Search Results

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2011-08-03T19:24:00.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_Hq28xEbhQw8

Creator:

Smithsonian American Art Museum  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2009-01-16T13:14:11.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_kZsscMOKtTc

Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2012-10-10T17:18:12.000Z

YouTube Category:

Education  Search this

Topic:

Education  Search this

See more by:

SmithsonianEducation

Data Source:

Smithsonian Education

YouTube Channel:

SmithsonianEducation

EDAN-URL:

edanmdm:yt_u9bt4BKIzzg

Collection Creator:

Henderson, Horace, 1904-1988  Search this

Lewis, Barbara  Search this

Lewis, Barry  Search this

Henderson, Fletcher, 1897-1952  Search this

Container:

Box 42, Folder 20*

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Collection Citation:

Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History

See more items in:

Fletcher and Horace Henderson Music and Photographs

Fletcher and Horace Henderson Music and Photographs / Series 1: Horace and Fletcher Henderson Music / 1.2: Horace and Fletcher Henderson's Loose Music

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a2c5cd08-fc44-48ff-9ec3-1aba739bba06

EDAN-URL:

ead_component:sova-nmah-ac-0797-ref4725

Measurements:

overall: 8 in x 5 in x 2 1/2 in; 20.32 cm x 12.7 cm x 6.35 cm

Object Name:

tin box

ID Number:

2013.0118.02

Accession number:

2013.0118

Catalog number:

2013.0118.02

See more items in:

Culture and the Arts: Entertainment

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ad-d33f-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1442816

Creator:

Litzinger, Beatrice  Search this

Litzinger, Joseph  Search this

Extent:

2.75 Cubic feet (8.5 boxes)

Type:

Collection descriptions

Archival materials

Trade cards

Picture postcards

Ephemera

Clippings

Parallax stereographs

Birthday cards

Photographs

Stereoscopic photographs

Xographs

Lenticular processes

Parallax panoramagrams

Date:

1900-1990

Scope and Contents:

The collection consists of seven series, the largest, Series 1, being the postcards. The largest categories in this series are the geographic, both United States and foreign, and greeting cards. The most important and probably the most interesting of the geographic cards are from Maryland as they give us an historic view of the state. This is particularly true of the large number of cards depicting Baltimore and its buildings, parks, schools, etc. There are several cards showing the Great Fire of February 7, 1904 and postcards such as this are a valuable historic resource.

The greeting cards are primarily from the "golden age" of postcards and were sent or given on many occasions. There are large numbers of Christmas, Easter and Valentines Day cards, but there are also substantial numbers of cards for days that we no longer associate with card giving such as Decoration Day (now known as Memorial Day) and Washington's Birthday (though these cards are included under political figures in Box 8).

There are a number of postcards depicting various Popes and other religious themes such as the Lord's Prayer. Some of the postcards of Rome have cartouches of a Pope in the center of the pictures and were sent by a monsignor to someone in Baltimore.

Many cards show various means of transportation such as airplanes, boats and ships, and railroads and streetcars. Another interesting category is "novelty" with a number of postcards with pictures of women with real hair. Throughout the collection there are other novelty cards on wood and leather.

The other series are smaller, though all consist of ephemera collected by Mrs. Litzinger. Series 2, Oversize Postcards, and Series 3, Greeting Cards are the largest and those most directly related to the primary collection. These series are organized in the same manner as Series 1.

Series 4 consists of paper dolls, another popular collectible in the early part of the century. Series 5 consists of scraps which were chromolithographed pictures which were either cut out of printed sheets of pictures and designs or punched out of die cut sheets. The designs were then used to make early greeting cards or were placed in albums called scrap books. Sometimes scraps and postcards were included in the same album. Series 6 consists of trade cards which were used to advertise various businesses. Sometimes these were in the form of postcards and sometimes the designs were cut out to make scraps, so it is easy to see how these various types of ephemera are inter-related. Series 7 consists of a small number of miscellaneous items such as metal prints the size of postcards, religious cards, political birthday cards, magazine clippings, plastic cards, invitations and bicentennial souvenirs.

Arrangement:

Collection arranged into seven series.

Biographical / Historical:

This collection of postcards and other ephemera was assembled by Beatrice Litzinger who lived her entire life in and around Baltimore, Maryland. The collection is particularly rich in view cards from both Baltimore and Maryland. The collection also has a large number of greeting cards from the "golden age." It was acquired by the Archives Center in February, 1997 from Joseph Litzinger, the widower of Beatrice Litzinger who died in 1995. We know little about Mrs. Litzinger or how she acquired her collection as it came to the Archives Center after she died by way of a nun with whom she had become friendly and was returning to Ireland. Her husband was quite elderly and had moved to California though he indicated that Mrs. Litzinger had wanted her collection to come to the Smithsonian. The collection was donated by him to the Smithsonian in memory of his wife.

It is believed that Mrs. Litzinger started to collect postcards when she was young. She continued to collect throughout her life. She purchased some of the postcards, and others were mailed to her or given to her by friends. A large portion of the modern geographic postcards came by way of an extended family of friends and neighbors who traveled extensively. Mrs. Litzinger was deeply religious and a devout Catholic and the collection has a substantial number of religious postcards including some sent to her by a writer we believe was her parish priest on trips to Rome.

General:

Picture postcards were immensely popular at the beginning of the twentieth century. They were a novelty at a time when large numbers of people of moderate means began to travel. They became souvenirs of trips and an easy way for travelers to communicate with friends and relatives left behind. At the same time, the low cost of stamps and postcards combined with colorful and imaginative pictures and greetings made them a convenient way to send greetings at holidays and for other special events such as birthdays. Postal regulations did not allow private postcards until the 1890's. Though the dates varied from country to country, in the United States these were first allowed in 1898. The period 1901-1907 is known as the undivided back era. Until 1907 the picture or design was on the front and only the address was to appear on the back, forcing the message to be written on or around the image. On March 1, 1907 postcards with divided backs for address and message were allowed in the United States, though they had been permitted in England as early as 1902. This was the beginning of the divided back era and the "golden age" of postcards which continued until 1915.

During this period, collecting postcards and other ephemera became a very popular pastime. Often they were placed in scrapbooks and albums. The subject range of postcards is almost limitless and various categories, such as view cards, greeting cards, humor or novelties, were collected. Often the postcards were printed in sets or series and many were designed by famous artists. Postcard collecting in the United States was given the name deltiology and is still a popular hobby.

