pike's Vocabularies, 18.... Yuchi & Naktche." 1 page, in A. S. Gatschet's handwriting. Comparison of 33 words in Yuchi and Natchez. Yuchi: Ms Vocabulary 1449, pages 201-203. Robertson, Mrs A. E. "Yutchi [vocabulary] transliterated from mscr. of Mrs. Robertson, 1873 ?." 3 pages, in Gatschet's handwriting. Also contains passage from bible (Acts XIV, ii) apparently in Yuchi, with interlinear translation.

Local Numbers:

NAA MS 1449

Topic:

Names, place -- Chippewa  Search this

Names, tribal -- Chippewa  Search this

Names, place -- Alaska  Search this

Names, tribal -- Alaska  Search this

Chemakum Indians  Search this

Numbers  Search this

Quileute Indians  Search this

Hoh  Search this

Cannibalism  Search this

Names, place  Search this

Klamath Indians  Search this

Folklore  Search this

Language and languages -- Documentation  Search this

Creek  Search this

Indians of North America -- Northeast  Search this

Indians of North America -- Southern states  Search this

Genre/Form:

Newsclippings

Citation:

Manuscript 1449, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS1449

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3dafd8d43-beb2-4676-9810-224ec9fb4c35

EDAN-URL:

ead_collection:sova-naa-ms1449

Creator:

Mooney, James, 1861-1921  Search this

South Carolina Historical Society  Search this

Geological Survey (U.S.)  Search this

Correspondent:

Barry, J. Neilson (John Neilson), 1870-1961  Search this

Bowers, George M.  Search this

Clark, Benjamin H., 1842-1914  Search this

Cleveland, R. E.  Search this

Devitt, E. I.  Search this

Grinnell, George Bird, 1849-1938  Search this

Jackson, R. C.  Search this

Jones, Alexander, Dr.  Search this

Powell, John Wesley, 1834-1902  Search this

Scott, W. L. General  Search this

Webber, Mabel L.  Search this

Tatum, Lawrie  Search this

Day, David  Search this

Whatley, L. A.  Search this

Names:

Satanta, Kiowa Chief, approximately 1815-1878  Search this

Walker, Jack  Search this

Extent:

1 Portfolio

Culture:

Nez Percé Indians  Search this

Cheyenne Indians  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

A'aninin (Gros Ventre)  Search this

Kiowa  Search this

Cherokee  Search this

Cree  Search this

Niimíipuu (Nez Perce)  Search this

Wesort  Search this

Indians of North America -- Great Plains  Search this

Indians of North America -- Subarctic  Search this

Indians of North America -- Plateau  Search this

Piscataway (Conoy)  Search this

Gypsies  Search this

Type:

Collection descriptions

Archival materials

Portfolios

Newsclippings

Date:

1890-1919

Scope and Contents:

Contents: Barry, J. Nelson. St Stephen's Parish, Baker City, Oregon. February 22, 1910. 2 pages. Refers to "Wesorts" of southern Maryland. Bowers, George M. United States Commission of Fish and Fisheries, Washington, D.C. September 20, 1899. 2 pages. Concerning the identity of a "stone-piling fish" in the headwaters of the Tennessee River. Clark, Ben. Fort Reno. Oklahoma. February 5, 1906. 2 pages. Concerning the Mormon massacre of 1857, with a newsclipping of the story. Clark, Ben. Fort Reno, Oklahoma. January 16, 1907. 2 pages. Concerning the movements of certain bands of Nez Perce and Cheyenne Indians. Cleveland, R. E. Anadarko, Oklahoma. January 15, 1904. Autograph letter signed with Manuscript notes for reply signed by Mooney. 1 page. Asking value of a Martin Van Buren peace medal. Devitt, E. I. Georgetown University, Washington, D.C. January 7, 1909. 1 page. Concerning the Wesorts of Charles County, Maryland. Grinnell, George Bird. New York, New York. September 7, 1894. 2 pages. Concerning the appearance of the Gros Ventre of the prairie in the northern country. Mention is also made of the Cree names for the Cheyenne. Jackson, R. C. Smithwood, Knox County, Tennessee. August 15, 1890. 3 pages. Concerning life and murder of Cherokee half-blood, Jack Walker. Date of murder given as between 1830 amd 1835.

Jones, Dr Alexander. American Journal of Science and Arts, Volume xxvi, pages 189-190, New Haven, 1834. Concerning "American Gypsies" residing on Biloxi Bay, Louisiana. Typed extract by Mooney from above source, 2 pages. Powell, Major John. Bureau of American Ethnology, Smithsonian Institution, Washington, D.C. June 28, 1893. 3 pages. Concerning request made to the Commissioner of Indian Affairs that the Kiowa Indians be permitted to hold their Medicine Dance to enable the Bureau to study it. Scott, W. L. Fort Sill, Oklahoma. May 11, 1893. 4 pages. Concerning Kiowa tribes' concern over the delegation sent to Washington to represent the tribe. South Carolina Historical Society (Mabel L. Webber). Charleston, South Carolina. March 5, 1919. 3 pages. Concerning enclosed list of Cherokee villages and an account of the "Routes and Distances from Fort Prince to Fort Louden." ("The common route" and the "Route over the four and twenty mountains.") Tatum, Lawrie. Springfield. Iowa. April 7, 1896. 19 pages. Concerning Satanta and the story of the part he took in the raids into Texas in 1870. United States Geological Survey (David Day). Washington, D.C. October 7, 1903. 2 pages. Concerning results of analysis of clay particles submitted by James Mooney. Whatley, L. A., Superindendent of State Penitentiaries. Huntsville, Texas. March 3, 1896. 1 page. Concerning the imprisonment, parole, and suicide of Satanta, the Kiowa Chief.

Local Numbers:

NAA MS 1909

Topic:

War -- Mormon Massacre  Search this

Migration  Search this

Names, tribal  Search this

Towns, villages and other settlements -- list of  Search this

Language and languages -- Documentation  Search this

Conoy  Search this

Roma (People)  Search this

Indians of North America -- Northeast  Search this

Indians of North America -- Southern states  Search this

Romanies  Search this

Genre/Form:

Newsclippings

Citation:

Manuscript 1909, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS1909

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3dbdc356f-126b-4629-a3c6-61f7ab29839f

EDAN-URL:

ead_collection:sova-naa-ms1909

Creator:

Gatschet, Albert S. (Albert Samuel), 1832-1907  Search this

Informant:

Greyeyes, John W.  Search this

Ha'to  Search this

Extent:

66 Pages

Culture:

Seneca [Cattaraugus]  Search this

Wendat (Huron)  Search this

Wyandot  Search this

Type:

Collection descriptions

Archival materials

Pages

Newsclippings

Date:

January 8, February 7, March 15, 1881

Scope and Contents:

Also "Notes on the Huron language." No date. Autograph document. 3 pages. The vocabulary notebook includes: a newspaper clipping, "At the Methodist Conference at Hornellsville..., on Christian mission work among the Cattaragus Indians, October 23, 1880, affixed with A. notes on page 1; a brief note on the early history of the Hurons, page 65. Filed with the Manuscript is a copy of Richmond Weekly Palladium, Richmond, Indiana, May 28, 1891, in which appears letter from Edward Show, Richmond, Indiana, December 16, 1890 to S. D. Sears, Upper Sandusky, Ohio, recounting old mission church of the Wyandot Nation.

Biographical / Historical:

Informant: John W. Grey-Eyes [Ha'to] (Grand River, P. O. Wyandot Reserve, Indian Territory)

Local Numbers:

NAA MS 1549

Local Note:

autograph document

Topic:

Missions -- Cattargus  Search this

Language and languages -- Documentation  Search this

Cattaraugus  Search this

Indians of North America -- Northeast  Search this

Genre/Form:

Newsclippings

Citation:

Manuscript 1549, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS1549

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3b98740df-3126-44aa-9680-79a0520e7b89

EDAN-URL:

ead_collection:sova-naa-ms1549

Creator:

Wilbur H. Burnham Studios  Search this

Names:

American Art Expositions (Firm)  Search this

Joseph G. Reynolds Associates  Search this

Reynolds, Francis, and Rohnstock  Search this

Stained Glass Association of America  Search this

Burnham, Wilbur Herbert, 1887-1974  Search this

Burnham, Wilbur Herbert, Jr., 1913-1984  Search this

Connick, Charles J., 1875-1945  Search this

Portanova, Joseph Domenico, 1909-1979  Search this

Reynolds, Joseph G., 1886-1972  Search this

Extent:

40.3 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Photographs

Watercolors

Diaries

Sketchbooks

Scrapbooks

Date:

circa 1901-1991

Summary:

The records of nationally renowned Boston, Massachussetts, stained glass design company, Wilbur H. Burnham Studios, measure 40.3 linear feet and date from circa 1901-1991. The majority of the collection consists of project files for the studio's stained glass window contracts throughout the United States from the 1920s-1980s. In addition to project files, records include biographical material for the owners, correspondence relating to personal and studio business, general business and financial records, writings such as published articles by Wilbur H. Burnham, scrapbooks and other printed material documenting the history of the company, artwork including extensive watercolor design studies for stained glass, and photographic material. There is a 3.4 linear foot unprocessed addition to this collection donated in 2021 that includes sketches, awards, printed material, passports, biographical material, Christmas cards, photographs and negatives of Burnham and works of art, slides and postcards of stained glass windows, posthumous material, a bound ledger, legal papers, invoices and receipts, project files and glass plate negatives. Materials date from circa 1901-1991.

