Copies of photographs made by Merl Lavoy in modern Bulgaria, Greece, Hungary, Serbia, and Turkey diring the first World War. They document soldiers (mostly British, French, and Serbian) and war machinery, as well as images of cities and villages, and local people (Transylvanians, Macedonians, Serbs, and Turks). The collection also includes a series of images showing the King and Queen of Romania in Transylvania.
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.
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The folder includes a slide list and excerpts from publications featuring the gardens. The Douglas Park Formal Garden contains formal beds with sixteen thousand annuals, a waterlily pool, and a natural lagoon. The garden is open to the public.
General:
"Douglas Park Formal Garden (near Ogden Ave. and Sacramento Blvd.) has formal beds with sixteen thousand annuals, a waterlily pool and a natural lagoon."
Persons associated with property include: Jens Jenson (landscape architect); Chicago Park District Special Collections (Provenance).
Related Materials:
Douglas Park related holdings consist of 1 folder (2 35 mm. slides)
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
The folder includes a slide list and excerpts from publications featuring the gardens.
General:
"Garfield Park holds Chicago's famous conservatory. Built in 1893, the 4 1/2 acre Garfield Park Conservatory (300 N. Central Park Blvd.) represents one of the largest and finest publicly owned conservatories in the world. Its enormous collection contains over five thousand varieties and species, and its propagating houses grow nearly three hundred thousand plants each year. Displays include the Palm House, the Fernery (over a hundred kinds of ferns), the Aroid House (tropicals), the Cactus House and and Economic Plant Houses (tropicals, citrus, spices), and the Main Horticultural Hall and the Show House, where massive floral exhibitions are held four times yearly. Near the conservatory is the large Garfield Park garden, 4 acres containing over twenty-four formal flower beds (fifteen thousand annuals), and a pool containing the best waterlily collection (fifty varieties) in the Midwest."
Persons associated with property include: Jens Jenson (landscape architect); Chicago Park District Special Collections (Provenance).
Related Materials:
Garfield Park Conservatory related holdings consist of 1 folder (2 35 mm. slides)
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
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:
Ruth Law Collection, Acc. NASM.XXXX.0387, National Air and Space Museum, Smithsonian Institution.
William John Eck: First Pan American Airlines Transatlantic Flight Scrapbook
Extent:
0.33 Cubic feet (1 scrapbook)
Type:
Collection descriptions
Archival materials
Place:
Azores
New York, New York
Date:
June 12, 1939, through April 22, 1940
bulk June 28, 1939, through July 4, 1939
Summary:
This collection consists of a scrapbook, "To Europe By Air," assembled by railroad executive William J. Eck to document his trip June 28 to July 4, 1939, on Pan American Airways' (PAA) first transatlantic passenger flight on the Boeing Model 314 Clipper "Dixie Clipper" flying boat and containing information on its crew, passengers, and ports of call.
William John Eck (1876-1957) graduated from Iowa State University in 1895 with a degree in electrical engineering and went to work in the telephone industry. In 1898, at the outbreak of the Spanish-American War, Eck joined the United States Army and was sent to the Philippines; after a year Eck transferred to the U.S. Quartermaster Department and spent his next three years at sea, eventually making a trip around the world. After leaving the Army, Eck switched to the railroad business, joining the Southern Railway in 1905. Over time, travel—particularly air travel—became a serious hobby for Eck, and by the early 1930s, he had become a pioneer passenger on several early airline routes. In 1931, after chatting to Pan American Airways (PAA) pilots on a flight to Santiago, Chile, Eck contacted PAA to apply for a ticket on PAA's first transatlantic passenger flight, whenever that might occur. Eight years later, Eck was delighted to be contacted by PAA with the news that he had been designated Passenger No. 1 on the historic flight, departing Port Washington, New York, on Wednesday, June 28, 1939, aboard the Boeing Model 314 "Dixie Clipper." The flight, carrying 22 passengers, was made via Horta, Azores, with an overnight stay at Lisbon, Portugal, on June 29, finishing at Marseille, France, on June 30. Eck continued on to Paris via a land-based Air France flight. Eck and many of the outbound passengers were also on the return flight of the "Dixie Clipper," departing Marseilles on Sunday, July 2, and following the same route to return to New York on Tuesday, July 4, 1939. At the time of the flight Eck, a resident of Washington, D. C., was Assistant to the Vice President, Southern Railway Company. The newspapers noted that Eck, a widower who had recently married his second wife, Emily Magdalene Kleb, three months earlier on March 20, 1939, was unable to take her along on the flight as he had only the single ticket bought well before their marriage.
Provenance:
Unknown gift, circa 1940-1967.
Restrictions:
No restrictions on access
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.
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:
Bendix Air Races Collection, Acc. NASM.1988.0115, National Air and Space Museum, Smithsonian Institution.