Most of the postcards during the "golden age" were printed in Europe, primarily in Germany, where the printing technology was considered the best. The start of World War I ended this importation and from 1915 printing was concentrated in England and the United States. White border cards were developed at this time and they were popular until 1930, though greeting card publication declined and only view cards remained popular. From 1930 until 1945 ( or, variously, 1955 or 1960) linen postcards were published, using a type of paper that had the look and uneven feel of linen. Photochrome postcards, which tend to be slick and glossy, were introduced in 1939 and are still in use today. During the entire period, starting around 1900, real photographs, which could be matte or glossy, color or black and white, or hand tinted, were used.

View cards have been the most popular type of card collected. In addition to being souvenirs of places traveled, they offer historic references to buildings and places which have changed or may no longer exist.

Related Materials:

Materials at the Archives Center

Warshaw Collection of Business Americana, ca. 1724-1977 (AC0060)

Victor A. Blenkle Postcards, 1880 - 1975 (AC0200)

Susie Paige Afro-American Greeting Card Collection, 1918, 1960s (AC0263)

Hoffman/Boaz African American Postcard Collection, 1900-1933 (AC0281)

Rocky Herosian Postcard Collection, 1910-1943 (AC0295)

Washington Postcards, ca. 1906, (AC0413)

Archives Center Scrapbook Collection (AC0468)

Archives Center Postcard Collection, (AC0483)

Miscellaneous Postcards (AC0497)

Lou Newman Collection of Baseball Memorabilia (AC0696)

Provenance:

Gift of Joseph Litzinger in memory of his wife, Beatrice Litzinger.

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:

Greeting cards -- 20th century  Search this

Holidays -- 1900-1990  Search this

Fires -- Maryland -- Baltimore  Search this

Paper dolls  Search this

Valentines -- 1900-1990  Search this

Genre/Form:

Trade cards -- 20th century

Picture postcards -- 20th century -- United States

Ephemera -- 20th century

Clippings -- 20th century

Parallax stereographs

Birthday cards

Photographs -- Photomechanical prints

Stereoscopic photographs -- 1950-2000

Xographs

Lenticular processes

Parallax panoramagrams

Citation:

Beatrice Litzinger Postcard Collection, 1900-1990, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0530

See more items in:

Beatrice Litzinger Postcard Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c5fa4da2-a1a3-40ee-92e7-1bf23739e449

EDAN-URL:

ead_collection:sova-nmah-ac-0530

Collection Creator:

Litzinger, Beatrice  Search this

Litzinger, Joseph  Search this

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Collection Citation:

Beatrice Litzinger Postcard Collection, 1900-1990, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0530, Series 4

See more items in:

Beatrice Litzinger Postcard Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep832a4e080-c871-4beb-9b59-33898f108437

EDAN-URL:

ead_component:sova-nmah-ac-0530-ref401

Collection Creator:

Litzinger, Beatrice  Search this

Litzinger, Joseph  Search this

Container:

Box 9, Folder 4

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Collection Citation:

Beatrice Litzinger Postcard Collection, 1900-1990, Archives Center, National Museum of American History.

See more items in:

Beatrice Litzinger Postcard Collection

Beatrice Litzinger Postcard Collection / Series 4: Paper Dolls

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep81d2de63d-6b89-428c-8d04-9ee00f6f3c8a

EDAN-URL:

ead_component:sova-nmah-ac-0530-ref402

Collection Creator:

Litzinger, Beatrice  Search this

Litzinger, Joseph  Search this

Container:

Box 9, Folder 4

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Collection Citation:

Beatrice Litzinger Postcard Collection, 1900-1990, Archives Center, National Museum of American History.

See more items in:

Beatrice Litzinger Postcard Collection

Beatrice Litzinger Postcard Collection / Series 4: Paper Dolls

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep87ac8b2ec-fef3-4c72-ac59-a19cbd030a00

EDAN-URL:

ead_component:sova-nmah-ac-0530-ref403

Collection Creator:

Litzinger, Beatrice  Search this

Litzinger, Joseph  Search this

Container:

Box 9, Folder 4

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Collection Citation:

Beatrice Litzinger Postcard Collection, 1900-1990, Archives Center, National Museum of American History.

See more items in:

Beatrice Litzinger Postcard Collection

Beatrice Litzinger Postcard Collection / Series 4: Paper Dolls

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8d9d3778a-72c9-4c99-a92f-6ef0e68271ff

EDAN-URL:

ead_component:sova-nmah-ac-0530-ref404

Donor Name:

Mrs. J C. Crane  Search this

Culture:

Korean  Search this

Object Type:

Paper Doll

Place:

Korea, Asia

Accession Date:

26 May 1927

Topic:

Ethnology  Search this

Accession Number:

096796

USNM Number:

E334399-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3a331069b-75e8-485a-9c91-096127836db8

EDAN-URL:

edanmdm:nmnhanthropology_8397548

Collector:

Mrs. Frank B. Noyes  Search this

Donor Name:

Mrs. Frank B. Noyes  Search this

Culture:

Japanese  Search this

Object Type:

Doll

Place:

Japan, Asia

Accession Date:

31 Jan 1949

Topic:

Ethnology  Search this

Accession Number:

143948

USNM Number:

E386823-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3adf5824d-a08f-4a04-8b76-bdc4fa88a991

EDAN-URL:

edanmdm:nmnhanthropology_8420861

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2021-02-12T16:00:25.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_cHjJy_zNpSk

Collection Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Type:

Archival materials

Introduction:

Hawai'i is a complex state that is home to an incredible array of ethnic groups and cultures. Each of these groups has maintained its unique identity and at the same time blended to create "local" traditions that are expressive of the community as a whole. Hawai'i is both geographically and culturally at the crossroads of the Pacific. In this multi-ethnic society, music, crafts, and food all provide important windows into the process of acculturation that occurred in Hawai'i. The acculturated traditions that make up what people in Hawai'i refer to as "local" are the result of adaptation to ever-changing circumstances. At the same time Hawaii's ethnic communities have retained and developed their individual identities that are expressed in the vitality of their traditions.