Scope and Content Note:

The records of nationally renowned Boston, Massachussetts, stained glass design company, Wilbur H. Burnham Studios, measure 40.3 linear feet and date from circa 1901-1991. The majority of the collection consists of project files for the studio's stained glass window contracts throughout the United States from the 1920s-1980s. In addition to project files, records include biographical material for the owners, correspondence relating to personal and studio business, general business and financial records, writings such as published articles by Wilbur H. Burnham, scrapbooks and other printed material documenting the history of the company, artwork including extensive watercolor design studies for stained glass, and photographic material. There is a 3.4 linear foot unprocessed addition to this collection donated in 2021 that includes sketches, awards, printed material, passports, biographical material, Christmas cards, photographs and negatives of Burnham and works of art, slides and postcards of stained glass windows, posthumous material, a bound ledger, legal papers, invoices and receipts, project files and glass plate negatives. Materials date from circa 1901-1991.

Biographical material includes resume details and autobiographical notes for Burnham and Burnham, Jr., in addition to membership and fellow certificates.

Correspondence documents general studio business and includes correspondence with current and prospective clients, correspondence related to exhibitions, Burnham, Jr.'s activities on the Executive Committee of the America Arts Exposition, Inc., and the 1940 annual meeting of the Stained Glass Association of America and related business. Also found is some personal correpondence with friends and colleagues. Of note are 4 letters from stained glass artist Charles J. Connick giving his opinions on other stained glass artists, including Burnham, and a letter written by sculptor and designer, Joseph D. Portanova.

General business files include personnel records, records relating to a studio apprenticeship in stained glass design, a 1932 inventory of the studios, and leases and other legal documentation.

Writings include published articles by Burnham, in addition to draft typescripts for a book on stained glass which was never published, and research notes used as background material for stained glass studies. These notes include a number of pencil sketches.

19 diaries and journals consist of travel diaries and date books containing notes on daily appointments, financial notes, and addresses.

Project files form the bulk of the collection and document projects in circa 250 locations throughout the United States and Bellau, France, from the 1920s-1980s through correspondence with clients, architects and builders, contracts, purchase orders, building plans, sketches, scattered photographs and some printed material. Of particular note are extensive files on stained glass for New York's Cathedral of Saint John the Divine, Saint Mary's Cathedral in Peoria, Illinois, Saint Martin's Church in Providence, Rhode Island, and the National Cathedral in Washington D. C. The series also includes a group of contract files for the company Reynolds, Francis & Rohnstock (later Joseph G. Reynolds), a contemporary of Wilbur H. Burnham Studios.

Financial records include payment and receipt journals, expense reports, bills, account books and general ledgers which provide finanical documentation from the 1930s to the 1980s.

Printed material includes news clippings about Burnham studios and stained glass in general, in addition to source material used in subject research.

Additional newsclippings about Burnham Studios can be found in three scrapbooks which also house announcements and invitations, and scattered photographs. One scrapbook contains photographs of windows designed by the studios for the Church of Saint Vincent De Paul in Los Angeles, California.

Artwork and sketchbooks include some artwork by Burnham, Jr., such as pencil and ink sketches, life drawings, and some watercolors. The bulk of the series consists of watercolor design studies on board for many of the studio's projects documented in the project files. Also found are some stained glass design sketches and cartoons, primarily in pencil and charcoal with scattered watercolors, as well as seven folders of material used in creating stained glass patterns and templates.

Photographic material includes photos of Burnham and Burnham, Jr., and of studio work in progress, as well as photographs of artwork, primarily of stained glass created for a significant number of the studio's contracts.

Arrangement:

The collection is arranged as 12 series:

Missing Title

Series 1: Biographical Materials, circa 1930s-circa 1970s (Boxes 1, 27; 4 folders)

Series 2: Correspondence, 1920s-1991 (Box 1; 0.9 linear feet)

Series 3: General Business Files, 1930s-1970 (Box 2; 0.38 linear feet)

Series 4: Writings and Notes, 1920s-1950s (Box 2; 6 folders)

Series 5: Diaries and Journals, circa 1920s-circa 1960s (Box 2; 4 folders)

Series 6: Project Files, 1916-1980s (Boxes 2-12, 42; 10.6 linear feet)

Series 7: Financial Records, 1928-1982 (Boxes 13-14; 1.14 linear feet)

Series 8: Printed Material, circa 1920s-1980s (Boxes 14-15, 27-28; 1.89 linear feet)

Series 9: Scrapbooks, circa 1920s-circa 1970s (Boxes 15-16, 28, OVs 48-49, BV 84; 1.05 linear feet)

Series 10: Artwork and Sketchbooks, circa 1920s-circa 1980s (Boxes 16-23, 29-39, OVs 50-73, 85, RD 83; 13.15 linear feet)

Series 11: Photographic Materials, circa 1904-circa 1980s (Boxes 23-26, 29, 40-41, 43-47, OVs 74-82; 5.8 linear feet)

Series 12: Unprocessed Addition, circa 1901-1991 (Boxes 86-88, 91-93 OVs 89-90, 94; 3.4 linear feet)

Historical Note:

Boston, Massachussets stained glass design firm, Wilbur H. Burnham Studios, was founded by master stained glass craftsman Wilbur H. Burnham, in 1922. Together with Charles J. Connick and Joseph G. Reynolds, Burnham studios became recognized as one of the most prominent stained glass design companies in the United States. Burnham took early commissions from influential American architect Ralph Adams Cram, and believed strongly in the medieval stained glass tradition. In the late 1930s his son, Wilbur H. Burnham, Jr., who had received an informal education on tours of Europe with his family, and a BFA from Yale University, joined the firm.

Some of the studio's most notable commissions included seventeen windows for the Washington National Cathedral in Washington, D. C., all the windows and murals for Saint Mary's Cathedral, Peoria, Illinois, ten windows for the Cathedral of Saint John the Divine in New York City, and five for the Riverside Church, also in New York City.

Both Burnham and Burnham, Jr., served as presidents of the Stained Glass Association of American from 1938-1941 and 1956-1957 respectively. Burnham, Jr., took over the studio in 1968 when his father retired, and sold the studios in 1982.

Provenance:

The Wilbur H. Burnham Studios records were donated in 8 accessions by Wilbur H. Burnham, Jr., from 1977-1981 and by Wilbur C. Burnham, grandson of the founder, in 1990-1991 and 2021. Scott McDaniel, co-owner of the firm, contributed to the 1990 donation.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Stained glass artists -- Massachusetts  Search this

Topic:

Church architecture -- United States  Search this

Church decoration and ornament -- United States  Search this

Decorative arts  Search this

Glass art  Search this

Genre/Form:

Sketches

Photographs

Watercolors

Diaries

Sketchbooks

Scrapbooks

Citation:

Wilbur H. Burnham Studios records, circa 1901-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.wilbhbur

See more items in:

Wilbur H. Burnham Studios records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ad5178e0-def4-497b-855e-36fd04bf74ad

EDAN-URL:

ead_collection:sova-aaa-wilbhbur

Creator:

Taylor, James E., 1839-1901 (artist and collector)  Search this

Names:

Geological Survey (U.S.)  Search this

United States. Army  Search this

Buffalo Bill, 1846-1917  Search this

Crook, George, 1829-1890  Search this

Custer, George Armstrong, 1839-1876  Search this

Hickok, Wild Bill, 1837-1876  Search this

Juárez, Benito, 1806-1872  Search this

Kinman, Seth  Search this

Miles, Nelson Appleton, 1839-1925  Search this

Powell, John Wesley, 1834-1902  Search this

Red Cloud, 1822-1909  Search this

Richard, Louis  Search this

Sheridan, Philip Henry, 1831-1888  Search this

Sitting Bull, 1831-1890  Search this

Spotted Tail, 1823-1881  Search this

Photographer:

Barry, D. F. (David Francis), 1854-1934  Search this

Easterly, Thomas M. (Thomas Martin), 1809-1882  Search this

Eaton, E. L. (Edric L.), b. ca. 1836  Search this

Ebell, Adrian J. (Adrian John), 1840-1877  Search this

Gardner, Alexander, 1821-1882  Search this

Hillers, John K., 1843-1925  Search this

Jackson, William Henry, 1843-1942  Search this

M'Clees, Jas. E. (James E.)  Search this

O'Sullivan, Timothy H., 1840-1882  Search this

Pywell, Wm. R. (William Redish), 1843-1886  Search this

Vannerson, Julian, 1827-  Search this

Whitney, Joel E. (Joel Emmons), 1822-1886  Search this

Extent:

4 Tintypes

3 Chromolithographs

3 Lithographs (3 chalk-manner lithographs)

1 Print (photogravure)

118 Pages (Scrapbook)

685 Prints (circa, albumen)

80 Items (circa 80 relief prints (including woodcuts and wood engraving))

30 Items (circa 30 intaglio prints (including etchings and engravings))

Culture:

Apache  Search this

Pueblo  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Cherokee  Search this

Niuam (Comanche)  Search this

Muskogee (Creek)  Search this

Apsáalooke (Crow/Absaroke)  Search this

Fox  Search this

A'aninin (Gros Ventre)  Search this

Kiowa  Search this

Modoc  Search this

Diné (Navajo)  Search this

Oglala Lakota (Oglala Sioux)  Search this

Anishinaabe (Chippewa/Ojibwa)  Search this

Omaha  Search this

Chaticks Si Chaticks (Pawnee)  Search this

Potawatomi  Search this

Indians of North America -- Plateau  Search this

Indians of North America -- Great Basin  Search this

Indians of North America -- Southwest, New  Search this

Ho-Chunk (Winnebago)  Search this

A:shiwi (Zuni)  Search this

Sauk  Search this

Shoshone  Search this

Ute  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Tintypes

Chromolithographs

Lithographs

Prints

Pages

Photographs

Newspapers

Woodcuts

Place:

Mexico

Taos Pueblo (N.M.)