Correspondents: Berthold Laufer, Bella Weitzner, Maggs Bros., R.B. Orr, W.C. Park, Burton Thompson, Harmon Hendricks, F.W. Skiff, Alanson Skinner, Thea Heye, Charles Lummis, George Gustav Heye, Glen Stewart, Jon R. Swanton, Mrs. Frank C. Churchill.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection consists of biographical information, business records, information on the aviation organizations with which Diehl was involved, aviation material collected by Diehl, and information on flight, events, and aviation accidents.
Biographical / Historical:
William Carl Diehl (1891-1974) was an aviation pioneer and a member of the Early Birds organization. In 1914 he built and flew a monoplane and in 1915 he helped establish two flying schools, an unsuccessful school in Chicago and a school on Long Island. During the time he was working at Long Island, he helped to organize the United Eastern Airplane Company which manufactured airplanes. During World War I, Diehl was a civilian instructor for the Army Air Corps. In the late 1910s and early 1920s, Diehl established a commercial flying taxi service, performed stunts for movie production and for Pathe News, and barnstormed around the nation. He began work in 1926 on patents for aircraft mufflers and values. Diehl worked during 1927-1930 at the Wright Aeronautical Corporation at Paterson, New Jersey as an engine flight test pilot. Diehl returned to his original occupation of plumbing but continued flying until 1945, and continued his patent work until the early 1970s.
General:
NASMrev
Provenance:
No donor information, gift, XXXX-0469, Unknown
Restrictions:
No restrictions on access
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
Knabenshue, A. Roy (Augustus Roy), 1876-1960 Search this
Container:
Box 1, Folder 11
Type:
Archival materials
Date:
1966 - 1971
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:
A. Roy Knabenshue Collection, Acc. NASM.XXXX.0136, National Air and Space Museum, Smithsonian Institution.
Bosfield, Joy McLean (McLean Bosfield) Search this
Container:
Box 3, Folder 2
Type:
Archival materials
Date:
1923-1964
Collection Restrictions:
The collection is open for unrestricted research. Use requires an appointment.
Collection Rights:
The Joy McLean papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Collection Citation:
The Joy McLean Bosfield papers, Anacostia Community Museum, Smithsonian Institution, gift of Joy McLean Bosfield.
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.
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.
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.
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Photos N34398, N35398, P08505, and P08505 are restricted due to cultural sensitivity.
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Merl LaVoy photographs from Alaska, image #, NMAI.AC.163, National Museum of the American Indian Archives Center, Smithsonian Institution.
The collection contains: twenty-nine silver gelatin photoprints mounted on Fome-Core, Masonite, and cardboard, ranging in size from 5-1/2" x 9-1/4" to 10-11/16" x 13-13/16"; three 5" x 7" unmounted silver gelatin photoprints; a scrapbook which originally contained 56 silver gelatin photoprints, ranging in size from 2" x 3" to 7-1/2" x 9-1/2"; and silver gelatin film negatives (presumably acetate) for the prints. The scrapbook includes a New York Daily News clipping about Rivers: "Builds a Bridge to Students" by Anthony Burton (dated May 12, 1970 by Rivers) with a photograph showing him speaking to a crowd,
Most of the photographs depict the construction of the Chrysler and Empire State Buildings--iron workers on the job and relaxing during breaks, and pictures of the buildings at various stages of completion. Other subjects are: a demonstration to prevent World War II (1935), a color photoprint of the Civil Rights March and Demonstration in Washington, D.C. (1963), and two magazine clippings from a Soviet publication, New Times, in which Rivers's prize-winning "Self Portrait" (1930) was reproduced.
Most of these prints were made by Charles Rivers many years after the creation of the original negatives, probably ca.1970s 1980s. The collection is in generally good condition, except that many of the print surfaces are scratched.
Biographical / Historical:
Charles Rivers created a certain amount of confusion about his origins, whether accidentally or intentionally. Born Constantinos Kapornaros[1] (or Kostandinos Kapernaros)[2] in the small town of Vahos in Mani, an isolated area in the southern Peloponnesian region of Greece, on May 20, 1904, he emigrated to the United States as a child of five or six with his parents. His school record showed that he was enrolled in 1911 at the age of seven.[3] The family lived in Maine or New Hampshire, then Massachusetts, and later other locations in New York state. It is believed that his new name was derived from the Charles River in Boston.[4] The change may have been occasioned by a need to conceal his deep involvement in left-wing political and union activities.[5]
Mr. Rivers settled in New York City in 1950 and resided there until 1993.[6] He sometimes identified his birthplace as Denver, Colorado,[7] but this may have been a fabrication or simplification, based on the fact that Greek church baptismal records were kept in Denver.[8] His sons James and Ronald believe that he never became an official American citizen. Late in life, in order to visit his birthplace, he was issued a passport, based on his school records, which stated that he was born in Denver.