In the two centuries since contact with Western culture, native Hawaiian traditions have been subject to tremendous pressures. Some ancient artistic expressions dwindled completely, while others continued. These losses were the result of a combination of factors including the loss of a functional or ceremonial role for many goods or services. In the wake of massive dislocation of people from their cultures as well as from their land, and in light of the ethnic mix that has resulted, it would seem that little would be left of Hawaiian or even Japanese or Portuguese identity in late 20th century Hawai'i. On the surface this is true. Especially since World War II and statehood in 1959, mass media, tourism (five million visitors a year) and the strategic position that Hawai'i holds in the Pacific have made it difficult for the islands to remain isolated from either mainland. However, even the casual visitor to the islands - or to the 1989 Festival program - could observe that the people of Hawai'i have learned to live with each other while retaining attitudes and (especially in the past two decades) revitalizing institutions and traditions that reflect their ethnic identities. At the same time, cultural borrowing in Hawai'i has been extensive and the state's rich cultural mix is a source of pride for all its citizens.

Increasing pressures from foreign investment and mass media are today further disenfranchising native Hawaiians and threatening the stability of several generations of other cultures in the islands. Hawaii's characteristic attitude of tolerance and acceptance, molded in part by centuries of isolation, may be compromised by such pressures. These attitudes and Hawaii's fragile artistic traditions are inextricably tied together. Preserving these arts was seen as crucial by the Smithsonian and its Hawaiian collaborators, for a community's psychic well-being is only as strong as its commitment to protecting its traditions.

Richard Kennedy served as Curator for the Hawai'i program, with Barbara Lau and Linda Moriarty as Program Coordinators. Lynn Martin was Program Consultant; Ricardo Trimillos was Music Consultant; and Gordon Velasco was Landscape Consultant.

The Hawai'i program was made possible by the State of Hawai'i, John Waihee, Governor with support from the Office of the Governor, the Hawai'i State Foundation on Culture and the Arts, the Hawai'i Visitors Bureau and Hawai'i corporate sponsors: Duty Free Shoppers Inc., Alexander & Baldwin Inc., Aloha Airlines Inc., American Telephone & Telegraph Inc., Bank of Hawai'i, First Hawaiian Bank, Frito Lay of Hawai'i Inc., GTE - Hawaiian Tel, Hawaiian Electric Industries Inc., International Savings/National Mortgage & Finance Co., Japan Travel Bureau, Oceanic Properties Inc., Pacific Resources Inc.

Fieldworkers:

Simeamativa Aga, Keahi Allen, Carlos Andrade, Norma Carr, Marsha Erikson, David Furumoto, Joyce Davis Jacobson, Jay Junker, Pi'ilani Ka'awaloa, Dennis Kana'e Keawe, Alfred Kina, John Koon, Linda Le Geyt, Linda Moriarty, Nathan Napoka, Eileen Momilani Naughton, Puakea Nogelmeier, Keone Nunes, Audrey Rocha Reed, Edna Ryan, Kalena Silva, Lily Siou, Teri Skillman, Charlene Sumarnap, Judy Van Zile, Elaine Zinn

Presenters:

Simeamativa Aga, Mililani Allen, Jeanette Bennington, Mary Jo Freshly, Jay Junker, Dennis Kana'e Keawe, Lasinga Koloamatangi, John Koon, Gaylord Kubota, Lynn Martin, Marie McDonald, Edith McKinzie, Linda Moriarty, Nathan Napoka, Eileen Momilani Naughton, Puakea Nogelmeier, Keone Nunes, Audrey Rocha Reed, Kalena Silva, Barbara Stefan, Marie D. Strazar

Participants:

Crafts

Sherlin Beniamina, shell lei maker, Makaweli, Kaua'i, Hawai'i

Wright Bowman, Jr., koa canoe builder, Honolulu, O'ahu, Hawai'i

William Char, flower lei maker, Honolulu, O'ahu, Hawai'i

Michael Ilipuakea Dunne, woodworker, Honolulu, O'ahu, Hawai'i

Alapai Hanapi, woodworker, Kea'au, Hawai'i, Hawai'i

Lisa Hiroe, paper doll maker, Honolulu, O'ahu, Hawai'i

Calvin Hoe, 1945-, hula instrument maker, Kaneohe, O'ahu, Hawai'i

Tsugi Kaiama, feather lei maker, Kamuela, Hawai'i, Hawai'i

Deborah Kakalia, quilt-maker, Honolulu, O'ahu, Hawai'i

Meali'i N. Kalama, 1909-1922, quilt-maker, Kailua, O'ahu, Hawai'i

Samuel Kamaka, stringed instrument maker, Kaneohe, O'ahu, Hawai'i

Alfred Yama Kina, textile weaver, Honolulu, O'ahu, Hawai'i

Esther Makua'ole, lauhala weaver, Waimea, Kaua'i, Hawai'i

Emilia Mau'ia, fine mat weaver, Honolulu, O'ahu, Hawai'i

Duane J .L. Pang, Taoist priest, Honolulu, O'ahu, Hawai'i

Irmalee Pomroy, flower lei maker, floral designer, Kapa'a, Kaua'i, Hawai'i

Leodegario Reyno, 1923-, coconut weaver, Pepe'ekeo, Hawai'i, Hawai'i

Robert J. Ruiz, saddle maker, Waimea, Kaua'i, Hawai'i

Henry Silva, rawhide braider, Kula, Maui, Hawai'i

Kenichi Tasaka, bulrush sandal-maker, Hanalei, Kaua'i, Hawai'i

Wah Chan Thorn, calligrapher, Honolulu, O'ahu, Hawai'i

Thomas K. Yoshida, bulrush sandal-maker, Honolulu, O'ahu, Hawai'i

Performance Traditions

Kelfred Chang, lion dancer, Honolulu, O'ahu, Hawai'i

Pearl Ulu Garmon, storyteller, Kamuela, Hawai'i, Hawai'i

Clement Lum, 1945-, lion dancer, Kaneohe, O'ahu, Hawai'i

Camoes Players, Portuguese music -- Camoes Players, Portuguese musicJosephine C. Carriera, 1930-, ukulele player, singer, Honolulu, O'ahu, Hawai'iMary L. Carvalho, 1914-2003, singer, Honolulu, O'ahu, Hawai'iAlfred Castro, guitar, ukulele player, Honolulu, O'ahu, Hawai'iMarilyn Domingo, ukulele player, Honolulu, O'ahu, Hawai'iHarold Teves, guitarist, mandolinist, Kaneohe, O'ahu, Hawai'i