California

Oregon

Fort Davis (Tex.)

New Mexico

Fort Snelling (Minn.)

Arizona

Texas

San Juan Pueblo (N.M.)

Zuni (N.M.)

Kansas

Colorado

Date:

circa 1863-1900

Summary:

Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations.

Scope and Contents:

Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations. The album includes photographs (mostly albumen with three tintypes), newsclippings, wood engravings, and lithographs, some of which are reproductions of Taylor's own illustrations and paintings. Photographs depict American Indians, US Army soldiers and scouts, historical sites, forts, and scenery. Some were made on expeditions, including the Hayden and Powell surveys, and created from published stereographs. Many of Taylor's illustrations are signed, and some are inscribed with dates and "N. Y." The scrapbook also includes clippings from newspapers and other written sources relating to illustrations and photographs in the album.

Biographical Note:

James E. Taylor (1839-1901) was an artist-correspondent for Leslie's Illustrated Weekly Newspaper from 1863-1883. Born in Cincinatti, Ohio, he graduated from Notre Dame University by the age of sixteen. Taylor enlisted in the 10th New York Infantry in 1861 and the next year was hired by Leslie's Illustrated newspaper as a "Special Artist" and war correspondent. In 1864 he covered the Shenandoah Valley campaign, and was later one of the illustrator-correspondents at the 1867 treaty negotiations at Medicine Lodge, Kansas. He soon earned the moniker "Indian Artist" because of his vast number of drawings of American Indians. In 1883 Taylor retired from Leslie's to work as a freelance illustrator. Colonel Richard Irving Dodge used Taylor's drawings to illustrate his memoir, "Our Wild Indians: Thirty-three Years' Personal Experience among the Red Men of the Great West" (1882).

Local Call Number(s):

NAA Photo Lot 4605

Related Materials:

The National Anthropolgical Archives holds additional photographs by photographers represented in this collection (including original negatives for some of these prints), particularly in Photo Lot 24, Photo Lot 37, Photo Lot 60, Photo Lot 87.

Additional photographs by Whitney, Gardner, and Barry held in National Anthropological Archives Photo Lot 80-18.

Julian Vannerson and James E. McClees photographs held in National Anthropological Archives Photo Lot 4286.

Pywell photographs held in National Anthropological Archives Photo Lot 4498.

O'Sullivan photographs held in National Anthropological Archives Photo lot 4501.

Additional Hillers photographs held in National Anthropological Archives Photo Lot 83-18 and Photo Lot 87-2N.

Provenance:

Donated or transferred by John Witthoft from the Pennsylvania Historical and Museum Commission, April 14, 1961.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Church buildings  Search this

Mines and mineral resources  Search this

Dance  Search this

White River Massacre, Colo., 1879  Search this

Painting  Search this

Washita Campaign, 1868-1869  Search this

Mormon Church -- History  Search this

Indians of North America -- Southern states  Search this

Indians of North America -- Northeast  Search this

Genre/Form:

Photographs

Newspapers

Woodcuts

Tintypes

Citation:

MS 4605, James E. Taylor scrapbook of the American West, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4605

See more items in:

James E. Taylor scrapbook of the American West

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw33fa281bf-1e72-4f26-ae86-8c8389244b4e

EDAN-URL:

ead_collection:sova-naa-ms4605

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

1.45 Cubic feet (consisting of 3 boxes, 2 folders, 2 oversize folders, 1 map case folder, plus digital images of some collection material.)

Type:

Collection descriptions

Archival materials

Speeches

Monographs

Newsclippings

Fliers (printed matter)

Clippings

Newspaper clippings

Books

Realia

Magazines (periodicals)

Plates (illustrations)

Programs

Application forms

Illustrations

Concert programs

Signs (declaratory or advertising artifacts)

Booklets

Publications

Transcriptions

Certificates

Pamphlets

Date:

1787-1964

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

The subject category Women documents the Suffrage Movement within the United States, as well as aspects of women's lives and societal contributions. This includes information about women's social lives, fashion, health, occupations, as well as commentary about the roles and expectations of many women in society. There is a notable shortage of material related to women of color.

Women includes newslippings, and material related to pro and anti-Suffrage efforts such as fliers, speeches, monographs, and realia. Outside of Suffrage-related topics, Women also includes artistic prints and images of women, poems about women, and serial publications related to women's issues or oriented towards an audience of women.

Women includes a span of subject materials related to more specfic aspects of women's lives and social commentary. This includes historical overviews of notable women's lives, guides to aspects of womanhood, fashion documentation, literature to promote good health, and background about the role of women in varied trades.

No single subtopic is explored in particular depth, though Women offers general information about various aspects of women's lives and varied social and political environments.

Arrangement:

Women is arranged in three subseries.

Suffrage Movement

Genre

Subject

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Women is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, and it was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published since Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

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.

Occupation:

Composers  Search this

Composers -- 20th century  Search this

Topic:

Fashion -- United States -- History -- 20th century  Search this

Women iron and steel workers  Search this

Fashion -- 20th century  Search this

Women laborers  Search this

United States-Social life and customs  Search this

Health  Search this

Suffragists  Search this

Religion  Search this

Women musicians  Search this

Women -- Social life and customs -- 19th century  Search this

Children  Search this

Industry  Search this

Labor  Search this

Childbirth  Search this

Dress  Search this

Fashion design  Search this

Marriages  Search this

Steel industry and trade  Search this

Women -- Political activity  Search this

Journalism  Search this

Social interaction  Search this

Industry -- U.S.  Search this

Women -- Employment  Search this

Women -- Civil rights  Search this

Women -- Health and hygiene  Search this

Children and childbirth  Search this

Clubs  Search this

Women's music  Search this

Social norms  Search this

Women -- Organizations  Search this

Clothing and dress  Search this

Women  Search this

Women's suffrage -- United States  Search this

Women's rights  Search this

Child rearing  Search this

Musical performances  Search this

Women employees  Search this

Women's rights -- United States  Search this

Marriage and family -- women, status of  Search this

Marriage  Search this

Women -- Suffrage  Search this

Mental health  Search this

Banking  Search this

Women in music  Search this

Marriage and family  Search this

Women -- Societies and clubs  Search this

Hygiene  Search this

Fashion  Search this

War  Search this

Banks and banking, American -- 19th century  Search this

Music  Search this

Health education  Search this

Women -- Education  Search this

Journalists  Search this

Genre/Form:

Speeches

Monographs

Newsclippings

Fliers (printed matter)

Clippings

Newspaper clippings

Books

Realia

Magazines (periodicals)

Plates (illustrations)

Programs

Application forms

Illustrations

Concert programs

Signs (declaratory or advertising artifacts)

Booklets

Publications

Transcriptions

Certificates

Pamphlets

Citation:

Warshaw Collection of Business Americana Subject Categories: Women, Archives Center, National Museum of American History, Smithsonian Institution.

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Women

See more items in:

Warshaw Collection of Business Americana Subject Categories: Women

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82872300c-a4e2-4b50-bc09-a07880235215

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-women

Creator:

Carter, Benny, 1907-2003  Search this

Extent:

67.5 Cubic feet (182 boxes, 3 oversize folders)

Type:

Collection descriptions

Archival materials

Awards

Clippings

Scrapbooks

Scores

Posters

Photographs

Music

Manuscripts

Date:

1928-2000

Scope and Contents:

The majority of the material in the Benny Carter Collection is dated from the late 1920s through the later half of the 1990s. Donated to the Smithsonian Institution in December, 2000, the bulk of the collection is comprised of original music manuscripts (full scores and parts), band books, and published sheet music from Benny Carter's prolific career as a jazz composer and musician. The collection also contains newspaper clippings, correspondence, photographs, scrapbooks, awards, posters, commercial sound recordings, a few jazz related journals and some personal ephemera documenting Benny Carter's personal life and career as a composer, arranger, bandleader, trumpeter and alto saxophonist.

Arrangement:

The collection is organized into six series

Series 1: Music Manuscripts, 1928-1990s

Series 2: Newspaper Clippings and Magazine Clippings, 1928-2000

Series 3: Photographs, 1928-1998

Series 4: Awards and Proclamations, 1961-1999

Series 5: Sound Recordings, 1958-1989

Series 6: Ephemera, 1952-2000

Series 7: 2004 Photographs Addenda

Series 8: 2004 Ephemera Addenda

Series 9: 2004 Magazine and Newsclippings Addenda

Series 10: 2004 Awards and Proclamations Addenda

Biography:

Bennett Lester Carter, better known as "Benny," was born on August 8, 1907 in New York City. The Carter's were quite a musical family - - Benny's father played guitar, his mother played piano, and a cousin, Theodore ("Cuban") Bennett, played the trumpet professionally - - so it was no surprise that Benny also became a musician, beginning his musical training at the age of ten. He first played the trumpet and then C-melody saxophone before changing to alto saxophone, which became his chief instrument.

Benny Carter began his professional career around the young age of seventeen, when he joined a local group as an alto saxophonist. He subsequently played with various other groups, including Billy Paige and Louis Deppe, until attending Wilberforce College in Ohio to study seminary in 1925. Finding music more enticing than theology, Carter left college and instead toured with Horace Henderson's Wilberforce Collegians intermittently between 1925 and 1928.

