44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs.
)
Type:
Collection descriptions
Archival materials
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Date:
1899-1964
Summary:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.
Scope and Contents note:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears.
Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.
In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.
The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.
Arrangement note:
The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered.
Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.'
The collection is arranged into 3 series:
1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums)
2) Plans and Drawings
3) Monographs
Biographical/Historical note:
Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.
Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.
During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.
Related Archival Materials note:
The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.
Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.
Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.
The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.
Provenance:
Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.
Restrictions:
Access to original archival materials 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.
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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
The Gottlieb Hampfler Collection contains 63 duplicate 35mm slides of images of gardens in the Brandywine Valley in Delaware and Pennsylvania and Rye, New York taken by Hampfler, the staff photographer at Longwood Gardens in Kennett Square, Pennsylvania, from 1955-1975.
Biographical/Historical note:
Gottlieb A. Hampfler was the staff photographer for Longwood Gardens in Kennett Square, Pennsylvania, from 1955 until his retirement in 1975. His career in horticulture began with positions at Henry F. Michell Company and Andorra Nursery, both in Pennsylvania. After an exchange of correspondence between Hampfler and Longwood founder Pierre Samuel du Pont, Hampfler was hired in 1934 to serve on the horticulture staff there. In this position, he was able to indulge his passion for photography. Hampfler's first freelance work was done in 1938; from 1946-1948, he served on the faculty of Moore College of Art in Philadelphia. As the president of a number of camera clubs and a member of several professional societies, Hampfer lectured extensively and received numerous awards, including the Pennsylvania Horticultural Society's Certificate of Merit in 1993.
Restrictions:
Access to original archival materials 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.
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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
The W. Atlee Burpee & Company records, dated circa 1873-1986, document the firm's business activities developing plant varieties and marketing and selling seeds. They include accounting records, seed trial records, seed contracts, sales records, inventories, office correspondence, seed catalogs, promotional and instructional materials, advertisements and advertising reports, contest letters, daybooks, photographs, reference materials, and other items relating to the company and some of its competitors.
Scope and Contents:
This collection documents W. Atlee Burpee & Co., a mail-order seed company based in Philadelphia, from its early beginnings in 1876 when its founder, W. Atlee Burpee, started in the agricultural business, to the 1970s when his son, David Burpee, sold the family's then-global company. The collection also includes personal papers of the Burpee family dating back to the mid-nineteenth century.
Business-related content in the collection consists of crop propagation and management records; company correspondence; administrative and personnel records; advertising files; legal papers; property records and plans; reports, studies, and technical data; notes and drafts; files on professional outreach activities and events; trade literature (published by both the Burpee company and a number of its competitors); and awards and certificates received by the company. Significant topics documented in these files include the development of notable flower and vegetable novelties introduced by the company; the impact of World Wars I and II on gardening and the global seed trade; advertising strategies, technology, and innovation; and David Burpee's involvement in the national floral emblem congressional debate.
The Burpee family papers consist of personal files unrelated to the company's business operations. This includes records generated by W. Atlee's father (David Burpee, 1827-1882) and grandfather (Washington L. Atlee, 1808-1878), as well as W. Atlee's wife, Blanche (1863-1948); David Burpee (1893-1980) and his wife, Lois (1912-1984); and W. Atlee Burpee II (1894-1966). There are genealogical surveys conducted on both the Atlee and Burpee families as well as clippings about family members. W. Atlee and David Burpee's series are the most extensive and cover their involvement with numerous clubs and societies such as the Canadian Society of Philadelphia, the Union League of Philadelphia, and, for David Burpee, his involvement with Pearl S. Buck's Welcome House charity. The series include personal correspondence; financial, accounting, and tax records; files generated during vacations; reference material; and will and estate papers.
The Burpee collection also has a large number of images related to the Burpee business and family in a variety of formats including photographs, film and glass plate negatives, and advertisement mock-ups. Other formats include architectural and site plans, original artwork for advertisements, films, cassettes, audio tapes, and ephemera.
Arrangement:
Collection is arranged into six series:
Series 1: Plant/Farm Related Material
Series 2: Business Records
Series 3: Material Published About the Burpee Company
Series 4: Awards and Certificates
Series 5: Photographic and A/V Materials
Series 6: Burpee Family Papers
Biographical / Historical:
Washington Atlee Burpee (1858-1915) began a mail-order poultry and livestock business in 1876 in Philadelpia, which he soon expanded to include corn seed for chicken feed. In 1878, he founded W. Atlee Burpee & Co., the primary focus of which was to sell vegetable, fruit, and flower seeds through the mail. This company would go on to become one of the most notable seed distributors in the United States.
By 1888, Burpee's family home, Fordhook Farms, in Doylestown, Pennsylvania, was established as an experimental farm to test and evaluate new varieties of vegetables and flowers, and to produce seeds. Burpee spent many summers traveling throughout the United States and Europe, visiting farms and searching for the best flowers and vegetables; certain plants he found were shipped to Fordhook Farms for testing. Plants that survived were bred with healthier specimens to produce heartier hybrids that were more resistant to disease. Other Burpee trial gardens were established in Lompoc, California and near Swedesboro, New Jersey.
Burpee's son David took over the family business upon his father's death in 1915. At that time, the Burpee Company had 300 employees and was the largest mail order seed company in the world. It distributed over one million catalogs a year and received as many as 10,000 orders a day. In response to food shortages caused by World War I, the Burpee Company helped promote a "war gardens" campaign that evolved into a "victory gardens" campaign during World War II. Both were aimed at city dwellers and instructed them on how to grow vegetables for their own consumption to aid in the war effort.
Sometime in the 1930s, the Burpee Company entered into a business relationship with the James Vick's Company of Rochester, New York. In 1947, Burpee purchased the assets of and rights to the use of the name of the Wm. Henry Maule Co. In 1970, Burpee was sold to General Foods; the corporate headquarters moved from Philadelphia to Warminster, Pennsylvania in 1974. David Burpee remained a consultant for the company until his death in 1981. In 1991, the Burpee Company was acquired by George J. Ball, Inc.