El Conjunto Boricua, Puerto Rican Kachi-Kachi band -- El Conjunto Boricua, Puerto Rican Kachi-Kachi bandMarcial Ayala III, bongo, guiro player, Waianae, O'ahu, Hawai'iCharles Figueroa, accordion, guiro player, Honolulu, O'ahu, Hawai'iAugust M. Rodrigues, guitar, quatro player, Pearl City, O'ahu, Hawai'iJulio Rodrigues, Jr., quatro player, Waianae, O'ahu, Hawai'iJulio Deleon Rodrigues III, guitarist, Kaneohe, O'ahu, Hawai'i

Family Camarillo, Filipino Banduria band -- Family Camarillo, Filipino Banduria bandDavin Mario Camarillo, 1964-, banduria, bajo, guitar, ukulele player, Hilo, Hawai'i, Hawai'iGeorge O. Camarillo, Jr., 1959-, banduria, piano, guitar, bass, trumpet player, Hilo, Hawai'i, Hawai'iGeorge O. Camarillo, Sr., 1934-, tenor guitar, bajo, sax, clarinet, flute player, Hilo, Hawai'i, Hawai'i

Halla Pai Huhm Dancers, Korean Dance -- Halla Pai Huhm Dancers, Korean DanceHalla Pai Huhm, dancer and teacher, Honolulu, O'ahu, Hawai'iJennifer Cho, dancer, Honolulu, O'ahu, Hawai'iRemie Choi, dancer, Honolulu, O'ahu, Hawai'iSo Jin Chong, dancer, Honolulu, O'ahu, Hawai'iYeon Hi "Mu Sun Pai" Harajiri, dancer, Honolulu, O'ahu, Hawai'iChristine Won, dancer, Honolulu, O'ahu, Hawai'i

Halau 'O Kekuhi, Hawaiian Hula Dance -- Halau 'O Kekuhi, Hawaiian Hula DancePualani Kanaka'ole Kanahele, kumu hula, chanter, Hilo, Hawai'i, Hawai'iNalani Kanaka'ole, kumu hula, chanter, Hilo, Hawai'i, Hawai'iKau'ilani Almeida, dancer, Hilo, Hawai'i, Hawai'iT. Kamuela Chun, dancer, Hilo, Hawai'i, Hawai'iKaipo Frias, dancer, Hilo, Hawai'i, Hawai'iHokulani Kaikaina, dancer, Hilo, Hawai'i, Hawai'i'O'ilipua Kaikaina, dancer, Hilo, Hawai'i, Hawai'iPunahele Lerma, dancer, Hilo, Hawai'i, Hawai'iKika Keith Nohara, dancer, 'Aiea, O'ahu, Hawai'iKeonaona Trask, dancer, Kurtistown, Hawai'i, Hawai'i

Hawaiian Music

S. Haunani Apoliona, singer, songwriter, guitarist, Honolulu, O'ahu, Hawai'i

Richard Ho'opi'i, falsetto singer, ukulele player, Kahakuloa, Maui, Hawai'i

Solomon Ho'opi'i, falsetto singer, ukulele player, Makawao, Maui, Hawai'i

Barney Issacs, steel guitarist, Honolulu, O'ahu, Hawai'i

Ledward Ka'apana, slack key guitarist, Kaneohe, O'ahu, Hawai'i

Elodia Kane, singer, Waianae, O'ahu, Hawai'i

Raymond Kane, 1925-2008, slack key guitarist, Waianae, O'ahu, Hawai'i

Violet Pahu Liliko'i, bass guitarist, Honolulu, O'ahu, Hawai'i

Clyde Halema'uma'u "Kindy" Sproat, 1930-2008, singer, ukulele player, storyteller, Kapa'au, Hawai'i, Hawai'i

Iwakuni Group, Obon, Japanese music and dance -- Iwakuni Group, Obon, Japanese music and danceElaine Kaneko, dancer, teacher, Eleele, Kaua'i, Hawai'iKatsuichi Funamura, singer, Koloa, Kaua'i, Hawai'iRobert S. Kato, drummer, Eleele, Kauai, Hawai'iKen K. Morita, singer, Kapaa, Kaua'i, Hawai'iItsue Okada, drummer, Waimea, Kaua'i, Hawai'i

Ku'ulei's Own, Hawaiian family band -- Ku'ulei's Own, Hawaiian family bandFaith Ku'ulei Kekiwi, singer, ukulele player, Ulupalakua, Maui, Hawai'iMerton Kekiwi, bass guitarist, Ulupalakua, Maui, Hawai'iFrancis Po'ouahi, Sr., guitarist, Hana, Maui, Hawai'iMelva Po'ouahi, singer, Hana, Maui, Hawai'i

Na Hula 'O La'i Kealoha, Hawaiian Hula Dance -- Na Hula 'O La'i Kealoha, Hawaiian Hula DanceElaine Kaopuiki, kumu hula , chanter, Lana'i City, Lana'i, Hawai'iPearl Ah Ho, dancer, Lana'i City, Lana'i, Hawai'iJuliet Bayez, dancer, Lana'i City, Lana'i, Hawai'iLynette C. Kaopuiki, dancer, Lana'i City, Lana'i, Hawai'iRita Moon, dancer, Lana'i City, Lana'i, Hawai'iSandra Lehua Pate, dancer, Lana'i City, Lana'i, Hawai'iHeather K. "Kaihi Lani" Romero, dancer, Lana'i City, Lana'i, Hawai'i

Nakasone Seifu Kai, Okinawan Music and Dance -- Nakasone Seifu Kai, Okinawan Music and DanceHarry Nakasone, uta sanshin player, Honolulu, O'ahu, Hawai'iRaelene Balidoy-Noda, dancer, Honolulu, O'ahu, Hawai'iIssac Ken Hokama, drummer, Honolulu, O'ahu, Hawai'iTammi Sachiyo Hokama, dancer, Honolulu, O'ahu, Hawai'iNorman Kaneshiro, lion dancer, Honolulu, O'ahu, Hawai'iJames Maeda, 1935-, sanshin player, Honolulu, O'ahu, Hawai'iScot Moriyama, lion dancer, Honolulu, O'ahu, Hawai'iKaren Nakasone, dancer, Honolulu, O'ahu, Hawai'iKooko E. Nakasone, dancer, Honolulu, O'ahu, Hawai'iMayuri Lily Nakasone, dancer, Honolulu, O'ahu, Hawai'iYoshino Majikina Nakasone, dancer and teacher, Honolulu, O'ahu, Hawai'iPhyllis Sumiko Shimabukuro, dancer, Honolulu, O'ahu, Hawai'iKatsuko Teruya, koto player, Honolulu, O'ahu, Hawai'i