Carter's musical talents began attracting widespread attention in 1930 during a year-long stint with Fletcher Henderson's orchestra, to which he contributed many important arrangements. As word of his talent continued to spread, Carter played with such notables as William "Chick" Webb (1931) and served as musical director of William McKinney's Cotton Pickers (1931-1932) in Detroit. Upon returning to New York in 1932, Carter formed his own highly-respected orchestra. In its two years of existence, the Benny Carter Orchestra included several major pioneers in early swing style, such as Bill Coleman, Dicky Wells, Ben Webster, Chu Berry, Teddy Wilson, and Sid Catlett. Months after playing the inaugural show in New York City at Harlem's Apollo Theater in 1934, Carter disbanded the orchestra and, one year later, sailed to Europe to spread jazz across the globe.

After arriving in Europe, Carter first performed with Willie Lewis in Paris, France, and then, during 1936 -1938, served as staff arranger for the BBC Dance Orchestra in London, England. As he continued to tour throughout his stay in Europe (even leading his own interracial band in the Netherlands in 1937), he met with even greater success than in the United States. By this point, Carter was well-known for his arrangements and for his alto saxophone and clarinet playing. He was also recognized for his talented singing and tenor saxophone, trumpet, and piano playing.

In 1938, Carter sailed back to the United States and formed a new orchestra which regularly played at Harlem's Savoy Theater until 1940. He toured the United States during the next few years, both with small groups and with his big band, finally settling in Los Angeles in 1945. There he continued to lead his band (band members included modern jazz greats such as Miles Davis and J. J. Johnson), but turned increasingly to writing and arranging music for films and television productions. His film scores include Stormy Weather (1943), A Man Called Adam (1966), Red Sky at Morning(1970), and Buck and the Preacher (1972). "Ironside," "Bob Hope Presents," and the Alfred Hitchcock show were among the television programs for which he wrote music.

Carter had stopped performing with a regular orchestra by 1946, but he remained active up through the 1960s both by playing at Norman Granz's Jazz at the Philharmonic shows and with Duke Ellington, among others. He also continued to arrange music for various singers, including Sarah Vaughan, Ella Fitzgerald, Ray Charles, Peggy Lee, and Louis Armstrong. During the 1970s he began performing again, touring in Europe, Asia and Australia; in 1976 he toured the Middle East under sponsorship of the U.S. Department of State. Carter also became involved with academia, serving as visiting professor or workshop consultant at universities such as Yale, Cornell, Princeton, and Duke. He remained active in the music business well into the 1990s and still resides in California.

Benny Carter is regarded as "one of the most versatile musicians of his time." As a musician, he made major contributions to several areas of jazz and, as an arranger, he helped to construct the big-band swing style. He has received many awards throughout his career. The more prestigious honors included a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences and a 1994 Grammy Award for the album "Elegy in Blue."

Footnotes

[1 ] Biographical note derived from Benny Carter: A Life in American Music, by Monroe and Edward Berger, and James Patrick (New York: Scarecrow Press and the Institute of Jazz Studies, Rutgers University, 1982).

[2] J. Bradford Robinson, "John Kirby," The New Grove Dictionary of Jazz, vol 1, 1986: 653-54.

Provenance:

The Benny Carter Collection was donated by Bennett Carter in December 2000.

Restrictions:

Collection is open for research.

Rights:

Reproduction restricted due to copyright.

Topic:

African American musicians  Search this

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

Genre/Form:

Awards

Clippings -- 20th century

Scrapbooks -- 20th century

Scores

Posters -- 20th century

Photographs -- 20th century

Music -- Manuscripts

Manuscripts -- Music -- 20th century

Citation:

Benny Carter Collection, 1928-2000, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0757

See more items in:

Benny Carter Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep839f63d81-a542-41dc-8929-3f0c7f433f2f

EDAN-URL:

ead_collection:sova-nmah-ac-0757

Creator:

Midtown Galleries (New York, N.Y.)  Search this

Names:

Midtown-Payson Galleries  Search this

Betts, Edward H., 1920-  Search this

Bishop, Isabel, 1902-1988  Search this

Cadmus, Paul, 1904-1999  Search this

Coiner, Charles T., 1897-  Search this

Davis, Gladys Rockmore, 1901-1967  Search this

Etnier, Stephen, 1903-1984  Search this

Etting, Emlen, 1905-1993  Search this

Fiene, Ernest, 1894-  Search this

Gruskin, Alan D. (Alan Daniel), 1904-1970  Search this

Gruskin, Mary J.  Search this

Guston, Philip, 1913-1980  Search this

Hale, Nathan Cabot  Search this

Healey, Francis C.  Search this

Kingman, Dong, 1911-2000  Search this

Lahm, Ren'ee, 1897-1945  Search this

Magafan, Ethel, 1916-1993  Search this

Maldarelli, Oronzio, 1892-1962  Search this

Mangravite, Peppino, 1896-  Search this

Martin, Fletcher, 1904-1979  Search this

Meyer, Fred  Search this

Moller, Hans, 1905-  Search this

Nagler, Edith Kroger, 1890-1986  Search this

Nagler, Fred, 1891-1983  Search this

Palmer, William C., 1906-  Search this

Parsons, Betty  Search this

Peirce, Waldo, 1884-1970  Search this

Reinhardt, Siegfried, 1925-1984  Search this

Rosenthal, Doris Patty, 1889-1971  Search this

Saarinen, Lilian Swann, 1912-1995  Search this

Schoener, Jason  Search this

Sepeshy, Zoltan, 1898-1974  Search this

Shulkin, Anatol, 1899-1961  Search this

Simkhovitch, Simka, 1893-1949  Search this

Sokole, Miron, 1901-  Search this

Soyer, Isaac, 1902-1981  Search this

Taubes, Frederic, 1900-  Search this

Thon, William, 1906-2000  Search this

Varga, Margit, 1908-2005  Search this

Vickrey, Robert, 1926-2011  Search this

Wingate, Arline, 1906-1998  Search this

Extent:

86.82 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Video recordings

Date:

1904-1997

Summary:

The records of Midtown Galleries measure 86.82 linear feet and date from 1904 to 1997. The collection documents the operation and general administration of the business and includes artist records, exhibition material, inventories, financial records, photographs, and printed material.

Scope and Content Note:

Records of Midtown Galleries [including the addition], circa 1904-1997, comprise 86.82 linear feet on 117 microfilm reels. Records are sparse for the early years when the gallery was operated as a cooperative. As the business expanded and became profitable, recordkeeping was more systematic and thorough. Records consist of administrative correspondence, 1927-1989 and undated; exhibition records, 1934-1982 and undated; inventories and sales records, 1946-1980 and undated; financial records, 1933-1957; miscellaneous, 1934-1985 and undated; photographs, circa 1925-circa 1980; printed matter, 1932-1982 and undated; personal papers of Alan D. and Mary J. Gruskin, 1932-1983 and undated; and Papers of Francis C. Healey, 1932-1935 and undated An addition, represents scattered material, 1932-1997 and undated, that remained after the gallery closed in 1995. It includes administrative records, 1934-1995 and undated; photographs circa 1938-1988 and undated; artists records, 1932-1993 and undated; exhibitions, 1958-1993 and undated; videotapes, 1977-1988; and oversize printed matter, 1973-1977 and undated Because microfilmimg of the Midtown Galleries records was already underway when this material was received, it could not be integrated with the main portion of the collection.

Administrative correspondence is categorized as General Correspondence, Artists Correspondence, and Artists Applications. General Correspondence is with clients, collectors, museums and galleries, arts organizations, and businesses providing services to Midtown Galleries, and concerns routine business matters. Artists Correspondence contains both personal and business letters since the Gruskins were close friends of many artists represented by Midtown Galleries. Artists Applications consists of correspondence with artists seeking representation by Midtown Galleries. Both accepted and rejected artists are included in this subseries.

Exhibition records includes schedules and general correspondence about cooperative exhibitions and traveling shows. Exhibition files, arranged by title, contain correspondence concerning arrangements for each show.

Inventories include listings by artist and by warehouse location; also, lists of paintings on consignment, paintings returned to artists, loan/shipping log, and "traffic cards." Sales records include "groups totals,: artists account ledger, and sales slips.

Financial records consist of bills paid, banking records, accounting records, and tax returns with related documentation.

Miscellaneous items include manuscripts of Isabel Bishop Catalogue Raisonne and Biography by Karl Lunde and The Art of Philip Guston by Lester D. Longman. Also included are legal documents such as Act of Incorporation, partnership agreement, and leases; 32 guest registers, 1924-1985 and undated, and 15 samples of artist-designed fabrics produced by Onandoga Silk Co., 1946-1947.

Photographs of people include founders Alan D. Gruskin and Francis C. Healey, Mary J. Gruskin (Mrs. Alan D.) and many artists affiliated with Midtown Galleries. Photographs of works of art are by Midtown artists and others. Also, illustrations for Painting in the U.S.A. by Alan D. Gruskin; 2 albums of photographs of the work of Waldo Peirce, circa 1925-1930s (probably compiled by Peirce). Photographs of exhibitions include Midtown Galleries exhibitions and shows elsewhere featuring works by Midtown artists. Miscellaneous photographs include: Gruskin's Department Store (Pa.); models used by artists Julien Binford, Henry Koerner, and Doris Rosenthal; properties owned by Julien Binford and Hans Moeller; Anatol Shulkin's travel pictures of the Soviet Union; store window displays featuring Midtown artists, and fashion models at Midtown Galleries.

Printed matter includes material produced by Midtown Galleries: exhiition catalogs, 1932-1983 and undated; news releases, 1932-1983 and undated; Midtown News, 1965-1970; and miscellaneous items, 1943-1970 and undated Printed matter produced by others includes is comprised of artists files consisting mainly of newsclippings; also, articles about Midtown Galleries and the Gruskins.