Related Materials:
Burpee seed catalogs donated to the Smithsonian in 1982 by the W. Atlee Burpee Co. can be found in the Smithsonian Libraries and Archives' Trade Literature Collection at the National Museum of American History.
The Farm Security Administration - Office of War Information Photograph Collection in the Library of Congress Prints and Photographs Division includes a series of images of Burpee company operations taken in 1943.
The Black Gold Cooperative Library System's Asian/Pacific - Americans on the Central Coast Collection includes images dated 1933-1939 of Japanese employees of the Burpee Co. working at Floradale Farms in Lompoc, California.
Restrictions:
Access to original archival materials 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.
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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
The W. Atlee Burpee & Company records - Accretion 1, dated circa 1882-1980, document the firm's business activities developing plant varieties and marketing and selling seeds. They include seed trial records, administrative files, seed catalogs, promotional and instructional materials, awards, reference materials, and other items relating to the company and some of its competitors.
Scope and Contents:
This accretion to the W. Atlee Burpee & Co. records documents aspects of the W. Atlee Burpee & Co., a mail-order seed company based in Philadelphia that was founded in 1876 by W. Atlee Burpee. It includes seed trial records; administrative and personnel records; trade literature (published by both the Burpee company and a few of its competitors); awards and certificates received by the company; and a few personal papers of David Burpee, W. Atlee's son and business successor.
Arrangement:
Collection is arranged into four series:
Series 1: Plant/Farm Related Material
Series 2: Business Records
Series 3: Awards and Certificates
Series 4: Burpee Family Papers
Biographical / Historical:
Washington Atlee Burpee (1858-1915) began a mail-order poultry and livestock business in 1876 in Philadelphia, which he soon expanded to include corn seed for chicken feed. In 1878, he founded W. Atlee Burpee & Co. to sell livestock and vegetable, fruit, and flower seeds through the mail. His company went on to become one of the most notable seed distributors in the world.
In 1888, W. Atlee bought a tract of land named Fordhook Farms in Doylestown, Pennsylvania. It was initially established as an experimental farm to test and evaluate new varieties of vegetables and flowers and to produce seeds for the mail-order market. Burpee spent many summers traveling throughout the United States and Europe visiting farms and searching for the best flowers and vegetables. Certain plants he found were shipped back to the firm for testing and propagation; other seeds were obtained through contracts with growers throughout the U.S., a practice common in the seed industry at that time. Promising varieties were bred with healthier specimens to produce hardier hybrids that were more resistant to disease. Other Burpee trial grounds were later established at Sunnybrook Farm near Swedesboro, New Jersey, and at Floradale Farm in Lompoc, California (1909/1910). The company went on to purchase more land for farming in California, and established sales branch headquarters in Sanford, Florida (c. 1930s), Clinton, Iowa (1942), and Riverside, California (1949).
W. Atlee Burpee married Blanche Simons (1863-1948) in 1892. They had three sons: David (1893-1980); W. Atlee Jr. ("Junior") (1894-1966); and Stuart Alexander (1901-1934). Both David and Junior attended the Blight School in Philadelphia for elementary school and Culver Military Academy in Culver, Indiana for preparatory school. While they both attended Cornell University as undergraduates, they left before graduating due to W. Atlee's poor health. Junior married Jeanetta Lee (1893-1981) in November 1916, and they had two children: W. Atlee III (1917-1971) and Jeanette (1919-2002). David married Lois Torrance (1912-1984) in 1938, and they had two children: Johnathan (b. 1941) and Blanche (b. 1943). Stuart Alexander was apparently born with a disability; according to census records he worked on farms during his lifetime.
David Burpee took over the family business upon his father's death in 1915; Junior served as treasurer of the firm once he returned from military service. At that time, the Burpee company had 300 employees and was the largest mail-order seed company in the world. It distributed over one million catalogs a year and received on average 10,000 orders a day. Under David's tutelage, the company adapted to contemporaneous shifts in business and advertising methods, advancements in plant science, ever-changing consumer demands, and two World Wars. In response to food shortages experienced during World War I, the Burpee company helped promote a "war gardens" campaign that evolved into a "victory gardens" campaign during World War II.
Both W. Atlee and David used their position as head of a major seed house to lobby congressional debates in regard to two topics: postage rates (W. Atlee) and the designation of a national floral emblem for the United States (David). Additionally, both men belonged to the Union Club of Philadelphia and The Canadian Society of Philadelphia (which W. Atlee helped found), and served on the boards of directors for hospitals and other charitable organizations. Both father and son were politically aligned with the Republican Party.
The firm reorganized its governing structure in 1917 at which time it changed its name from W. Atlee Burpee & Co. to W. Atlee Burpee Co. Burpee's acquired three seed companies between 1878 and 1970: Luther Burbank Seed Company, James Vick's Seeds, Inc., and the William Henry Maule Company. David Burpee sold the company to the General Foods Corporation in 1970 and served as a consultant for the business until 1973. The Burpee brand was bought by its current owner, George J. Ball, Inc., in 1991.
Related Materials:
Burpee seed catalogs donated to the Smithsonian in 1982 by the W. Atlee Burpee Co. can be found in the Smithsonian Libraries and Archives' Trade Literature Collection at the National Museum of American History.
The Farm Security Administration - Office of War Information Photograph Collection in the Library of Congress Prints and Photographs Division includes a series of images of Burpee company operations taken in 1943.
The Black Gold Cooperative Library System's Asian/Pacific - Americans on the Central Coast Collection includes images dated 1933-1939 of Japanese employees of the Burpee Co. working at Floradale Farms in Lompoc, California.
Restrictions:
Access to original archival materials 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.
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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
3.83 Cubic feet (8 binders containing contact sheets, slides, and prints; 7 boxes (8.5"x10.75"x2.5") of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints.)
Type:
Collection descriptions
Archival materials
Contact sheets
Slides (photographs)
Black-and-white negatives
Photographic prints
Place:
New York (N.Y.)
Saint Simons Island (Ga. : Island)
Date:
1963-2009
Summary:
The Diana Davies photographs consist of images taken by Diana Davies at various stages of her career. Locations include the Festival of American Folklife, the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's Campaign, various peace and protest marches and outdoor performances, New York City, and the Georgia Sea Islands. The collection includes contact sheets, negatives, photographic prints, and slides.