Pa'u Riders -- Pa'u RidersCarol Ann Kamila Grace Anana, Waimanalo, O'ahu, Hawai'iNovelene Mahealani Asing, Honolulu, O'ahu, Hawai'iDoveline Ka'aloalaikini Borges, Honolulu, O'ahu, Hawai'iShirley Kukana Brenner, Pearl City, O'ahu, Hawai'iTracy Lokelani Keali'iho'omalu, Kailua, O'ahu, Hawai'iCorine Puanani Mata, Kailua, O'ahu, Hawai'i

Samoan Music Ensemble -- Samoan Music EnsembleLusia Ma'afala, dancer, musician, Honolulu, O'ahu, Hawai'iGloria Mane, 1963-, dancer, Honolulu, O'ahu, Hawai'iPita Sala, dancer, musician, Honolulu, O'ahu, Hawai'iMataitusi Tauala, orator, dancer, storyteller, Honolulu, O'ahu, Hawai'i

Waimea Hawaiian Church Choir, Himeni Choral Music -- Waimea Hawaiian Church Choir, Himeni Choral MusicAlina Kauinohea Kanahele, singer, Makaweli, Kaua'i, Hawai'iElama Kanahele, singer, Makaweli, Kaua'i, Hawai'iIssac Kaahamana Kanahele, singer, Makaweli, Kaua'i, Hawai'iKaui O Kalome Kanahele, singer, Makaweli, Kaua'i, Hawai'iMalaki Kanahele, singer, Makaweli, Kaua'i, Hawai'iLama Kaohelauli'i, singer, Makaweli, Kaua'i, Hawai'iRama Kaohelauli'i, singer, Makaweli, Kaua'i, Hawai'iWilliam Kaohelauli'i, singer, Makaweli, Kaua'i, Hawai'iMiriam Kaleipua Pahulehua, singer, Makaweli, Kaua'i, Hawai'i

Zuttermeister Family, Hawaiian Hula Dance -- Zuttermeister Family, Hawaiian Hula DanceEmily Kau'i Zuttermeister, kumu hula, chanter, Kaneohe, O'ahu, Hawai'iNoenoelani Zuttermeister Lewis, hula dancer, Kaneohe, O'ahu, Hawai'iHauolionalani Lewis, hula dancer, Kaneohe, O'ahu, Hawai'i

Occupational Traditions

Henry A. Auwae, 1911-2000, herbalist, healer, Hila, Hawai'i, Hawai'i

Thomas Kamaka Emmsley, lava rock wall builder, Hana, Maui, Hawai'i

James Keolaokalani Hu'eu, 1914-2002, taro farmer, Haiku, Maui, Hawai'i

Eric Ono, herbalist, Honolulu, O'ahu, Hawai'i

Chauncey Pa, throw net fishing, Kilauea, Kaua'i, Hawai'i

Foodways

Connie Camarillo, Filipino cooking, singer, Hila, Hawai'i, Hawai'i

Doris Mary Rodrigues Correia, Portuguese cooking, Honolulu, O'ahu, Hawai'i

Manuel Correia, Portuguese -- forno -- builder, Honolulu, O'ahu, Hawai'i

Ah Wan Goo, Hawaiian imu cooking, Anahola, Kaua'i, Hawai'i

Jane E. Goo, Hawaiian imu cooking, quilt-maker, Anahola, Kaua'i, Hawai'i

Kay Kimie Hokama, 1922-, Okinawan cooking, Honolulu, O'ahu, Hawai'i

June Tong, Chinese cooking, Honolulu, O'ahu, Hawai'i

Collection Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Smithsonian Folklife Festival records: 1989 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1989, Series 5

See more items in:

Smithsonian Folklife Festival records: 1989 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5570d4d22-f7a6-48b4-8dd2-a13cff4e0dad

EDAN-URL:

ead_component:sova-cfch-sff-1989-ref42

Creator:

Smithsonian Institution. Festival of American Folklife. Hawaii Program 1989 Washington, D.C.  Search this

Recorder:

Rosenberg, Rennae  Search this

Green, Sharman  Search this

Artist:

Hiroe, Lisa, 1928-  Search this

Lum, Clement, 1945-  Search this

Kina, Alfred Yama, 1954-  Search this

Hanapi, Alapai, 1951-  Search this

Hoe, Calvin, 1945-  Search this

Makuaole, Esther  Search this

Performer:

Hiroe, Lisa, 1928-  Search this

Lum, Clement, 1945-  Search this

Kina, Alfred Yama, 1954-  Search this

Hanapi, Alapai, 1951-  Search this

Hoe, Calvin, 1945-  Search this

Makuaole, Esther  Search this

Collection Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Extent:

compact audio cassette

1 Sound cassette (analog.)

Culture:

Americans  Search this

Hawaiians  Search this

Type:

Archival materials

Sound cassettes

Place:

United States

Washington (D.C.)

Hawaii

Honolulu (Hawaii)

China

Kaneohe (Hawaii)

Keaau (Hawaii)

Waimea (Kauai, Hawaii)

Date:

1989 June 24

Track Information:

101 Roots in Asia / Alfred Yama Kina, Clement Lum, Lisa Hiroe.

102 Hawaiian Crafts / Alapai Hanapi, Calvin Hoe, Esther Makuaole.

Local Numbers:

FP-1989-CT-0241

General:

"Roots In Asia", Alfred Yamakina, Lisa Hiroe, Clement Lum; "Hawaiian Crafts", Alapai Hanapi, Calvin Hoe; Esther Makuaole

Date/Time and Place of an Event Note:

Recorded in: Washington (D.C.), United States, June 24, 1989.