Personal papers of Mary J. and Alan D. Gruskin contain biographical information, correspondence, financial records, miscellaneous items, calendars, and writings of Alan D. Gruskin. Correspondence, 1931-1970 and undated, with family and friends concerns personal business; also, letters of condolence on the death of Alan D. Gruskin, 1970. Financial records include personal finances and documentation of gifts of artwork to institutions, with appraisals and tax information. Calendars, 1939-1983, record both personal engagements and some business appointments. Writings of Alan D. Gruskin include manuscripts and drafts of columns, short stories, a screenplay, radio broadcasts, and lecture notes from courses at Harvard.

Papers of Francis C. Healey are comprised of correspondence that relates to both gallery and ersonal business. Also included are scripts and drafts for radio broadcasts, printed matter, press releases, and proposals for radio programs.

Administrative records received with the addition include general correspondence, correspondence with clients, and correspondence regarding gifts, sales and purchases. Records concerning the sale of Midtown Galleries to John Whitney Payson include Gruskin's and Payson's inventories. Also, included is a history of the gallery.

Photographs are of the Gruskins, their friends, and country house; also, views of Midtown exhibitions, openings, artists, and individual works of art.

Artists records are comprised mainly of artists files, largely containing printed matter. Among the artists records are a file of holiday cards by various artists, many with original artwork. Also included are catalogs of group shows featuring Midtown artists at other galleries

Exhibition materials include announcements, news releases, catalogs, miscellaneous printed matter, and a guest book. A small number of these items are dated after Payson's purchase of Midtown Galleries.

Videotapes of William Palmer, Isabel Bishop, and Robert Vickrey, as well as oversize printed matter relating to Midtown artists, complement the artists records.

Arrangement:

The collection is arranged into 10 series. A detailed explanation of the arrangement of each series is provided with the series descriptions. Each series is subdivided, often by record type, with categories usually arranged chronologically; exceptions are noted. Administrative correspondence (Series 1) is arranged alphabetically, as are many inventories sales records (Series 3). Photographs of people, exhibitions, and works of art (Series 6) are arranged alphabetically, as are the artists files and exhibition clippings portions of the printed matter (Series 7). The addition is described separately in Appendix A; and, wherever possible, reel and frame numbers of related materials received and filmed with the addition have been included in the main text's series descriptions.

Missing Title

Series 1: Administrative Correspondence, 1927-1989, undated (51 linear ft.)

Series 2: Exhibitions, 1932-1982, undated (4 linear feet)

Series 3: Inventories and Sales Records, 1932-1980, undated (5.3 linear ft.)

Series 4: Financial Records, 1933-1957 (3.5 linear feet)

Series 5: Miscellaneous, 1934-1985, undated (2 linear feet)

Series 6: Photographs, circa 1925-circa 1980 (6.5 linear feet)

Series 7: Printed Matter, 1932-1990, undated (7.25 linear ft.)

Series 8: Personal Papers of Alan D. and Mary J. Gruskin, 1904-1990, undated (4.5 linear feet)

Series 9: Papers of Francis C. Healey, 1932-1935, undated (0.5 linear ft.)

Series 10: Addition, 1932-1997, undated (2.5 linear feet)

Historical Note:

Alan D. Gruskin (1904-1970) hoped to become an artist, but while still a student realized that his talents were better suited to art administration than painting. Following graduation from Harvard University, he worked at a New York gallery that specialized in old masters, returning home to Pennsylvania after a year to pursue a writing career that ultimately proved unsuccessful. Gruskin returned to New York and opened Midtown Galleries at 559 Fifth Avenue in 1932. Specializing in work by living American artists, Midtown was one of a rather small number of commercial galleries in New York City that showed contemporary American art. Midtown Galleries represented academic and realist painters, and purposely avoided abstract art.

Founded during the Depression, Midtown Galleries was a shoe-string operation in its early years. Originally operated as a cooperative, Midtown Galleries' participating artists contributed to the costs and work of presenting exhibitions. Between 1932 and 1935, Gruskin served as "Art Director" of the gallery and his business partner, Francis C. Healey was "Publicity Director." Healey appears to have been responsible for weekly broadcasts on NBC radio designed to interest people in visiting the gallery. The 15-minute programs consisted of discussions with museum directors, curators, artists, writers, and musicians about a broad range of cultural topics. Copies of the scripts were offered for a dime, and the payments mailed by radio listeners bought Gruskin's meals. During this period, Gruskin lived in the gallery. After Healey's departure in 1935, Midtown Galleries ceased to be run as a cooperative.

Midtown Galleries usually represented approximately two dozen artists, and many remained with the gallery for decades. They included: Julien Binford, Isabel Bishop, Paul Cadmus, Gladys Rockmore Davis, Emlen Etting, Maurice Freedman, Dong Kingman, Oronzio Maldarelli, William C. Palmer, Waldo Peirce, Doris Rosenthal, Zoltan L. Sepeshy, Frederic Taubes, William Thon, Margit Varga, and Robert Vickrey.

Gruskin worked to educate and interest the public in American art and to promote the artists he represented. In addition to countless reviews, articles, and catalog essays, he wrote three books: Painting in the U.S.A. (1946), The Watercolors of Dong Kingman and How the Artist Works (1958), William Thon: The Artist and His Technique (1964). Gruskin advocated the use of fine art in advertising and industry, obtaining commissions for his artists and at the same time assisting clients in building corporate collections. A prime example is the Upjohn Company which, at Gruskin's urging, included reproductions of paintings in "Your Doctor Speaks," a series of public service announcements. Many of the paintings were purchased subsequently, forming the basis of the Upjohn Collection. A traveling exhibition, The Upjohn Company Collection of Contemporary American Paintings, was circulated by Midtown Galleries and featured in a Life magazine article about fine art and advertising. Another example is the fabric patterns, based on paintings by several of Midtown Galleries' artists, commissioned by the Onandoga Silk Company; the fabrics were used for dresses by popular designers, with fashion shows and window displays of paintings by the participating artists at selected department stores throughout the country. Working closely with architects and interior designers, Gruskin and Midtown Galleries were innovators in the use of domestic and business settings to showcase art with Art In Interiors, a series of exhibitions held annually between 1952 and 1961.

Midtown Galleries was a pioneer in circulating traveling exhibitions to colleges and art associations in communities distant from major art museums and commercial galleries. Beginning in 1936 and or more than 35 years, Midtown Galleries circulated 8-10 shows throughout the country each year; most were group shows organized around a theme, though occasional solo exhibitions were offered. Other important exhibitions off the premises were the Central Illinois Art Exposition, 1939, and the contemporary American art exhibition at the New York World's Fair, 1964-1965. The 1939 show organized by Gruskin for the Bloomington, Illinois, Art Association was a large exhibition of American art borrowed from a variety of institutions; the very well-publicized show was heavily attended, drawing visitors from a large area of the rural Midwest, many of whom had never visited a museum or seen original art.

Missing Title

1932 -- established as a cooperative gallery at 559 Fifth Ave. by Alan D. Gruskin (Art Director) and Francis C. Healey (Public Relations Director); Midtown Galleries presented programs on contemporary American art broadcast by NBC radio

1934-1935 -- Tudor City Art Galleries at 8 Prospect Place, New York City, featuring works by Midtown Galleries' artists and others, administered by Gruskin and Healey

1935 -- departure of Francis C. Healey; gallery moved to 605 Madison Ave.; gallery ceased to be run as a cooperative

1936 -- began traveling exhibitions to universities, museums, and regional art associations

1939 -- Central Illinois Art Exposition (Bloomington, Ill.)

1946 -- San Francisco branch opened and closed; publication of Painting in the U.S.A. by Alan D. Gruskin

1951 -- gallery moved to 17 East 57th Street

1958 -- publication of The Watercolors of Dong Kingman and How the Artist Works by Alan D. Gruskin

1962 -- gallery moved to 11 East 57th Street

1964 -- exhibition of contemporary American art at the New York World's Fair, organized by Midtown Galleries; shown in American Interiors Pavilion, this was the only exhibit of its kind at the Fair; publication of William Thon: The Artist and His Technique by Alan D. Gruskin

1966 -- loan of Midtown Galleries' records for microfilming by the Archives of American Art; this small selection, along with many other gallery records, was donated by Mary Gruskin to the Archives between 1972 and 1991, with an additional gift in 1997

1970 -- death of Alan D. Gruskin (1904-1970); Mary J. Gruskin assumes position of Director

1972 -- first portion of Midtown Galleries' records donated to the Archives of American Art by Mrs. Gruskin

1985 -- sale of Midtown Galleries to John Whitney Payson; Bridget Moore, Director, and Mary J. Gruskin, Director Emerita

1986 -- majority of Midtown Galleries' records acquired by the Archives of American Art

1990 -- name changed to Midtown-Payson Galleries; gallery moved to 745 Fifth Ave.

1991 -- additional gift of records by Mrs. Gruskin

1992 -- records arranged, described, and prepared for microfilming

1993 -- microfilming began; continued sporadically, in small segments

1995 -- Midtown-Payson Galleries closed

1997 -- additional gift of records by Mrs. Gruskin

1999 -- microfilming completed

Provenance:

Midtown Galleries loaned a small number of records consisting of news releases, 1939-1966, and exhibition schedules to the Archives of American Art for microfilming in 1966. Subsequently, Mary J. Gruskin donated this material, along with many other gallery records, to the Archives in several installments between 1972 and 1991; an additional gift was received in 1997. The portion loaned in 1966 is now integrated with the main records and has been refilmed in sequence. Unfortunately, the addition of 1997 was received in Washington, D.C. after microfilming was well underway. The addition has been microfilmed and described separately as Series 10. Wherever possible, the main text has been annotated with reel and frame numbers for related items contained in the addition.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

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.