Original photographs, negatives, and color slides taken by Diana Davies. Materials date from 1963-2009. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987.
Scope and Contents:
The Diana Davies photographs, 1963-2009, consist of black and white negatives, contact sheets and prints, as well as color slides and negatives. The bulk of materials depict major festivals and protest movements (including the Poor People's March of 1968) documented by Diana Davies (located in Series 1: Newport Folk Festival, Series 2: Philadelphia Folk Festival, Series 6: Festival of American Folklife, and Series 11: Social Justice). Also well-represented are non-festival performances (in locations such as clubs, concert halls, and homes), recording sessions, and other music-related images, mainly of notable figures in the American folk music revival (located in Series 3: Broadside Magazine, Series 4: Sing Out! Magazine Concerts, Series 5: Miscellaneous Concerts and People, Series 7: Recording Sessions, Series 8: Instruction Book Shots, and Series 9: Jazz, Blues, and Salsa Musicians). Series 10: Georgia Sea Islands consists of photographs depicting the culture, environment, and daily life of these coastal islands in 1966. Series 12: New York City Scenes contains photographs taken on the street depicting everyday life in NYC in the 1960s and 1970s. The collection also contains related papers in Series 13: Miscellaneous Papers and Correspondence.
Arrangement note:
Each item in the Diana Davies Photographs has been assigned an accession number, and like materials have been put together such as the Newport Folk Festival photographs, in a chronological sequence as much as possible. Materials in the three more recent donation batches (1998, 2004, and 2006) were numbered and integrated into the collection. In some series, the accession numbers are in numerical order, and in others, the numbers are random because like items with different number sequences were pulled together in a series for subject coherence. The best way to find occurrences of a particular subject is to use the ctrl+F function. Please consult the archivists if you have any questions about the collection contents.
Contact sheets, slides, and prints arranged in 8 binders; negatives and oversize prints are stored separately.
Arranged in 14 series:
Missing Title
Series 1: Newport Folk Festival
Series 2: Philadelphia Folk Festival
Series 3: Broadside Magazine
Series 4: -- Sing Out! -- Magazine Concerts
Series 5: Miscellaneous Concerts and People
Series 6: Festival of American Folklife
Series 7: Recording Sessions
Series 8: Instruction Book Shots
Series 9: Jazz, Blues, and Salsa Musicians
Series 10: Georgia Sea Islands
Series 11: Social Justice
Series 12: New York City Scenes
Series 13: Miscellaneous Papers and Correspondence
Series 14: Oversize Materials
Biographical/Historical note:
Diana Davies is a well-known photographer of folk performers and festivals. Davies photographed the Smithsonian Folklife Festival in its earlier years. Born in 1938, Davies grew up in Maine, the Catskills, New York City, and Boston. Her grandparents were local union organizers and Debs socialists; one grandfather was a gandy dancer with the railroad, and her grandmother was a textile worker in Massachusetts, New York, and Pennsylvania. Davies finds that her family background was later expressed in her own activist efforts.
Davies left high school at 16, and worked sweeping out coffeehouses, which gave her the opportunity to listen to music while she worked. She became interested in theater and music. In Greenwich Village, she began doing some sound technician work, and then got interested in photography. She taught herself how to develop and print photographs in a darkroom, and began photographing in theaters, shooting from behind the scenes. Her theater photos are at Smith College in Northampton, where she presently lives. In the early 1960s, she began working with the editors of Broadside Magazine, Sis Cunningham and Gordon Friesen. She developed an interest in human rights work, which grew from her contact with Sis and Gordon, and also her own family background. She also worked as a photographer in a wide range of settings, including night clubs, weddings, and doing portrait photography. This led her to work for major national and international media including the New York Times, covering such events as the war in Biafra, and traveling to Mexico, Cuba, and Portugal on assignment.
Davies' folk photographs represent about one-quarter of her body of work; her other major photographic work includes the Civil Rights Movement, the Peace Movement, and theater. Davies began photographing at the Newport Folk Festival in 1964, which she covered for a number of years. She knew Ralph Rinzler, and found him a vibrant, alive person excited by all aspects of culture. He introduced her to Bessie Jones from the Georgia Sea Islands, and in 1966 she made a photographic journey to the islands. Her work from this trip is included in the collection. Davies has also been a musician. She became involved with the punk rock movement of the 1970s, and felt that there was a connection between the hard-hitting songs from the punk world and the songs being published in Broadside Magazine. In 1975, she became part of a folk/punk women's band in Boston, and later moved to Western Massachusetts. In addition to being a photographer and musician, Davies is also a writer. She wrote a play entitled "The Witch Papers" in 1980, which was produced in Boston and other locations. The play was a vehicle for her human rights activism, comparing the technology of inquisition with labor sweatshops. In 1998, her play "The War Machine" was produced in Amherst, Mass. She lives in Northampton, and enjoys and participates in street performance, which she describes as the "most essentially communicative stuff you can come up with."
General note:
All contact sheets from the collection are digitized and accessible through this finding aid. Series-level slideshows accessible through this finding aid represent a small sampling from the collection.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Provenance:
The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives and Collections. These two more recent donations of additional photographs (contact sheets, prints, and slides) consisted of documentation of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the provison that her work be credited in any use.
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.
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.
The records document the work of consulting engineers and bridge builders, Ralph Modjeski (1861-1940) and Frank Masters (1883-1974) of Harrisburg, Pennsylvania.
Scope and Contents:
This collection documents the civil engineering career of Ralph Modjeski (1861-1940) and Frank masters (1883-1974). The materials include bound volumes and loose photographs of bridge work-in-progress; printed reports; articles, pamphlets; drawings, blue prints and tracings of bridges; letterpress books of correspondence; contracts; reports; studies of bridge materials; and glass plate negatives and lantern slides depicting bridges.
Arrangement:
The collection is arranged into ten series.