Restrictions:

Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Oral history  Search this

Textile fabrics  Search this

Paper doll making  Search this

Lion dance  Search this

Emigration and immigration  Search this

Weaving  Search this

Musical instruments -- Construction  Search this

Luahala weaving  Search this

Woodwork  Search this

Collection Citation:

Smithsonian Folklife Festival records: 1989 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1989, Item FP-1989-CT-0241

See more items in:

Smithsonian Folklife Festival records: 1989 Festival of American Folklife

Smithsonian Folklife Festival records: 1989 Festival of American Folklife / Series 5: Hawai'i / Audio

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5402cd6c5-d9b0-4a1e-9254-faf8a703d4a1

EDAN-URL:

ead_component:sova-cfch-sff-1989-ref717

Creator:

Rogers, Gretchen Woodman, 1881-1967  Search this

Citation:

Gretchen W. Rogers papers, 1901-1986. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6485

(DSI-AAA_SIRISBib)215673

AAA_collcode_rogegret

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215673

Creator:

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Names:

American Ambulance Field Hospital (Juilly, France)  Search this

Greenwich House (New York, N.Y.)  Search this

Whitney Museum of American Art  Search this

Whitney Studio Club  Search this

Cushing, Howard Gardiner, 1869-1916  Search this

De Meyer, Adolf, Baron, 1868-1949  Search this

Miller, Flora Whitney  Search this

Strelecki, Jean de, count  Search this

Watson, Forbes, 1880-1960  Search this

Whitney, Harry Payne, 1872-1930  Search this

Extent:

36.1 Linear feet

Type:

Collection descriptions

Archival materials

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Date:

1851-1975

bulk 1888-1942

Summary:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Scope and Content Note:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).

Arrangement:

The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)

Biographical/Historical note:

New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.

Related Archival Materials note:

Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.

Provenance:

The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

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:

Sculptors -- New York (State) -- New York  Search this

Philanthropists -- New York (State) -- New York  Search this

Topic:

Art patrons -- New York (State) -- New York  Search this

Women artists  Search this

Women sculptors  Search this

World War, 1914-1918  Search this

Genre/Form:

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Citation:

Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.whitgert

See more items in:

Gertrude Vanderbilt Whitney papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e

EDAN-URL:

ead_collection:sova-aaa-whitgert

Artist:

Lillemoe, Mary Peters (artist)  Search this

Creator:

Lillemoe, Jim  Search this

Natoli, David  Search this

Merrimack Publishing Corporation  Search this

Names:

B. Shackman & Co., Inc.  Search this

Extent:

0.3 Cubic feet (1 flat box)

Container:

Box 1

Type:

Collection descriptions

Archival materials

Illustrations

Date:

1983-1986

Scope and Contents:

Collection consists of original artwork, embossed printer's proofs, and a book titled Kitty Cucumber and Her Friends written by Jim Lillemoe and illustrated by Mary Peters Lillemoe, copyright 1986. The materials are contained in one folder.

Arrangement:

Materials are arranged in one series.

Biographical / Historical:

Kitty Cucumber, a cat created by Mary Peters Lilliemoe, has been used by the fine paper goods manufacturer B. Shackman Company, Incorporated to sell some of their products.

Related Materials:

Materials in the Archives Center, National Museum of American History

Helen Popenoe Paper Doll Collection (AC1156)

Elinor S. Miller Paper Doll Collection (AC1110)

Carolyn and Donald Grepke Paper Doll Collection (AC0752)

Ming-Ju Sun Garfinckel's Fashion Drawings (AC0897)

Beatrice Litzinger Postcard Collection (AC0530)

Jane and Michael Stern Collection (AC1392)

Provenance:

This collection was donated to the Archives Center by David Natoli of B. Shackman Company on September 7, 1987.

Restrictions:

The collection is open for research use.

Rights:

Copyright and trademark held by B. Schackman Company. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Cats  Search this

Paper dolls  Search this

Genre/Form:

Illustrations

Citation:

Kitty Cucumber Collection, 1983-1986, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0276

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c01d992f-9eca-4412-9438-895bbe559355

EDAN-URL:

ead_collection:sova-nmah-ac-0276

Collection Creator:

Packard, Emmy Lou, 1914-1998  Search this

Container:

Box 6, Folder 52

Type:

Archival materials

Date:

circa 1970-1980

Collection 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. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

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

Collection Citation:

Emmy Lou Packard papers, 1900-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

Emmy Lou Packard Papers

Emmy Lou Packard Papers / Series 11: Project Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a9b5ff77-2190-48cd-83e1-1f9c87098f8a

EDAN-URL:

ead_component:sova-aaa-packemmy-ref316

Creator:

Betbeze, Yolande  Search this

Collector:

National Museum of American History (U.S.). Division of Sports, Entertainment and Leisure  Search this

Extent:

4.5 Cubic feet (12 boxes, 1 map folder)

Type:

Collection descriptions

Archival materials

Letters (correspondence)

Programs

Paper dolls

Interviews

Clippings

Awards

Photographs

Magazines (periodicals)

Advertisements

Date:

1910 - 2003

Summary:

Yolande Betbeze was crowned Miss America in September, 1950. During and after her reign she was influential in both the Civil Rights and Feminist movements. Her papers document her reign as Miss America, her life after Miss America, and the Miss America pageant itself.

Scope and Contents:

Scope and Content: This collection documents the life of Yolande Betbeze who reigned as Miss America 1951. Though the collection focuses heavily on the year of her reign from September 1950 to September 1951, it also includes information about her life before winning the Miss America pageant, the Miss Alabama and Miss America pageants of 1950, and her life post-Miss America. Visual imagery in the collection documents life and fashion in the 1950s through 2000. Newspaper articles offer evidence of the culture of the 1950s. This collection contains newspaper clippings, magazine articles, photographs, awards, and memorabilia of Miss America pageants throughout the twentieth century in the form of booklets, brochures, and paper dolls.

Series 1, Miss America Reign, 1950-1951, 1994, undated, includes newspaper articles, magazine articles, and awards from the House of Representatives, programs and brochures relating to Ms. Betbeze's activities as Miss America. All publicity articles—whether promotional or editorial-are included in this series. Betbeze traveled extensively during her reign, and her trips are documented here. Also included in this series are her visits to military installations, promotion of Miss America pageant sponsors, promotion of her own opera career, and most importantly her verbal attacks against the objectification of women in pageants while she wore the Miss America crown.