Rivers photographed the construction of the Chrysler Building (1929) and the Empire State Building (1930) in New York City. He was inspired to take up photography by seeing the work of the influential documentary photographer Lewis Hine, whose famous images of working children helped win passage of protective child labor laws. Rivers and Hine both photographed the Empire State Building and the men building it, yet Rivers apparently was unaware until years later that his idol had been present. Employed as an iron worker, Rivers traded his pail of tools for a Zeiss Ikon[9] camera during his lunch hour or when photographic opportunities arose. While the workers depicted in some of the photographs clearly are aware of the photographer's presence, Rivers's project presumably was conducted more or less surreptitiously. It is not known for certain if the paths of Rivers and Hine ever crossed, but his son Ron considers it unlikely: Hine photographed only the Empire State Building in connection with his "Men at Work" project,[10] not the earlier Chrysler Building, and Rivers did not work on the Empire State Building for a very long period. His self-portrait on the Empire State Building, "The Bolter-Up," may have been intended as a memento during one of his last days on that job.[11]
Rivers became unemployed in the Depression and consequently became involved in national efforts to create Social Security, unemployment insurance, and housing programs. These experiences apparently encouraged his active participation in politically leftist activities, as coverage about him in Soviet publications attests. A pacifist, in 1935 he was involved in demonstrations aimed at preventing World War II, and in the 1960s he took part in anti-Vietnam demonstrations and encouraged young people to continue such resistance.
In the 1950s Rivers worked in steel fabrication, in a chemistry lab as a technician, and briefly as a legislative aide for a New York state senator.
In 1986 Rivers submitted his 1930 self-portrait, posed on the Chrysler Building, to the International Year of Peace art contest sponsored by the New Times, published in Moscow: it was awarded a prize and diploma.
Mr. Rivers died in 1993, only two weeks after moving to Arlington, Texas to enter a nursing home near his sons' homes.
1. The page on Rivers in New York University=s Robert F. Wagner Labor Archives web site (http://laborarts.org/collections/item.cfm?itemid=82) --noted 5 June 2002), claims Rivers was born in 1905 and changed his name Ato resemble those of the Mohawk Indians working on the high steel of New York City=s skyscrapers and bridges".
2. This spelling is given in an e-mail from James Rivers to Helen Plummer, Aug. 19, 2002.
3. Ibid.
4. Telephone conversation between Ron Rivers and the author, 6 June 2002. Additional information was provided by Ron Rivers in electronic mail messages, 5 June and 12 June 2002.
5. James Rivers, op. cit.
6. Telephone conversation with Ron Rivers, 6 June 2002.
7. In a biographical statement for the Amon Carter Museum of Western Art (copy supplied by Helen Plummer), Charles Rivers called Denver his birthplace. The George Eastman House photographer database also included this apparently erroneous information, probably derived from the Amon Carter statement (telephone conversation with Helen Plummer, 3 June 2002).
8. Ron Rivers, telephone conversation, 6 June 2002.
9. Identified by Charles Rivers as the camera used in the skyscraper photographs: interview by Carol Sewell, "Photographer looked at U.S. from high view," Fort Worth Star-Telegram, Dec. 27, 1986. Rivers also used a Rolleiflex, according to Ron Rivers (see note above), but the folding Zeiss Ikon camera would have been a more convenient addition to a lunchbox than the bulkier Rolleiflex. The collection negatives are not in the Rolleiflex square format, moreover.
10. See Judith Mara Gutman, Lewis W. Hine and the American social conscience. New York: Walker, 1967.
11. Ron Rivers, telephone conversation, 6 June 2002.
Related Materials:
Materials at the Smithsonian Institution
Hirshhorn Museum and Sculpture Garden
Included Rivers's self-portrait, "The Bolter Up," in its summer 2002 exhibition, "Metropolis in the Machine Age," in the form of a new print made from a digital copy of the Archives Center's original negative. The author discussed the new print from the Rivers negative and other photographs in this exhibition in an invited gallery lecture, "The Skyscraper Photographs of Lewis Hine and Charles Rivers," Hirshhorn Museum and Sculpture Garden, June 6, 2002.
Materials at Other Organizations
Amon Carter Museum, Fort Worth, Texas
See Barbara McCandless and John Rohrbach, Singular moments: photographs from the Amon Carter Museum, with select entries by Helen Plummer. Reproduction of a Rivers photograph, with description and analysis, p. 30. Additional information has been generously supplied by Ms. Plummer, curatorial associate, and Barbara McCandless, curator of photography, Amon Carter Museum of Western Art, Fort Worth Texas.
Robert F. Wagner Labor Archives at New York University
Museum of the City of New York
Some of his photographs were included in the Amon Carter Museum of Western Art exhibition, "Looking at America: Documentary Photographs of the 1930s and 1940s," December 1986.
Provenance:
The collection is a gift from Mr. Charles Rivers, 1989.
Restrictions:
Collection is open for research.
Rights:
Archives Center claims copyright. Rights were conveyed to the Archives Center through a Deed of Gift signed by the donor.
"Fire that claimed the lives / of ten people - Pathe News - Harlem." 2-1/2" x 4-1/4", unevenly trimmed on right side. Slightly fuzzy image (camera movement) shows building with smoke, ladder, hoses, etc.
