Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Duncan Schiedt Jazz Collection, 1900-2012, Archives Center, National Museum of American History
Sponsor:
Processing and encoding funded by a grant from the Council on Library and Information Resources.
Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Duncan Schiedt Jazz Collection, 1900-2012, Archives Center, National Museum of American History
Sponsor:
Processing and encoding funded by a grant from the Council on Library and Information Resources.
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.
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 arrange and rehouse 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.
The project to digitize select Burpee records originating from Burpee Co.'s Sanford branch that had been affected by water damage and mold 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.
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 papers in the Abbott collection appear to have been brought together in the Smithsonian's Department of Anthropology in order to process ethnological specimens from Malaya and Indonesia and to prepare an exhibit and publications. Included are some of Abbott's original letters, notes, maps, and a considerable number of photographs. Most of these materials concern the Enggano, Jakun, and Dyak. Many other documents in the collection consist of copies of or extracts from Abbott's letters, the originals of which are now in the Smithsonian Institution Archives. There are also letters and other materials of Otis Tufton Mason and Walter Hough accumulated as they worked on the collection, many simple lists of accessions compiled in the Department of Anthropology, and a few manuscripts. In addition, there are printed materials that were apparently used by the department's staff for reference purposes. Some of the photographs made in Borneo in 1914 are by Henry Cushier Raven, a field assistant of Abbott and, later, a collector financed by Abbott.
Additional materials of Abbott and Raven are in the Smithsonian Institution Archives, and their material (often duplicate photographs) are included in several collections in the National Anthropological Archives.
Scope and Contents:
William Louis Abbott, although formally trained in medicine, chose instead to
devote his time and inherited wealth to worldwide exploration and the collection of
natural history specimens and ethnological artifacts. The Abbott papers in the National
Anthropological Archives reflect his collecting activities in the East Indies, and the work
on his collections from that region by United States National Museum personnel,
especially Otis Tufton Mason, curator of ethnology. The collection includes
correspondence, maps, illustrations of artifacts, manuscripts, lists of objects in the Abbott
collection in the Smithsonian Department of Anthropology, and photographic prints and
negatives. In addition, there is a subject file which contains information on a variety of
topics relating to Indonesia and Malaysia. The materials date from the 1890s to the early
decades of this century.
This archival collection forms a valuable complement to the collection of artifacts
housed in the National Museum of Natural History. (Abbott's collections from Indonesia
are described by Dr. Paul M. Taylor, curator of Asian ethnology, in the Museum
Anthropology Newsletter, April, 1985.) The subject file and lists of objects provide data
on certain specific artifacts and their uses and Abbott's correspondence contains his
observations of the daily life of the various peoples from whom the objects were
collected. These documents are supplemented by a generous photographic record and
sketch maps which outline the routes he followed. The papers focus on the Malay
Peninsula and Archipelago, the region closest to Abbott's heart and to which he dedicated
over a decade before eye disease forced him to leave the tropics.
In addition to Abbott's own materials, there are notes by museum staff, including
descriptions of artifacts, and manuscripts of articles mostly by Mason who was
particularly interested in basketry. The bulk of the correspondence is between Abbott,
Otis Mason, Walter Hough, and Cecil Boden Kloss who accompanied Abbott on several
expeditions. Other correspondents include Cyrus Adler, Jesse Walter Fewkes, William
H. Furness, Alfred Cort Haddon, Ales Hrdlicka, Mary Lois Kissell, Elmer D. Merrill,
William Palmer, Richard Rathbun, and Charles Clark Willoughby. Most of the letters are
brief and discuss proposed work on the Abbott collections, bibliographic sources, and
basketry.
Additional material in the National Anthropological Archives relating to William
Louis Abbott is contained in the papers of Ales Hrdlička and of Herbert W. Krieger, the
Manuscript and Pamphlet File of the United States National Museum Department of
Anthropology, and the photographic collection of the United States National Museum
Division of Ethnology. Because Abbott donated material to a variety of departments in
the Smithsonian, his original written material is located in several other Smithsonian
departments as well. There are personal letters to his mother and sister as well as
Smithsonian personnel in the Smithsonian Institution Archives. Field notebooks
including detailed sketch maps of collecting stations are in the libraries of the
departments of Mammals and of Birds.
The spelling of place names used here are those of Abbott who frequently wrote
them as they sounded to him.
Arrangement:
Collection arranged into 9 series: (1) Correspondence, 1896-1919; (2) Subject file; (3) Register of accessions, 1890-1906; (4) Lists of objects by accession number and location; (5) Lists of objects by type or geographic location; (6) Drafts of unpublished articles with working materials; (7) Printed material; (8) Photographic prints; (9) Photographic negatives.