Topic:

Art, Modern -- 20th century -- United States  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Video recordings

Citation:

Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution

Identifier:

AAA.midtgall

See more items in:

Midtown Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw914dd4711-6742-49ca-86c0-2e99aad538ea

EDAN-URL:

ead_collection:sova-aaa-midtgall

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 158, Folder 11

Type:

Archival materials

Date:

1987, undated

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

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:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 23: Brown, Adele "Del" and Herizon Social Club

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8699c956a-dadb-42c0-9ae9-d383b8aaf267

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2691

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 26, Folder 19

Type:

Archival materials

Date:

1987-1993

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

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:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 23: Brown, Adele "Del" and Herizon Social Club

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep837e8ab21-db7b-4dbb-bf24-060f65a63d38

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2695

Creator:

Dorn, Joel, 1942-2007  Search this

Names:

Atlantic Recording Corporation  Search this

Extent:

8 Cubic feet (17 boxes)

Type:

Collection descriptions

Archival materials

Clippings

Account books

Black-and-white photographic prints

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

Black-and-white photographic prints -- 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

GUID:

https://n2t.net/ark:/65665/ep8f5168e86-78aa-4737-a481-88fabb5d55c6

EDAN-URL:

ead_collection:sova-nmah-ac-0536

Collector:

McKinley, Ray, 1910-1995 (musician, bandleader)  Search this

Names:

Glenn Miller Orchestra  Search this

Jimmy Dorsey Orchestra  Search this

Ray McKinley Orchestra  Search this

Extent:

19.5 Cubic feet (56 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Ephemera

Music

Scrapbooks

Clippings

Date:

1945-1994

Scope and Contents:

The Ray McKinley Music and Ephemera consists of music, scores, sideman books, photographs, correspondence, news clippings and magazine articles, business records, awards, audio and videotapes, 45 rpm commercial recordings, and miscellaneous biographical notes. The records date from the the late nineteenth century to 1996 and document the professional music career and personal life of Ray McKinley (drummer, band leader, and vocalist). The collection is organized into three series; Series 1: Music ca. 1942-1990, Series 2: Ephemera ca. 1870-1996, and Series 3: Miscellaneous ca. 1943-1993. Materials in each series are arranged either alphabetically by music title or chronologically by date.

The following reference abbreviations are used in the container list to facilitate cross-referencing of materials in different subseries:

see: look for this title or material in the following location sa: see also: additional or related material is available in the following location aka: also known as OS: oversize score OP: oversize photograph

Arrangement:

The collection is divided into three series.

Series 1: Music

Series 2: Ephemera

Series 3: Audio Visual Materials

Biographical / Historical:

Ray McKinley was born on June 18, 1910 in Fort Worth, Texas, the son of Flora Newell McKinley and Raymond Harris McKinley, Sr. McKinley, Jr. entertained himself at an early age by "drumming" on whatever was available, and he received his first drum set at age nine from a family friend. His performing career had begun even earlier, at age six, with a snare drum solo for several thousand at the Elks Circus in the North Fort Worth Coliseum. At twelve he started playing professionally with local bands and orchestras. In an April, 1986 article in Modern Drummer, McKinley commented, "I wasn't that terrific, but everyone thought I was" (see Subseries 2B: Newsclippings and Magazine Articles). Whether deserved or not, his reputation was good enough that when the Jimmy Joy Orchestra came to town and was strapped for a substitute drummer, twelve-year-old McKinley got the job.

McKinley left town for the first time on a tour with the Duncan-Marin band in 1926. While performing in a Chicago nightclub, he was caught in the crossfire of a gang shoot-out and shot in the leg. During his convalescence, he wandered the clubs and listened in on sets. He met "Benny Pollack, Benny Goodman, Glenn Miller and others" (Ray McKinley, see Subseries 2F: Biographical Materials). He left the Duncan-Marin group in 1927 for the Beasley Smith orchestra, and joined the Tracy-Brown Orchestra in 1929. He played with Milt Shaw's Detroiters for a time in 1930, followed by a stint with Dave Bernie's band. With Bernie, he made two trips to England, "where he acquired a set of neckties and a Southern accent" (McKinley, Biographical Materials).

Glenn Miller asked McKinley to join him in Smith Ballew's band in 1932, and Miller later placed McKinley and four others with the Dorsey Brothers' Orchestra. When the Dorseys split, McKinley stayed with Jimmy Dorsey, although he was heavily recruited by other band leaders, including Tommy Dorsey and Benny Goodman. He became known as a vocalist as well as drummer in Jimmy Dorsey's band, and had Bing Crosby name him "one of the ten best vocalists in the country" (All-American Band Leaders, July, 1942). In 1939, at the suggestion of booking agent Willard Alexander, McKinley joined forces with Will Bradley (formerly Wilber Schwitsenberg) to form the "Will Bradley Orchestra featuring Ray McKinley." With McKinley on vocals and drums, the band's several hits included Beat Me Daddy, Eight to the Bar, Down the Road Apiece and Celery Stalks at Midnight. McKinley left in 1942 to form his own group, The Ray McKinley Orchestra. The band was very well-recieved, but broke up after only 8 months due to external factors including the outbreak of the second World War. McKinley placed many of his players with the Tommy Dorsey Orchestra just before he was drafted.

McKinley's old association with Glenn Miller paid off when Glenn took him on for his famous Army Air Force Band. McKinley says that Glenn Miller's band "was one of the two best musical organizations I had anything to do with as a player" (Modern Drummer). The Glenn Miller Band was sent to England in June, 1944. After Miller disappeared in 1944, McKinley fronted the band until its return to the United States in 1945. At this point, McKinley handed the reins to Tex Benecke and formed a new Ray McKinley Orchestra.

McKinley's new orchestra enjoyed great success, partially due to its young talent, including that of arrangers Eddie Sauter and Deane Kincaide. McKinley's showmanship and skills as leader, vocalist, and drummer also earned the band many fans. Some of their hits included Red Silk Stockings and Green Perfume, You Came a Long Way From St. Louis, and Arizay. Unfortunately, the group's inception coincided with the end of the big band era. McKinley adjusted the size and style of the band in attempts to satisfy public demand, but he finally disbanded the group when he suffered an attack of amoebic dysentery in 1951.

After his recovery, McKinley freelanced with different bands and in radio and television, mostly accepting appearances that kept him near his home in Connecticut. His last extended stint with any band came in 1956, when Willard Alexander persuaded the Glenn Miller Estate to sponsor a New Glenn Miller Orchestra with McKinley as its leader. The band played arrangements of old Miller favorites from the original music as well as more contemporary hits. This orchestra, like McKinley's earlier ones, was very successful, performing on television and travelling all over the world. In 1966, McKinley tired of the road and "retired". For the next thirty years, McKinley again stayed close to home, playing "gigs" with various bands, working as a musical consultant for Walt Disney World in 1971, and doing some television and recordings.

McKinley is remembered as a loving family man, screwball showman, and dedicated musician. In January, 1950,InternationalMusician said that McKinley was "known in the trade as a 'drummer's drummer'--just about the highest accolade one can receive." Many of his fellow musicians attest that his clean, energetic style of drumming provided the drive behind many of the bands he played with, while his technical skill and sense of humor produced the exciting solos that made him popular with the public. According to drummer Cliff Leeman, "Unlike many of the highly technical, showman drummers, McKinley combined elements of showmanship and thoughtful, feeling performance. He never ignored his timekeeping duties" (Modern Drummer, 1986). Both on the drums and as band leader, McKinley was a bit of a clown. For instance, the "vocal" in Celery Stalks at Midnight originated when McKinley, for no particular reason, "instead of playing a two bar solo on the drums...just yelled out, 'Celery Stalks along the highway!'" (McKinley, Big Band Jump Newsletter). Still, despite his antics and the fun he obviously had while on the stand, McKinley was deadly serious about music. His thoughts on drumming are evidence of this: "Once you have the techniques down and combine them with an inherent sense of rhythim--I believe you have to be born with it--you're well on your way to becoming a good drummer. If you don't have that bone-deep rhythmic sense, or 'feel', you should be doing something else. That may sound autocratic. But that's the way it is, as far as I'm concerned"( ModernDrummer).

McKinley was married in 1937 but divorced by 1942. He then married ballet dancer Gretchen Havemann in 1943, a few months into his tenure with the Glenn Miller Band. On April 7, 1949, they had daughter for whom Gretchen coined the name Jawn. A loving, happy couple, he and Gretchen celebrated their fiftieth wedding anniversary in 1993. In 1983, he and Gretchen began spending half of their year in a home in Florida and half in Canada. He died in 1995.

Separated Materials:

Ray McKinley drumset and two band stands are located in the Division of Music History (now Division of Cultural and Community Life).

Provenance:

Donated by Gretchen McKinley and Jawn McKinley Neville on February 2, 1998.

Restrictions:

Collection is open for research.

Rights:

Copyright restrictions. Contact the Archives Center for information.

Topic:

Big band music -- 1940-2000  Search this

Jazz musicians  Search this

Musicians  Search this

Music -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Ephemera -- 20th century

Music -- 1940-2000

Scrapbooks -- 20th century

Clippings -- 20th century

Citation:

Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0635

See more items in:

Ray McKinley Music and Ephemera

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8afd188b7-bbff-4982-a44f-5b35f96830eb

EDAN-URL:

ead_collection:sova-nmah-ac-0635

Collection Creator:

Bellanca, Giuseppe M., 1886-1960  Search this

Container:

Box 78, Folder 18

Type:

Archival materials

Collection Restrictions:

No restrictions on access.

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Collection Citation:

Giuseppe M. Bellanca Collection, Acc. NASM.1993.0055, National Air and Space Museum, Smithsonian Institution.