Subseries 1, Newspaper Clippings and Magazine Articles, 1950-1951, undated,

includes newspaper clippings about Betbeze during her reign as Miss America, documenting nearly every event she attended and delving into her love life and home life. The clippings are arranged by month and year from September 1950 through September 1951. The newspaper articles from Betbeze's reign that are without a date are arranged by topic behind the dated clippings. This subseries also includes several articles published in magazines about Betbeze during her reign. The articles are arranged in chronological order by year behind the newspaper clippings.

Subseries 2, Awards, 1950, includes awards given to Betbeze by the House of Representatives after she was named Miss America in Atlantic City, as well as an award by the town of Chickasaw naming Betbeze an honorary citizen.

Subseries 3, Programs and Brochures, 1950-1951, includes mini-photo books of Betbeze from her reign as Miss America, as well as pageant programs from pageants she attended as Miss America. It also includes programs and brochures of events she attended and participated in as Miss America, such as her Coronation Ball and a Symphony in Fashion runway show. The materials are arranged with the photograph books first, followed by pageant programs, then programs from various events.

Subseries 4, Promotional Advertisements, 1950-1951, includes promotional advertisements for Nash Automobile, the Official Car Company of Miss America, and Everglaze Fabric. These advertisements are arranged in chronological order.

Subseries 5, Materials Related to Miss America Reign, 1950-1951, 1994, includes material relevant to Betbeze's reign as Miss America, such as her schedule book from September 1950 to September 1951 and a 1994 interview regarding her life, her reign, and her beliefs. The materials are arranged in chronological order by year.

Series 2, Post-Miss America Reign, 1951-2001, undated, documents Betbeze's life after her reign as Miss America through newspaper clippings, magazine articles, and Betbeze's copy of pageant judging guidelines for Miss America 1957. It also documents the changing view of women from the 1950s through the turn of the twenty-first century. Betbeze pursued a career in opera after Miss America, but this career ended with her marriage to Matthew Fox. Materials also relate to her marriage to Matthew Fox, her relationship with Cherif Guellal, her life in Georgetown in Washington D.C in the 1960s, and her participation in later Miss America pageants.

Subseries 1, Newspaper Clippings and Magazine Articles, 1952-2001, undated, includes newspaper clippings and magazine articles about Betbeze after her reign as Miss America. They document her relationships, lifestyle, causes, and career. The clippings are arranged chronologically by year. The magazine articles are arranged chronologically by decade behind the newspaper clippings.

Subseries 2, Miss America Activities, 1957, comprises of Betbeze's copy of judging guidelines from the 1957 Miss America Pageant. It includes a schedule of events and the judging criteria for each woman, illustrating the changing perception of women in the United States of America from the 1950s through the twenty-first century.

Series 3, Photographs, 1950-2000, undated, documents Betbeze's life from the 1940s to the turn of the twenty-first century. It includes several photographs from her childhood and teen years. The majority of the series focuses on her reign as Miss America, including photos of her travels, glamour photos, publicity photos, and candid shots. It also includes photographs of Betbeze after her reign. There are negatives for several of the photographs. Photographs are arranged by topic.

Subseries 1, Pre-Miss America Reign, 1949-1950, contains Betbeze's life as a teenager and the Miss Alabama pageant. The photographs are arranged by topic.

Subseries 2, Miss America Reign, 1950-1951, undated, provides visual evidence enhancing the printed materials in the other series. It includes photographs of Betbeze's travels throughout the United States, Europe, Mexico, and the Caribbean. It also includes glamour photographs, candid shots, and publicity events that she attended as Miss America. There are a few photographs of her in a swimsuit. The photographs are arranged by topic.

Subseries 3, Post-Miss America Reign, 1951-2001, includes photographs of Betbeze in later life, especially at Miss America pageants in the 1990s. The photographs are arranged by topic.

Series 4, Materials Related to Miss America Pageants, 1910-2003, undated, documents the institution of the Miss America Pageant and its development throughout the twentieth century and into the twenty-first. It includes memorabilia from Atlantic City, the pageants, and Miss America advertisements. It includes official pageant yearbooks and correspondence to Betbeze regarding the seventy-fifth anniversary of Miss America, including a booklet about the pageant. It also includes Miss America Through the Looking Glass (1985), a book documenting the Miss America Pageant from its inception to the 1980s.

Subseries 1, Official Pageant Yearbooks, 1946-2003, comprises of Official Pageant Yearbooks. They illustrate the changing fashions and culture surrounding the pageant. They are arranged in chronological order by year.

Subseries 2, Miss America Memorabilia, 1910-2001, undated, consists of memorabilia of the Miss America Pageant and Atlantic City. The materials include a package for a hairnet from the 1920s, advertisements using the Miss America label for Lucky Strike cigarettes, sheet music for the Miss America and Miss Alabama official songs, Miss America Through the Looking Glass, various stickers advertising the pageant and Atlantic City, Miss America paper dolls, cards and postcards. The memorabilia is arranged in chronological order by year.

Subseries 3, Seventy-fifth Anniversary of Miss America, 1995, includes correspondence between pageant directors and Betbeze regarding the seventy-fifth Anniversary of the Miss America Pageant, as well as a brochure about the pageant. The materials are arranged by type; first is the correspondence regarding the seventy-fifth anniversary, then the brochure advertising Miss America.

Series 5, Yolande Betbeze Personal Papers, 1949-1999, undated, documents life behind-the-scenes through telegrams and letters from friends and fans, invitations and Betbeze's schedule book as Miss America. It includes magazine articles and newspaper clippings from her pre-Miss America years, and the layout of an interview she gave in 1994.

Subseries 1, Personal Correspondence, 1950-1995, undated, consists of personal letters between Betbeze and her friends, including Lenora Slaughter, the head of the Miss America Pageant when Betbeze was Miss America. It also includes fan-mail and autograph requests. The correspondence is arranged chronologically by year.

Subseries 2, Telegrams, 1950-1951, consists of telegrams that Betbeze received as Miss America. They consist of well wishes for her reign, birthday, and Christmas. The telegrams are arranged chronologically by year.

Subseries 3, Newspaper Clippings and Magazine Articles, 1949-1950, consists of newspaper clippings and magazine articles saved by Betbeze. They include reviews of her performance as Musetta in La Boheme in Mobile in 1949 and articles about Matthew Fox. The clippings are arranged chronologically by month and year. The magazine articles are arranged by year behind the newspaper clippings.