Biographical Note:
William L. Abbott studied medicine at the University of Pennsylvania and, after receiving an M.D., continued his training in London. Although a highly successful student, he seems never to have been fully committed to medicine. Instead, around 1880, using his own resources, he turned to a life of exploration and the study of natural history.
Abbott's early expeditions were in the United States, but, in time, he went abroad, at ever increasing distances, to the Greater Antilles, East Africa, Kashmir, and Turkestan. In 1896, he began work in Malaya and Indonesia that would largely occupy him until 1915. Using Singapore as a base, he sailed his ship, the Terrapin, to points on both coasts of the Malayan Peninsula, Trang in Thailand, the Anambas Islands, the Mergui Archipelago, the Nicobars and Andamans, both costs of Sumatra and the nearby islands (notably Nias, the Mentawai Islands, and Enggano), the Rhio Archipelago, and Borneo. On many of thes voyages, he collected both biologcial and ethnological specimens and photographs. At times, however, he was accompanied by an Englishman, Cecil Boden Kloss, who handled the ethnological work. Kloss retain his own notes and many of his photographs.
Abbott's later work, between 1916 and 1923, was carried out in Haiti and the Dominican Republic. After this, he retired to a farm on the Elk River in Maryland.
Abbott has been described as one of the great field naturalists of all time simply for the quantity of material he collected. Virtually the only body of work he left, in fact, is his large collection of specimens and notes, letters, and photographs that relate to them. Although he contributed to the collections of several museums, the chief benefactor of his work was the United States National Museum. Its staff and associated produced around forty publications based on his material. Abbott himself published very little.
CHRONOLOGY OF THE LIFE OF WILLIAM LOUIS ABBOTT
1860 February 23 -- Born in Philadelphia, Pennsylvania
1880 -- Collected birds in Iowa and North Dakota
1881 -- Bachelor of Arts, University of Pennsylvania
1883 -- Collected birds in Cuba and Santo Domingo
1884 -- Doctor of Medicine, University of Pennsylvania
1884-1886 -- Postgraduate work in England Licentiate of Royal College of Surgeons and Royal College of Physicians
1886 -- Received inheritance and discontinued formal practice of medicine
1887-1889 -- Exploration of Taveta region near Mt. Kilimanjaro with William Astor Chandler. Collection donated to United States NationalMuseum
1890 -- Exploration and collection in Zanzibar, Seychelles Islands, and Madagascar
1891 -- Ethnological collections in the U.S. National Museum from Kilima-Njaro, East Africa,Annual Report of the U.S. National Museum for 1891, pages 381-398Exploration and collection in India, including Baltistan, Karachi, Kashmir, and Srinagar
1892 -- Exploration and collection in Vale of Kashmir, Baltistan, Aden, Seychelles Islands, and Aldabra Island
1893 -- Exploration and collection in Seychelles Islands; India, including Kashmir and Srinagar; Leh Ladakh; Sinkiang, China; and Eastern Turkistan
1894 -- Continued exploration and collection in region of Eastern Turkistan, Pakistan, India, and Ceylon
1895 -- Exploration and collection in Madagascar and Kashmir
1896 -- Exploration and collection in Malay Peninsula, including:Jan-Feb – PerakFeb-Mar – CantonApr-Nov – Trang Province, Siam, including Pramon, Tyching, and Penang
1897 -- Exploration and collection:Jan -- TrangApr-May -- PenangMay-Dec -- India
1898 -- Volunteered in Spanish-American War with William A. Chambers as Irregular Horse in Florida, and served in CubaTravel in Singapore and China
1899 -- Construction of schooner TerrapinExploration and collection accompanied by Cecil Boden Kloss:Jan-Mar -- TrangMarch -- SingaporeMar-Apr -- JavaJul-Sept -- Lingga and Anamba islandsOct-Nov - Singapore, PenangDec - Junkseylon
1900 -- Exploration and collection accompanied by Kloss:Jan-Mar -- Burma, Mergui ArchipelagoJun-Aug -- Natuna ArchipelagoNov-Dec -- Penang, Burma, Mergui Archipelago
1902 -- Exploration and collection accompanied by Kloss:Jan-Feb -- Banjak Islands, Lasia, BabiFeb-Mar -- Western SumatraMar -- NiasApr-May -- Pahang, Malaya; Singapore and Straits IslandsAug-Sep -- Bintang, Rhio ArchipelagoOct-Nov -- SimalurNov-Jan 03 -- Pagi Islands
1903 -- Exploration and collection:Jan -- Western SumatraFeb -- Pulo TelloApr -- Penang, SingaporeMay-June -- Karimun IslandsJuly-Aug -- Rhio-Lingga ArchipelagoAug-Sep -- Eastern SumatraOct -- PenangNov-Mar 04 -- Burmese coast, including Victoria Point, Mergui Archipelago, and Tenasserim