Series 1: Biographical Materials, 1915-1986
Series 2: Letter Press Books, 1898-1906
Series 3: Photographs, 1878-1979
Series 4: Contracts, 1895-1960
Series 5: Printed Materials, 1862-1969
Series 6: Newspaper Clippings, 1924-1941
Series 7: Lantern Slides, undated
Series 8: Glass Plate Negatives, 1906-1926
Series 9: Film Negatives, 1924, undated
Series 10: Drawings, 1901-1952
Biographical / Historical:
Rudolphe Modrzejewski was born to Helena Jadwiga Opid (d.1909) and Gustav Sinnmayer Modrzejewski (d. 1901) on January 27, 1861, in Cracow, Poland. His mother was an internationally known stage actress who went by the name Helena Modrzejewska. In 1868, Helena married Count Karol Bożenta Chłapowski. In July 1876, Helena and Rudolphe emigrated to America, where, for purposes of American citizenship, the Polish form of their surname was later changed to Modjeski (feminine form Modjeska). Modjeski became a naturalized citizen in 1883 in San Francisco, California.
In 1882, Modjeski returned to Europe to study at the Ecole Des Ponts et Chaussees and graduated in 1885 with a degree in civil engineering. Modjeski worked with prominent civil engineer and "Father of American Bridge Building," George S. Morison, on the Union Pacific Railroad Bridge over the Missouri River at Omaha as an assistant engineer. He remained with Morison from 1885 to 1892. Some of his assignments included working in the shops which produced steel sections; the design office where he advanced to chief draftsman; and as an inspector of quality control in shops that fabricated steel elements. Modjeski worked with Morison on his Willamette, Nebraska City, Sioux City, Winona, Cairo, and Memphis bridges across the Mississippi River. The Memphis bridge was the longest span cantilever in the country at the time.
In 1893, Modjeski opened a civil engineering practice in Chicago with S. Nicholson. After some financial difficulties, Nicholson and Modjeski dissolved their partnership. Modjeski's first individual large commission was the bridge at Rock Island, Illinois (1895) across the Mississippi River where he designed and supervised the construction of the bridge for the federal government and the Chicago, Rock Island and Pacific Railway Company.
In 1902, Modjeski went into partnership with fellow civil engineer, Alfred Noble (1844-1914) forming the firm of Noble and Modjeski. He went into partnership with Walter Angier, under the name Modjeski and Angier, civil and inspecting engineers, between 1912 and 1924 with several offices around the United States. Angiers had worked with him beginning in 1902 on the bridge across the Mississippi at Thebes, Illinois. Modjeski partnered, in 1924, with Frank Masters (1883-1974), who had worked with him and Angiers between 1904 and 1914 on the Memphis and Louisville Bridges, forming Modjeski and Masters. Clement E. Chase and Montgomery B. Case later joined the firm as partners. In 1937, Masters assumed full control and ownership of the firm which specialized in the design and construction supervision of large bridges and other structures, rehabilitation and reconstruction of existing bridges, the design of highways and expressways, subways and wharves, the design of large and complex foundations, inspection of construction materials, and the creation of surveys, investigations and reports.
Modjeski built and/or consulted on over forty bridges in his lifetime. He built truss, steel arch, and suspension bridges. He introduced steel tower pylons in place of masonry towers and he used better grades of steel, such as new steel alloys with improved strength and durability. He also introduced advancements in the design of cable configurations and deck-stiffening beams. Some of his major projects included: the Columbia River and Willamette bridges, McKinley Bridge at St. Louis; the Celilo Railroad Bridge at Celilo, Ohio; the Thebes Bridge over the Mississippi; the Quebec Bridge over the St. Lawrence River; the Delaware River Bridge; the San Francisco-Oakland Bay Bridge, the Manhattan Bridge, and the Mid-Hudson Bridge.
On December 28, 1885, Modjeski married Felicie Benda (d. 1936) in New York and the couple had three children: Felix Bozenta Modjeski (1887); Marylka Stuart Modjeski (1894) and Charles Emmanuel John Modjeski (1896-1944). Ralph and Felicie divorced in 1931. He later married Virginia Giblyn on July 7, 1931. Modjeski died in Los Angles on June 26, 1940.
Raymond E. Wilson Covered Bridge Collection, 1958-1974 (AC0999)
Materials at Other Organizations
Southern Illinois University, Morris Library Special Collections
Walter E. Angier photograph collection, 1901-1915
Walter E. Angier Vertical File Manuscript, 1924
Michigan Historical Collections, Bentley Historical Library, University of Michigan
Alfred Noble Papers, 1862-1922
Provenance:
The collection was donated by Modejeski and Masters Consulting Engineers, through Joseph J. Scherrer, October 2, 1990.
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.
American Society of Landscape Architects Search this
Extent:
1 Lantern slide (black-and-white, 3.25 x 4 in.)
Type:
Archival materials
Lantern slides
Place:
Drummond Castle (Crieff, Perthshire, Scotland)
United Kingdom -- Scotland -- Perthshire -- Crieff
Date:
1908.
General:
This lantern slide appears to have been made by the John Haworth Company, 1020 Chestnut Street, Philadelphia, Pennsylvania.
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
American Society of Landscape Architects Search this
Extent:
1 Graphite drawing
Container:
Map-case 1, Map-case 1, Map-folder 12D
Type:
Archival materials
Graphite drawings
Date:
circa 1955-1964
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
American Society of Landscape Architects Search this
Type:
Archival materials
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
The W. Atlee Burpee & Company records, dated circa 1873-1986, document the firm's business activities developing plant varieties, working with contract seedsmen, and marketing and selling seeds. They include seed trial records, seed contracts, sales and acccounting records, inventories, office correspondence, seed catalogs, promotional and instructional materials, advertisements and advertising reports, contest letters, daybooks, photographs, reference materials, and other items relating to the company and some of its competitors. The collection also includes Burpee family papers.
Content Description:
This collection documents W. Atlee Burpee & Co., a mail-order seed company based in Philadelphia, from its early beginnings in 1876 when its founder, W. Atlee Burpee, started in the agricultural business, to the 1970s when his son, David Burpee, sold the firm. The collection also includes personal papers of the Burpee family dating back to the mid-nineteenth century.