Arrangement:

Tyhe collection is divided into five series.

Series 1: Miss America Reign, 1950-1951, 1994, undated

Subseries 1.1, Newspaper Clippings and Magazine Articles, 1950-1951, undated

Subseries 1.2, Awards, 1950

Subseries 1.3, Programs and Brochures, 1950-1951

Subseries 1.4, Promotional Advertisements, 1950-1951

Subseries 1.5, Materials Related to Miss America Reign, 1950-1994

Series 2: Post Miss America, 1952-2001, undated

Subseries 1, Newspaper Clippings and Magazine Articles, 1952-2001, undated

Subseries 2, Miss America Activities, 1957

Series 3: Photographs, 1950-2000, undated

Subseries 3.1, Pre-Miss America Reign, 1949-1950

Subseries 3.2, Miss America Reign, 1950-1951, undated

Subseries 3.3, Post Miss America Reign, 1951-2001

Series 4: Materials Related to Miss America Pageants, 1910-2003, undated

Subseries 4.1, Official Pageant Yearbooks, 1946-2003

Subseries 4.2, Miss America Memorabilia, 1910-2001, undated

Subseries 4.3, Seventy-fifth Anniversary of Miss America, 1995

Series 5: Yolande Betbeze Personal Papers, 1949-1999, undated

Subseries 5.1, Personal Correspondence, 1950-1995, undated

Subseries 5.2, Telegrams, 1950-1951

Subseries 5.3, Newspaper Clippings and Magazine Articles, 1949-1950

Biographical / Historical:

Yolande Betbeze, Miss America 1951, was born in 1929 in Mobile, Alabama. Her mother was of Basque ancestry, so Yolande ended up with a foreign sounding name and dark European looks, quite different from the general populace of Mobile. Early on she aspired to become a famous opera singer, and took voice lessons throughout her teenage years. In 1949 she starred as Musetta in Puccini's La Boheme, through the Mobile Opera Guild.

In 1950, Yolande entered the Miss Mobile Beauty Pageant, hoping to win and continue to state and national levels to receive a scholarship to study voice in New York City, or even abroad. When she entered the pageant she gave her age as 21, but at her next birthday in late 1950 (presumably her 22nd) she confessed that she had lied about her age. Really, she was 20 when she entered the Miss America pageant, and this was her 21st birthday. She was crowned Miss Mobile, then Miss Alabama. In September 1950, she made her way to Atlantic City to compete for the title of Miss America. Newspapers in Alabama raved about her. Even journalists in the north predicted that Yolande would be crowned the next Miss America. In an interview, pageant director Lenora Slaughter says that from the moment she saw her she felt that Yolande would be crowned the next Miss America. During preliminaries, Yolande won first place in the swimsuit competition, while Miss Connecticut won first place in the talent competition. Nonetheless, Yolande wowed them with her singing. When she won the title of Miss America, her schedule quickly filled with singing engagements.

On September 9th, 1950, Yolande Betbeze was crowned Miss America. She became an overnight success due to her grace, poise, beauty, and talent. However, she had received an education at a convent school, and felt a bit squeamish about 'cheesecake poses' in a bathing suit. Every Miss America had done a swimsuit tour, even though it wasn't in their contracts that they must, and Yolande was expected to follow in their footsteps. But she wanted to be an opera star, not a pin-up girl, she declared. After winning Miss America, she refused to pose in a swimsuit unless she was going swimming.

The Catalina Swimwear Company, a sponsor of the Miss America pageant, did not like Yolande's stance on swimsuits. They contended that the Miss America pageant had become less focused on the beauty of the contestant and more on their talents and personality. They wanted to bring beauty back. They pulled their sponsorship and created a new pageant line which now includes Miss Universe, Miss USA, and Miss Teen USA. This pageant focuses only on the physical beauty of a competitor. Even today there is no talent portion, and even the interview portion has been diluted.

Another issue of the Miss America pageant involved the marriage of a Miss America. Though Yolande had no plans to marry, or even a boyfriend, the papers certainly wanted to know the details surrounding her love-life and ability to marry with the title Miss America. Yolande explained that she received an extra $4000 for staying single throughout the year, but if she wanted to marry she could ask permission from the 18 pageant directors. "Wouldn't it be easier to wait a year?" she asked.

Her year as Miss America was an eventful one. She traveled throughout the United States, the Bahamas, Mexico, France, and Italy. She met with Congressmen, foreign leaders, opera stars, and famous fashion designers. According to Lenora Slaughter, Yolande had the fullest schedule of any Miss America to that date. Everyone agreed that she had put class into the Miss America pageant.

After her reign, she was succeeded as Miss America by Colleen Kay Hutchins, originally Miss Utah. The two became friends and Yolande was in Colleen's wedding some years later. Yolande took up philanthropic causes—fighting for racial equality in the pageants, for instance. She also marched in civil rights demonstrations, participated in sit-ins, and marched in a feminist demonstration in Atlantic City. In 1954 she married a motion picture and television producer, Matthew Fox. They had one daughter before his death in 1964. After she was widowed, Yolande moved to Georgetown in the District of Columbia, where she lives to this day.

Related Materials:

Materials in the Archives Center, National Museum of American History

The Miss America 1943 [Jean Bartel] Photographs, 1943-1944 (AC0902)

Separated Materials:

The Division of Work and Industry, Natiuonal Museum of American Historu holds artifacts related to this collection: the Miss America crown, scepter, and sash of 1950-1951, worn by the donor, and the Miss Alabama sash and Miss America ribbon of 1950-1951.

Provenance:

Donated by Yolande Betbeze in 2005.

Restrictions:

The collection is open for research.

Rights:

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

Topic:

Beauty contests -- United States  Search this

Beauty contestants  Search this

Genre/Form:

Letters (correspondence) -- 20th century.

Programs

Paper dolls

Interviews

Clippings -- 20th century

Awards

Photographs -- 1950-2000

Magazines (periodicals) -- 20th century

Advertisements -- 20th century

Citation:

Miss America 1951 Papers, 1949-2000, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0888

See more items in:

Miss America 1951 Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep831c413c2-0f80-442d-96bb-d1c263de59a7

EDAN-URL:

ead_collection:sova-nmah-ac-0888