See more items in:

Giuseppe M. Bellanca Collection

Giuseppe M. Bellanca Collection / Series 2: Technical Data / 2.4: Technical Research

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2f385db2a-82be-469e-a3f8-0b23c1d84aa0

EDAN-URL:

ead_component:sova-nasm-1993-0055-ref1345

Creator:

Vogel, Robert M.  Search this

Shayt, David H.  Search this

Worthington, Bill  Search this

Names:

Historic American Buildings Survey  Search this

Former owner:

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

Extent:

45 Cubic feet (114 boxes, 23 map folders)

Type:

Collection descriptions

Archival materials

Articles

Color slides

Contracts

Copy prints

Correspondence

Illustrations

Letterheads

Maps

Negatives (photographic)

Newsclippings

Notebooks

Photographs

Picture postcards

Pocket notebooks

Postage stamps

Press releases

Reports

Specifications

Stereographs

Date:

1755-2000

Summary:

The collection consists of a wide range of materials--ephemera, trade literature, correpsondence, photographs, maps, plans, schematics, pamplets, brochures, postcards, calendars--documenting the subject of bridges.

Scope and Contents:

This collection was assembled by the Division of Civil and Mechanical Engineering (now the Division of Work and Industry) curators over the course of several decades. The collection consists of a wide range of materials documenting the subject of bridges broadly in terms of planning, construction, geography, aesthetics, cost, and failures. Well-known bridges such as the Brooklyn Bridge and its bridge builders and engineers is also documented.

The materials consist of photographs, negatives, copy prints, illustrations, correspondence, newsclippings, journal articles, HABS/HAER drawings, engineeeing reports, contracts and specifications for building bridges, blueprints, and notebooks. Throughout the files is curatorial correspondence, principally with curator Robert Vogel and historians of the history of technology, bridge enthusiasts, and civil engineers. There is a mixture of primary, secondary and tertiary materials found throughout the collection.

Some of the materials related to the Brooklyn Bridge are photocopies or copy prints from the Rensselaer Polytechnic Institute Roebling Collection and other archives and libraries. These materials were assembled for the exhibit "Building Brooklyn Bridge--The Engineering and Construction, 1867-1883" staged in 1983 at the National Museum of American History. These materials are filed under the title "Building Brooklyn Bridge."

Many of the photographs and other items are from collections at the National Museum of American History: Llewellyn Nathaniel Edwards, Henry Grattan Tyrrell, Samuel E. Reed Collection, and the T.F. Healy Collection.

Publications vary widely, but some titles include American Contract Journal, American Railroad Journal, Harpers Weekly, Scientific American, Engineers and Engineering, Civil Engineering, Engineering News-Record, Engineering Record, and others.

Arrangement:

The collection is arranged into one series, then alphabetically.

Related Materials:

Materials in the Archives Center, National Museum of American History

Horatio Allen Papers, NMAH.AC.1447

American Public Works Association "Top Ten Public Works Projects of the Century--1900-2000" Nominations, NMAH.AC.0983

American Petroleum Institute Photograph and Film Collection, NMAH.AC.0711

Archives Center Business Americana Collection, NMAH.AC.0404

Archives Center Lantern Slide Collection, NMAH.AC.0686

Archives Center Postcard Collection, NMAH.AC.0483

Baltimore and Ohio Railroad Records, NMAH.AC.1086

Benjamin Franklin Bridge Photograph Album, NMAH.AC.1029

Berlin Construction Company Records, NMAH.AC.1032

Victor Blenkle Postcard Collection, NMAH.AC.0200

Bollman Truss Bridge Collection, NMAH.AC.1064

Donald M. Burmister Paper, NMAH.AC.1068

Canadian Bridges Photograph Albums, NMAH.AC.1025

Civilian Conservation Corps (CCC) Collection, NMAH.AC.0930

Robert Covington Stereograph Portfolio, NMAH.AC.1201

Cummings Structural Concrete Company Records, NMAH.AC.0218

Arthur d'Arazien Industrial Photographs, NMAH.AC.0314

Victor C. Darnell Bridge Construction Photographs, NMAH.AC.1018

William E. Dean Papers, NMAH.AC.0230

Robert Dearborn Panama Canal Glass negatives, NMAH.AC.1111

Delaware, Lackawanna and Western Railroad Records, NMAH.AC.1074

Beata Drake Covered Bridge Collection, NMAH.AC.0998

Llewellyn N. Edwards Papers, NMAH.AC.0959

W.J. Eney Collection, NMAH.AC.1062

Erie Railroad Collection, NMAH.AC.1082

Joseph C. Farber Papers and Photographs, NMAH.AC.0520

Foundation Company Records, NMAH.AC.0974

James Forgie Papers, NMAH.AC.0986

James Gallagher Collection, NMAH.AC.0228

Grand Central Terminal Collection, NMAH.AC.1071

Henry Grattan Tyrrell and Mary Maude Knox Tyrrell Papers, NMAH.AC.0948

Hartford, Connecticut Bridge Collection, NMAH.AC.1066

William R. Hutton Papers, NMAH.AC.0987

Kahn Family Film Collection, NMAH.AC.0722

Lake Shore and Michigan Southern Railroad Bridge Profiles, NMAH.AC.1073

Beatrice Lizinger Postcard Collection, NMAH.AC.0530

Nicholas C. Mandragos Papers, NMAH.AC.0484

Mechanical and Civil Engineering Stereograph Cards, NMAH.AC.1090

Mechanical and Civil Engineering Glass Plate Negatives, NMAH.AC.1089

Montgomery C. Meigs Papers, NMAH.AC.0984

Richard H. Miller Bridge Collection of Postcards and Slides, NMAH.AC.0950

Minnesota Railroads Photograph Albums, NMAH.AC.1023

George S. Morison Collection, NMAH.AC.0978

Modjeski and Masters Company Records, NMAH.AC.0976

Nathan W. Morgan Papers, NMAH.AC.0965

Niagara Falls Bridge Commission Records, NMAH.AC.1060

Thomas Norrell Railroad Photographs Collection, NMAH.AC.1174

Northern Pacific Railroad Bridge Construction Photograph Album, NMAH.AC.1030

Panama Canal Commission Photonegatives, NMAH.AC.1116

Parsons, Brinckerhoff, Quade and Douglas Records, NMAH.AC.0969

David Plowden North American Bridge Photographs, NMAH.AC.1019

David Plowden Steel Manufacturing Photographs, NMAH.AC.1020

Samuel E. Reed Bridge Collection, NMAH.AC.1001

Lili Rethi Papers, NMAH.AC.0749

John A. Roebling Collection, NMAH.AC.0981

Lucinda Rudell Covered Bridges Collection, NMAH.AC.1028

Edwin G. Rust Papers, NMAH.AC.1070

Jean W. Seele Rural Photographs, NMAH.AC.0759

Lester Shanks Collection of Bridge Photographs and Ephemera, NMAH.AC.1244

J. Parker Snow Collection, NMAH.AC.1000

Society for Industrial Archaeology Records, NMAH.AC.0688

Quebec Bridge Photograph Collection, NMAH.AC.1026

Railroad Bridges Construction Photograph Album, NMAH.AC.1024

Holton Duncan Robinson Papers, NMAH.AC.0963

Underwood & Underwood Glass Stereograph Collection, NMAH.Ac.0143

U.S. Steel Corporation Photograph Albums, NMAH.AC.1037

Rip Van Winkle Bridge Photographs, NMAH.AC.1027

Warshaw Collection of Business Americana, Series: Bridges, NMAH.AC.0060

Warshaw Collection of Business Americana, Series: Railroads, NMAH.AC.0060

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions, NMAH.AC.0060

Washington, D.C. Bridges Collection, NMAH.AC.1095

Raymond W. Wilson Covered Bridge Collection, NMAH.AC.0999

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:

Bridges  Search this

Civil engineers  Search this

Railroads -- 19th century  Search this

Railroads -- 20th century  Search this

Genre/Form:

Articles

Color slides -- 20th century

Contracts -- 20th century

Copy prints

Correspondence -- 19th century

Correspondence -- 20th century

Illustrations

Letterheads

Maps -- 20th century

Negatives (photographic)

Newsclippings

Notebooks

Photographs -- 20th century

Picture postcards -- 20th century

Pocket notebooks

Postage stamps

Press releases

Reports -- 19th century

Reports -- 20th century

Specifications

Stereographs

Citation:

Division of Mechanical and Civil Engineering Bridges Reference Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1577

See more items in:

Division of Mechanical and Civil Engineering Bridges Reference Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f3912776-c575-41af-a27e-338800e96007

EDAN-URL:

ead_collection:sova-nmah-ac-1577

Collector:

Watkins, J. Elfreth (John Elfreth), 1852-1903  Search this

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

Creator:

White, John H., 1933-  Search this

Names:

Baltimore and Ohio Railroad Company  Search this

Pullman Railroad Company  Search this

Extent:

31.33 Cubic feet (94 boxes)

Type:

Collection descriptions

Archival materials

Articles

Color slides

Copy prints

Correspondence

Ephemera

Magazines (periodicals)

Manuscripts

Maps

Negatives

Newsclippings

Patents

Photocopies

Photographs

Research

Stereographs

Tickets

Writings

Date:

1830s-1990

Scope and Contents:

The archivist has arranged the collection into seven series. The collection consists primarily of photocopied material assembled by John White for many of his books about railroads. Many files contain original photographs, brochures, advertisements, correspondence, and trade literature. Original Pullman Palace Car photographs can be found across many files. It appears that original Pullman Palace Car photopgraphs were removed from sequence and filed among John White's files. Researchers should consult the Pullman Palace Car Photograph Collection, NMAH.AC.1175. Additionally, original Baltimore & Ohio Railroad documents are found among many of the files. Researchers should also consult the Baltimore & Ohio Railroad Company Records, NMAH.AC.1086.