Business-related content in the collection consists of crop propagation and management records; company correspondence; administrative and personnel records; advertising files; legal papers; property records and plans; reports, studies, and technical data; notes and drafts; files on professional outreach activities and events; trade literature (published by both the Burpee company and a number of its competitors); and awards and certificates received by the company. Significant topics documented in these files include the development of notable flower and vegetable varieties introduced by the company; the impact of World Wars I and II on gardening and the global seed trade; advertising strategies, technology, and innovation; and David Burpee's advocacy of the marigold as the national floral emblem of the United States.
The Burpee family papers consist of personal files unrelated to the company's business operations. These include records generated by W. Atlee's father (David Burpee, 1827-1882) and grandfather (Washington L. Atlee, 1808-1878), as well as W. Atlee's wife, Blanche (1863-1948); David Burpee (1893-1980) and his wife, Lois (1912-1984); and W. Atlee Burpee II (1894-1966). There are genealogical surveys conducted on both the Atlee and Burpee families as well as clippings about family members. W. Atlee and David Burpee's series are the most extensive, and cover their involvement with numerous social and philanthropic clubs and organizations. The series include personal correspondence; financial, accounting, and tax records; travel-related files; reference material; and will and estate papers.
The Burpee collection also has a large number of images related to the Burpee business and family in a variety of formats including photographs, film and glass plate negatives, and advertisement mock-ups. Other formats include architectural and site plans, original artwork for advertisements, films, cassettes, audio tapes, and ephemera.
Arrangement:
Collection is arranged into six series:
Series 1: Plant/Farm Related Material
Series 2: Business Records
Series 3: Material Published About the Burpee Company
Series 4: Awards and Certificates
Series 5: Photographic and A/V Materials
Series 6: Burpee Family Papers
The collection's original order was maintained wherever possible, though many records were found scattered throughout the collection and artificial files were necessarily created for them.
Most files are arranged chronologically or alphabetically by person or topic.
Various photographs interspersed in correspondence files were kept where they were originally found. All other photographic and audio/visual materials found on their own were grouped in Series 5 Photographic and A/V Material which documents aspects of both the Burpee company and Burpee family.
Biographical / Historical:
Washington Atlee Burpee (1858-1915) began a mail-order poultry and livestock business in 1876 in Philadelphia, which he soon expanded to include corn seed for chicken feed. In 1878, he founded W. Atlee Burpee & Co. to sell livestock and vegetable, fruit, and flower seeds through the mail. His company went on to become one of the most notable seed distributors in the world.
In 1888, W. Atlee bought a tract of land named Fordhook Farms in Doylestown, Pennsylvania. It was initially established as an experimental farm to test and evaluate new varieties of vegetables and flowers and to produce seeds for the mail-order market. Burpee spent many summers traveling throughout the United States and Europe visiting farms and searching for the best flowers and vegetables. Certain plants he found were shipped back to the firm for testing and propagation; other seeds were obtained through contracts with growers throughout the U.S., a practice common in the seed industry at that time. Promising varieties were bred with healthier specimens to produce hardier hybrids that were more resistant to disease. Other Burpee trial grounds were later established at Sunnybrook Farm near Swedesboro, New Jersey, and at Floradale Farms in Lompoc, California (1909/1910). The company went on to purchase more land for farming in California, and established sales branch headquarters in Sanford, Florida (circa 1930s), Clinton, Iowa (1942), and Riverside, California (1949).
W. Atlee Burpee married Blanche Simons (1863-1948) in 1892. They had three sons: David (1893-1980); W. Atlee Jr. ("Junior") (1894-1966); and Stuart Alexander (1901-1934). Both David and Junior attended the Blight School in Philadelphia for elementary school and Culver Military Academy in Culver, Indiana for preparatory school. While they both attended Cornell University as undergraduates, they left before graduating due to W. Atlee's poor health. Junior married Jeanetta Lee (1893-1981) in November, 1916, and they had two children: W. Atlee III (1917-1971) and Jeanette (1919-2002). David married Lois Torrance (1912-1984) in 1938, and they had two children: Johnathan (b. 1941) and Blanche (b. 1943). Stuart Alexander was apparently born with a disability; according to census records he worked on farms during his lifetime.
David Burpee took over the family business upon his father's death in 1915; W. Atlee Burpee, Jr. served as treasurer of the firm once he returned from serving in the military. At that time, the Burpee company had 300 employees and was the largest mail-order seed company in the world. It distributed over one million catalogs a year and received on average 10,000 orders a day. Under David's tutelage, the company adapted to contemporaneous shifts in business and advertising methods, advancements in plant science, ever-changing consumer demands, and two World Wars. In response to food shortages experienced during World War I, the Burpee company helped promote a "war gardens" campaign that evolved into a "victory gardens" campaign during World War II.
Both W. Atlee and David used their position as head of a major seed house to lobby congressional debates in regard to two topics: postage rates (W. Atlee) and the designation of a national floral emblem for the United States (David). Both men belonged to The Union League of Philadelphia and The Canadian Society of Philadelphia (which W. Atlee helped found), and served on the boards of directors for hospitals and other charitable organizations. Both father and son were politically aligned with the Republican Party.
The firm reorganized its governing structure in 1917 at which time it changed its name from W. Atlee Burpee & Co. to W. Atlee Burpee Co. Burpee's acquired three seed companies between 1878 and 1970: Luther Burbank Seed Company, James Vick's Seeds, Inc., and the William Henry Maule Company. David Burpee sold the company to the General Foods Corporation in 1970 and served as a consultant for the business until 1973. The Burpee brand was bought by its current owner, George J. Ball, Inc., in 1991.
General:
The project to process the W. Atlee Burpee & Co. Records received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and
the Smithsonian Collections Advisory Committee.
Related Materials:
Burpee seed catalogs donated to the Smithsonian in 1982 by the W. Atlee Burpee Co. can be found in the Smithsonian Libraries and Archives' Trade Literature Collection at the National Museum of American History.
The Farm Security Administration - Office of War Information Photograph Collection in the Library of Congress Prints and Photographs Division includes a series of images of Burpee company operations taken in 1943.