Series 1: Car Builders, arranged alphabetically by company or individual.

Series 2: Equipment, Rolling Stock, arranged in two sections: alphabetically by White's heading: Articles in Progress and alphabetical by type of railroad car under White's heading: Research Files for Book in Progress.

Series 3: Locomotives, arranged alphabetically by Locomotive builders in two sections, first by individual company and second by individuals.

Series 4: Railroad Companies and Lines, arranged alphabetically by railroad companies and railroad lines.

Series 5: Publications, White's files for his book The American Railroad Freight Car, which are arranged into two sections, Illustrations and Text. Both sections are arranged numerically by chapters or sections of the book.

Series 6: Freight Cars

Series 7: Passenger Cars

Arrangement:

The collection is divided into seven series. Most material arranged alphabetically and then chronologically.

Series 1: Car Builders

Series 2: Equipment--Rolling Stock

Subseries 2.1: Articles in progress

Subseries 2.2: Research Files for Books in Progress

Series 3: Locomotives

Series 4: Railroad Companies and Lines

Series 5: Publications

Series 6: Freights Cars

Series 7; Passenger Cars

Historical:

John H. White, Jr., (1933- ), historian and museum curator, was born in Cincinnati, Ohio. He graduated with a B.A. in history from Miami University, Ohio, in 1958. Shortly after receiving his degree, White joined the staff of the Smithsonian Institution as Assistant Curator of the Division of Transportation, Department of Science and Technology, National Museum of History and Technology (NMHT). White became Associate Curator of the Division, 1961-1966, Curator, 1967-1985, and Senior Historian, 1986-1989. White specialized in land transportation, particularly the history of railroads. He retired in 1990. His papers, the John H. White, Jr., Papers, circa 1959-1989 are at the Smithsonian Institution Archives.

This collection of railroad materials was begun many years ago by employees of the Smithsonian Institution, and maintained later by curators and museum specialists working in the Division of Transportation, NMHT, later named the National Museum of American History (NMAH).

Some of the clippings date back to the time of J. Elfreth Watkins in the 1880-1890s. In 1885 Watkins was appointed Curator of the Section of Steam Transportation, which was successively known as Transportation and Engineering, and Technological Collections. Other portions of White's collection were clearly from Carl Mitman, author of several hundred entries on inventors and engineers in the Dictionary of American Biography and a Smithsonian employee who served as Curator of Mechanical Technology in 1919. In 1921 Mitman took the title of Curator of the Divisions of Mineral and Mechanical Technology, serving in this capacity until 1931. In 1931 the Division of Engineering was established. Mitman served as Curator of the Division and in charge of Mineral Technology, 1931-1938, Head Curator of the Department of Arts and Industries, 1932-1938, and Head Curator of the Department of Engineering and Industries, 1938-1948.

Some portions of this collection were acquired under the time of Frank A. Taylor (Mitman's protégé) who was Assistant Curator, 1928-1931, Assistant Curator for Mechanical Technology, 1932, Curator of the Division and in charge of Mechanical Technology, 1932-1948, Head Curator of the Division of Engineering and Industry, 1948-1957. In 1955 Taylor was appointed Assistant Director, United States National Museum (USNM), with special responsibility for planning the new NMHT, and in 1958 was appointed the first Director of the new museum. In 1962 Taylor became Director of the USNM with responsibility for both the National Museum of Natural History and NMHT.

Smith Hempstone Oliver of the Division of Transportation also kept up the files to a degree, though his main interest was in automobiles.

When White started employment at the Museum in June, 1958, there were, perhaps, two file cabinets on railroads. As Mr. White mentions in a letter to the archivist in March of 2002, "It was and is a great mix of odds and ends -- photos, news clippings, small prints, manufacturing catalogs, post cards, etc. Some junk and some treasure."

White found the material very useful for research and greatly expanded the collection. It more than doubled in size during his years in the Division, 1958-1990. The collection was White's working file and was set up to meet his needs. According to White, the collections greatest lack was cross referencing -- which was mostly in his head. He could usually find things but the organization might be confusing to other users. It was not intended for public use.

White is the author of many books on railroads, including:

American Locomotives: An Engineering History, 1830-1880. Baltimore: Johns Hopkins Press, 1968; 1997.

Early American Locomotives, with 147 engraving. New York: Dover Publications, 1972.

American Single Locomotives and the "Pioneer". Washington: Smithsonian Institution Press, 1973.

The Pioneer, Chicago's First Locomotive. Chicago: Chicago Historical Society, 1976.

The American Railroad Passenger Car. Baltimore: Johns Hopkins University Press, 1978.

The John Bull, 150 Years a Locomotive. Washington, D.C.: Smithsonian Institution Press, 1981.

A Short History of American Locomotive Builders in the Steam Era. Washington, D.C.: Bass, 1982.

Great Yellow Fleet: A History of American Railroad Refrigerator Cars. Golden West Books, 1986

The American Railroad Freight Car: From the Wood-Car Era to the Coming of Steel. Baltimore: Johns Hopkins University Press, 1993.

Provenance:

Collection materials donated by Jack White in 1995.

Restrictions:

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

Rights:

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

Topic:

Electric railroads  Search this

Freight cars  Search this

Locomotives  Search this

Porters  Search this

Railroads -- History  Search this

Railroad car builders  Search this

Railroad companies  Search this

Railroad passenger cars  Search this

Transportation  Search this

Genre/Form:

Articles

Color slides

Copy prints

Correspondence

Ephemera

Magazines (periodicals)

Manuscripts

Maps

Negatives

Newsclippings

Patents

Photocopies

Photographs -- 19th century

Photographs -- 20th century

Research

Stereographs

Tickets

Writings

Citation:

Division of Transportation Railroad Reference Files, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0523

See more items in:

Division of Transportation Railroad Reference Files

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83b50b7ee-ab37-4b18-b17c-cffb2543738e

EDAN-URL:

ead_collection:sova-nmah-ac-0523

Collector:

Okin, Earl  Search this

Names:

Ellington, Duke, 1899-1974  Search this

Extent:

0.4 Cubic feet (4 boxes)

Container:

Box 1

Type:

Collection descriptions

Archival materials

Programs

Posters

Photographs

Clippings

Audiotapes

Date:

1933-1987.

Scope and Contents:

Three audiotapes, two concert programs, one poster, two photographs, and miscellaneous newsclippings documenting the performing career of Duke Ellington.

Arrangement:

1 series. Unarranged.

Biographical / Historical:

Collector.

Provenance:

Collection donated by Earl Okin, 1991, May 31.

Restrictions:

Collection is open for research.

Rights:

Reproduction fees for commercial use. Copyright restrictions. Contact staff for information.

Topic:

Music -- 20th century  Search this

Jazz  Search this

Musicians -- 1930-1990 -- United States  Search this

Genre/Form:

Programs

Posters

Photographs -- 20th century

Clippings

Audiotapes

Citation:

Earl Okin Collection of Duke Ellington Ephemera, 1933-1987, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0391

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8096f6a15-8bbe-40bf-81cb-85bafda623dc

EDAN-URL:

ead_collection:sova-nmah-ac-0391

Creator:

Dimmer, Dennis  Search this

Brown, N.H.  Search this

Barkin, Stanley  Search this

Walburn, Jerry  Search this

Lasker, Steven  Search this

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Society  Search this

Extent:

3.2 Cubic feet (6 boxes)

Type:

Collection descriptions

Archival materials

Videotapes

Audiotapes

Broadsides

Sheet music

Programs

Video recordings

Oral history

Newsletters

Photographs

Clippings

Date:

1914-2017

Scope and Contents note:

Bulletins, programs, broadsides, newsletters, newsclippings, periodicals, photographs, published sheet music and audio and videotapes documenting the life and career of Duke Ellington and the activities of the Ellington Jazz and Music societies.

Arrangement:

The Collection is divided into six series. Series 1 is arranged alphabetically and Series 2-6 are arranged chronologically.

Series 1: Oral History Project, 1925-1989

Series 2: Newsletters, 1961-1962

Series 3: Programs, 1930-1990

Series 4; Publications, 1938-1988

Series 5; Newsclippings, 1971-1991

Series 6; Miscellaneous Ephemera, 1914-1993

Biographical/Historical note:

Collection evolved as an unexpected product of the Duke Ellington Oral History Project interviews with Ellington band members, associates, family members and friends, conducted by Marcia Greene and Patricia Willard, 1989- 1991.

Related Archival Materials:

Materials in the Archives Center

Duke Ellington Oral History Project Collection (AC036)

Duke Ellington Collection (AC0301)

Provenance:

Collection donated by Senor Alejandro Szterenfeld, 1992, March 3, and TV Company TET, through Leonid Goldshteyn, November 5, 2002.

Restrictions:

Collection is open for research. Gloves required with unprotected photographs.

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:

Periodicals  Search this

Jazz  Search this

Music -- Societies, etc.  Search this

Music -- 20th century  Search this

Genre/Form:

Videotapes

Audiotapes

Broadsides

Sheet music

Programs

Video recordings

Oral history

Newsletters -- 20th century

Photographs -- 20th century

Clippings

Citation:

Collection of Duke Ellington Ephemera and Related Audio-visual Materials, 1914-1993, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0386

See more items in:

Collection of Duke Ellington Ephemera and Related Audiovisual Materials

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep867930290-7094-4af6-9080-862dc66d4a22

EDAN-URL:

ead_collection:sova-nmah-ac-0386