The Black Gold Cooperative Library System's Asian/Pacific - Americans on the Central Coast Collection includes images dated 1933-1939 of Japanese employees of the Burpee Co. working at Floradale Farms in Lompoc, California.
Restrictions:
Access to original archival materials 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.
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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Wenley, A. G. (Archibald Gibson), 1898-1962 Search this
Extent:
20 Linear feet
Type:
Collection descriptions
Archival materials
Negatives
Photographic prints
Manuscript
Place:
China
Date:
1923-1934
Summary:
An associate curator and associate in archaeology at the Freer Gallery of Art from 1922 to 1942, the collection of Carl Whiting Bishop (1881-1942) document his Gallery-sponsored travels to China from 1923 to 1934 and include an unpublished manuscript describing his archaeological research in China; line drawings; rubbings; maps; note cards; and nearly 4,000 glass and film negatives with corresponding original silver prints. These document his expeditions in northern and central China, illustrating archaeological sites in Henan, Shanxi, and Hebei provinces. Specific digs include the large neolithic site at Wanquan, Shanxi, and sixth century C.E. tombs near Fenyin. Additional images show Chinese cityscapes, daily life and customs, topography, temples, pagodas, caves, and sculpture.
Scope and Contents:
The professional papers and official records of Carl Whiting Bishop include his unpublished two-volume manuscript, [not before 1940]; and photographs, nearly 4,000 images, 1915-1934; and undated. These materials document over a twenty-five year period in the course of Bishop's research and archaeological activities. They were retained at the Freer Gallery of Art after Bishop's death in 1942, and were supplemented with an addition received in 1956 from his widow Daisy Furscott Bishop.
The manuscript was prepared in a typescript format, over 421 pages of text, with photographic illustrations, and completed by Bishop sometime after 1939. Properly titled Archaeological Research in China 1923-1934, this unpublished manuscript constituted a field report that chronicled Bishop's Gallery-sponsored expeditions in northern and central China during the period 1923 to 1934. The reader is provided with a record of the day-to-day operations completed, of obstacles and opposition encountered, and the results obtained from their work. Key diplomatic and scientific representatives from the West and China are recorded who aided and contributed to the investigations. Moreover, there are descriptions of the academic, social and political climate in China during a period of civil war and economic strife. Against this background, Bishop also discussed their efforts in view of the history of China, with commentary on the country's geography, topography, climate, flora and fauna, mineral products, and ancient customs and legends.
The earliest still photographic prints in the Bishop Papers date from his employ at the University of Pennsylvania Museum, where he conducted archaeological reconnaissance from 1915 to 1918 in China, Korea, and Japan. All subsequent images were created or collected by Bishop and his assistant Kuang-zung Tung during the Freer Gallery-sponsored expeditions of 1923-1934. Further descriptions of these materials may be found under Series 2 and Series 3 in this finding aid.
In the transliteration into English of the names of Chinese characters, Bishop followed the Wade-Giles system, with a few exceptions to those rules for certain well known and commonly used place-names, especially those of cities, towns, territorial divisions, and bodies of water. We have retained Bishop's romanization except in certain areas where clarification was needed. The Chinese personal and place-names have been kept as they appeared in his captions.
Arrangement:
Series 1: Manuscript/Writings 1915-1934 and undated
Series 2: Photography Prints
Series 3: Negatives
Series 4: Drawings, Rubbings, and Maps
Biographical / Historical:
Carl Whiting Bishop (1881-1942) was an archaeologist, anthropologist, and specialist in the field of East Asian studies. Born in Tokyo, Japan, on July 12, 1881, he was the son of a Methodist missionary, the Reverend Charles Bishop. Except for a twelve-month residence in the United States during 1889-90, Bishop spent the first sixteen years of his life in Japan, before returning to this country in 1898 for college preparatory work at Northwestern Academy, Evanston, Illinois. He studied at Hampden-Sydney College and in 1912 received an A.B. degree from DePauw University. In 1913 he was awarded the degree of Master of Arts by the Department of Anthropology, Columbia University, where he studied with the noted German anthropologist, Franz Boas (1858-1942). That same year he received his first scientific appointment as a member of the Peabody Museum Expedition to Central America.
Effective 10 April 1922, Bishop was appointed as Associate Curator of the Freer Gallery of Art by then director John Ellerton Lodge (1878-1942). Asked to undertake important archaeological work, Bishop headed the gallery's first expedition to China, sponsored jointly by the FGA and the Museum of Fine Arts, Boston, lasting from 20 February 1923 to 6 August 1927. From 16 November 1929 to 11 April 1934, he headed another expedition, sent out this time by the Freer Gallery alone. When conditions in China made further efforts impractical, Bishop returned to Washington in 1934, where he remained at the gallery as Associate in Archaeology until the time of his death on 16 June 1942.
Carl Whiting Bishop was a member of a number of learned societies: the American Oriental Society, the American Archaeological Society, the Anthropological Society, the American Society for the Advancement of Science, the American Geographical Society, and he served on the advisory board of the American Council of Learned Societies until his death.
1881, July 12 -- Born in Tokyo, Japan
1898 -- Attends Northwestern Academy in Evanston, Illinois for college preparatory work Attends Hampden-Sydney College
1912 -- Receives A.B. degree from DePauw University
1913 -- Receives Master of Arts from Department of Anthropology from Columbia University, where he studied with Franz Boas
1914 -- Begins serving as Assistant Curator in Oriental Art at the University of Pennsylvania Museum
1915-1918 -- Makes several archaeological survey trips to China, Korea and Japan
1921 -- Serves as Assistant Professor in Anthropology at Columbia University
1922, April 10 -- Becomes Associate Curator of the Freer Gallery of Art
1923-1927 -- Heads the Freer Gallery's first expedition to China, co-sponsored by the Boston Museum of Fine Arts
1929-1934 -- Heads the second Freer-sponsored expedition to China
1934 -- Returns to US and serves as Associate in Archaeology at the Freer Gallery of Art
1942, June 16 -- Dies.
Related Materials:
Additional Bishop material may be found in the following collections also found in the the Archives of the Freer Gallery of Art and the Arthur M. Sackler Gallery:
Li Chi Reports, 1926-1929, regarding Li's reconnaissance work at Shi-yin Ts'un, Shansi Province, and the excavation at Anyang.
Archibald Gibson Wenley Papers, 1924-1926, including field diaries, notes, and photographs documenting his participation in the FGA expedition work in China.
Charles Lang Freer Papers, including 1915 correspondence between Freer and Bishop; newspaper clippings related to Bishop, and documents dated 1912-1913, relating to Freer's support for a proposed American School of Archeology in China.
A number of objects from the FGA expeditions, including bronzes, ceramics, and stone sculpture, have been accessioned into the permanent art collection of the Freer Gallery of Art. Additionally, remnants of antiquities, potteries, and metalwork accumulated during the field work, have been placed in the Freer Gallery Study Collection. Records for these items are retained with the Galleries' Registrar's Office.
Additional Bishop material may be found in the Smithsonian Institutional Archives:
Expedition Records, including correspondence of Carl Whiting Bishop, 1914; 1923-1942, nearly 3,000 letters arranged alphabetically by correspondent name; a manuscript catalogue of expedition acquisitions, Peking, 1923-1925; financial records, 1923-1934, including expedition fund ledgers, account statements, and receipts; and newspaper clippings, 1924-1932, documenting the gallery's field work and general archaeological work being conducted around the world at that time.
Smithsonian Institutional Archives, Central Files, Bishop folders, 1923-1942, including expedition letters, field reports, and photographs sent to John E. Lodge.
Personnel and Special Events Photograph Collection, containing portrait photographs of Bishop.
Additional Bishop matieral may be found in the University of Pennsylvania Museum Archives, Philadelphia:
Documentation of University of Pennsylvania Museum-sponsored field work in East Asia may be found there that includes records of C.W. Bishop, dated 1914-1927 (measuring about .5 linear foot), much of it created during his tenure as the Museum's Assistant Curator of Oriental Art from 1914-1918. Included are Bishop's journals consisting of daily entries for two trips to China for the University of Pennsylvania Museum; letters to and from G.B. Gordon, C.W. Harrison, and Jane McHugh, written during Bishop's travel in China and subsequent to his return; and detailed financial accounts of expenditures during the China travels. Additionally, the repository houses a group of Bishop's negatives taken in China to visually record the expedition work.
Provenance:
Gift of Carl Whiting Bishop.
Restrictions:
Collection is open for research.
Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
The Frank Gouldsmith Speck photograph collection includes portraits of individuals and families, as well as scenic shots and landscape views made between 1909 and 1937. Speck was an anthropologist and ethnographer, a professor at the University of Pennsylvania, and worked on behalf of the Museum of the American Indian, Heye Foundation collecting ethnographic materials across the Eastern United States and Canada. His collection of photographs includes materials from native communities ranging from Newfoundland to Ontario in Canada and from Maine to South Carolina in the United States.
Scope and Contents:
The Frank Gouldsmith Speck photograph collection includes negatives and a small amount of prints made by Speck throughout the course of his career as an anthropologist and ethnographer. The majority of the photographs in this collection were made while Speck conducted field trips on behalf of the Museum of the American Indian, Heye Foundation between 1924 and 1932, though there are photographs from before and after this time. This collection has been arranged into Series by geographical location and then into subseries by culture group or community. Series 1: Newfoundland and Labrador: Innu, Mushuaunnuat, 1916-1935; Series 2: Quebec: Innu, Mistassini Cree, Lorette Huron, Wawenock, Mohawk, Kitigan Zibi Anishinabeg, 1910-1937; Series 3: New Brunswick and Nova Scotia: Maliseet, Mi'kmaq, 1909-1917; Series 4: Ontario: Six Nations/Grand River (Naticoke, Mohawk, Cayuga, Mahican, Tutelo), Oneida Nation, 1914-1937; Series 5: Maine and New Hampshire: Penobscot, Passamaquoddy, Abenaki, 1910-1924; Series 6: Massachussets and Rhode Island: Wampanoag, Nauset, 1914-1931; Series 7: Connecticut: Mohegan, Niantic, Schaghticoke, Pequot, 1912-1931; Series 8: Delaware: Nanticoke and Rappahanock, 1911-1925; Series 9: Virginia and Maryland: Rappahanock, Chickahominy, Pamunkey, Mattaponi, Nansemond, Potomac, Accomac, Powhatan, 1915-1924; Series 10: North Carolina and South Carolina: Catawba, Eastern Band of Cherokee, 1915-1930.
Many of Frank Speck's photographs are individual and family portraits of community members, many identified, posed outdoors in front of homes and community buildings. There are also landscape views as well as photographs taken during community events. There are a small amount of photographs that have now been restricted due to cultural sensitivity though for the most part Speck did not photograph culturally sensitive activities.
Arrangement:
The collection is intellectually arranged in 10 Series by geographic region and within each series by culture group. The negatives are physically arranged by catalog number.
Biographical / Historical:
Frank Gouldsmith Speck was born on November 8, 1881 in Brooklyn, New York. He studied under the prominent linguist John Dyneley Prince and anthropologist Franz Boas at Columbia University, receiving his BA in 1904 and MA in 1905. He received his Ph.D. in 1908 from the University of Pennsylvania. His doctoral dissertation on the ethnography of the Yuchi became a basis for an article which later appeared in the Handbook of American Indians. That same year Speck became an assistant in the University of Pennsylvania Museum and an instructor in anthropology at the University. He was made assistant professor in 1911, and professor and chairperson of the department in 1925, a position which he held until his death in 1950. Speck was the founder of the Philadelphia Anthropological Society, and was vice-president of the American Anthropological Association from 1945-46. Speck's research concentration was on the Algonkian speaking peoples. Speck studied every aspect of a culture: language, ethnobiology, technology, decorative art, myths, religion, ceremonialism, social organization, and music. Collecting material culture was also an integral part of Speck's fieldwork. His collections can be found in museums around the world, one of which is the National Museum of the American Indian. He is the author of numerous books and articles. Frank G. Speck died February 6, 1950. (A. Irving Hallowell, American Anthropologist, Vol. 53, No. 1, 1951)
Related Materials:
The Frank G. Speck Papers can be found at the American Philosophical Society (Mss.Ms.Coll.126) along with additional photographic materials by Speck.
Frank Speck published extensively in the Museum of the American Indian, Heye Foundation publications; "Indian Notes" and "Indian Notes and Monographs." These publications are avialable through the Smithsonian Institution Libraries or online on the Internet Archive.
Separated Materials:
A small amount of notes from Speck's field work can be found in the Museum of the American Indian/Heye Foundation records (NMAI.AC.001) in Box 273, Folder 18 through Box 274 Folder 2.
Close to 4000 ethnographic and archeological items were collected by Speck for the Museum of the American Indian, Heye Foundation (MAI) and are now in the National Museum of the American Indian (NMAI) collection. For more information about these objects contact the NMAI Collections Department.
Provenance:
The majority of the negatives were gifted to the Museum of the American Indian, Heye Foundation (MAI) by Frank Speck in 1927. The group of Nanticoke photographs were purchased by the MAI in 1915 and smaller amounts of photographs were gifted and purchased by the MAI between 1923 and 1942.
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).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive 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.
Identification of specific item; Date (if known); Frank Speck photograph collection, Photo Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Studio portraits made by the James E. McClees Studio and published by the Blackmore Museum, depicting Native American visitors to Washington, D.C. The series is identified by an 1863 broadside in the collection as "Photographs of some of the principal Chiefs of the North American Indians, made when they have visited Washington as deputations from their Tribes." Yankton, Sisseton, Mdewakanton, Wahpeton, Pawnee, Potawatomi, Sauk and Fox, Ponca, and Ojibwa people are represented. Three additional portraits depict men (possibly Cree) and were probably made by a different photographer.
Biographical/Historical note:
James Earl McClees (1821-1887) trained as a daguerreotypist in Philadelphia, Pennsylvania, before opening a studio in Washington, D.C. in 1857. He was an early user of paper photographic processes and was well-known for photographing delegations of American Indians. His Washington studio, known as the James E. McClees Studio, operated in 1857-1858 with Julian Vannerson (1827-?) and Samuel Cohner as its most established operators. The studio was taken over by Robert W. Addis in 1858. Among Addis's proprietors was Antonio Zeno Schindler, an artist who made copies of photographs for English philanthropist and collector William Blackmore (1827-1878). Blackmore purchased the McClees Studio's negatives from Shindler, later transferring them to the Smithsonian. The Bureau of American Ethnology absorbed the photographs upon its formation in 1878-1879.
Local Call Number(s):
NAA Photo Lot 4286
Location of Other Archival Materials:
Additional McClees Studio and Vannerson photographs held in the National Anthropological Archives in the BAE historical negatives and Photo Lot 4420.
Glass negatives relating to William Henry Blackmore, including copies of photographs collected by Blackmore, held in the British Museum and in National Anthropological Archives Photo Lot 31 and the BAE historical negatives.
Artifacts collected by Blackmore held in the anthropology collections of the National Museum of Natural History in accessions 1846, 2371, and 1826.
Photo Lot 4286, James E. McClees Studio photographs of Native American delegates to Washington DC, National Anthropological Archives, Smithsonian Institution
This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.
The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.
The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.
The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.
The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.
A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.
Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).
Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).
Arrangement:
The collection is arranged into eleven series.
Series 1: Personal Papers, 1923-1981
Series 2: Professional Papers, 1954-1980
Series 3: Lecture Materials, 1952-1980
Series 4: Biographical Materials, 1954-1980
Series 5: Transparencies, 1947-1980
Series 6: Photoprints, 1913-ca. 1980
Series 7: Photonegatives, 1929-1981
Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979
Series 9: Audio Tapes, 1947-1980
Series 10: Miscellaneous, 1947-1980
Series 11: Steve Eyster Addenda, 1937-1980
Biographical / Historical:
Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast.
It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.
Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.
Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.
Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.
1914 -- April 13, born York, Pennsylvania.
1929 -- In Detroit at Lewis Institute to overcome a speech impediment.
1932 -- To University of Pennsylvania.
1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.
1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).
1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).
1938 -- Summer at home, and Picketts (PA), Camp Pratt.
1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).
1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).
1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).
1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.
1943 -- Summer trip to Mohonk (NY).
1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).
1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).
1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.
1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.
1949 -- Singing tour of North and South Carolina.
1950 -- Summer trip to South.
1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.
1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.
1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.
1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.
1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.
1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.
1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.
1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.
1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.
1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.
1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.
1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.
1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.
1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.
1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.
1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.
1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.
1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.
1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.
1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.
1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.
1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.
1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.
1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.
1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.
1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.
1979 -- To England; Florida.
1980 -- To Florida.
1981 -- March 25: Sultner dies of cancer, York, Pennsylania.
Introduction:
The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.
The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.
This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.
Restrictions:
Collection is open for research but a portion of the collection 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.
A small number of letters and photographs are restricted until the year 2031. Identification list in box.
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.
American Society of Landscape Architects Search this
Extent:
1 Negatives (photographic) (black-and-white, 8 x 10 in.)
Type:
Archival materials
Negatives (photographic)
Date:
circa 1900-1920
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
American Society of Landscape Architects Search this
Extent:
1 Negatives (photographic) (black-and-white, 8 x 10 in.)
Type:
Archival materials
Negatives (photographic)
Date:
circa 1900-1920
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
American Society of Landscape Architects Search this
Extent:
1 Negatives (photographic) (black-and-white, 8 x 10 in.)
Type:
Archival materials
Negatives (photographic)
Date:
circa 1900-1920
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
American Society of Landscape Architects Search this
Extent:
1 Negatives (photographic) (black-and-white, 8 x 10 in.)
Type:
Archival materials
Negatives (photographic)
Date:
circa 1900-1920
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
American Society of Landscape Architects Search this
Extent:
1 Negatives (photographic) (black-and-white, 3 x 5 in.)
Type:
Archival materials
Negatives (photographic)
Date:
circa 1900-1920
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