1904 -- Exploration and collection:Apr -- Penang and Straits of MalaccaMay-Jun -- Banka IslandJul-Aug -- Billiton IslandAug-Sep -- Karimata IslandOct -- Benkulen, SumatraNov-Dec -- Engano
1905 -- Exploration and collection:Dec 04-Feb- Western SumatraFeb-Mar -- NiasJun-Sep -- Western Borneo, including Pontianak and Kapuas riversNov-Jan 06 -- Eastern Sumatra Designated Honorary Associate in Zoology by the U.S. National Museum
1906 -- Visited Hong Kong and Japan (April-May)Exploration and collection accompanied by Kloss:Oct-Feb 07 -- Easter Sumatra, including Bengkalis and Rupat islands and Siak River
1907 -- Exploration and collectionMar -- Rhio ArchipelagoMay -- Islands of South China Sea, including Direction Island, Datu, Temayer, Lamukutan, Panebangan, and PelapisMay-Sep -- Western Borneo, including Kapuas and Simpang riversNov-Dec -- Java Sea, including Bawean Island
1908 -- Exploration and collection:Dec 07-Mar- Southeastern Borneo, including Pulo Laut and Pulo SebukuJun -- Southwestern BorenoNov -- Java Sea
1909 -- Exploration and collection:Dec 08-Apr -- Pulo Laut and eastern Borneo, including Pasir RiverOnset of partial blindness caused by spirochetosis, and treatment in Aachen, Germany. Illness forced Abbott to suspend collecting activities in tropics.
1910-1915 -- Exploration and collection in Kashmir
1912-1915 -- Donated funds to United States National Museum for expedition to Borneo by Henry Cushier Raven
1914 -- Brief visit and collection in Molucca Islands and Celebes, accompanied by his sister
1915-1916 -- Donated funds for expedition by Raven to Dutch East Indies, especially Celebes
1916 -- Exploration and collection in Dominican Republic
1917-1918 -- Exploration and collection in Haiti
1918 -- Interruption of field work by Abbott because of servere illness (dysentary) and by Raven because of the war
1919-1923 -- Exploration and collection in Hispaniola
1920 -- Donated funds to United States National Museum for botanical collection in Haiti by Emery C. Leonard, aid in Division of Plants
1920-1922 -- Donated funds to United States National Museum for expedition to Australia by naturalist Charles M. Hoy
1923-1924 -- Donated funds to United States National Museum for expedition to China by Charles M. Hoy until Hoy's death in the field; workconcluded by Reverend David Crockett Graham
1925-1927 -- Donated funds to United States National Museum for expeditions to Hispaniola
1928 -- Donated funds to United States National Museum for expedition to China
1928 -- Donated funds to United States National Museum for expedition to Hispaniola by Arthur J. Poole, Division of Mammals
1928-1931 -- Donated funds to United States National Museum for archeological expedition to Hispaniola by Herbert William Krieger, curator, Division of Ethnology
1932 -- Donated funds to United States National Museum for archeological expedition to Cuba
1934 -- Purchase and donation of birds of the Himalayas for the United States National Museum
April 2, 1936 -- Death of William Louis Abbott at his farm near North East, Maryland of heart disease after a long illnessBequest to Smithsonian Institution any of books and papers desired (278 volumes accepted) and approximately $100,000 (1/5 of estate) to promote zoological researchers
Provenance:
William Louis Abbott was a self-trained and self-sustaining collector who
donated large numbers of ethnological artifacts, zoological specimens, and funds to the
United States National Museum of the Smithsonian Institution around the turn of the
twentieth century. The Abbott Papers in the National Anthropological Archives were
apparently compiled by the staff of the Department of Anthropology, especially Otis
Tufton Mason, curator of ethnology, in order to process incoming collections. The
correspondence and printed materials relate primarily to Abbott's collecting activities and
to Mason's research on Abbott's collections.
Restrictions:
The William Louis Abbott collection is open for research. Access to the William Louis Abbott collection requires an appointment.
Rights:
Contact repository for terms of use.
Citation:
William Louis Abbott collection, National Anthropological Archives, Smithsonian Institution
Records document the activities of the Hoopes, Bro. & Darlington Company, manufacturers of wooden wheels in West Chester, Pennsylvania.
Content Description:
Records document the activities of the Hoopes, Bro. & Darlington Company in West Chester, Pennsylvania, a manufacturer of wooden spokes for wheels. Materials include photographs, blueprints, price lists, catalogs, patents, correspondence, articles, film scripts and other supplemental documention for the film, "The Last Wheel Works: The Industrial Archaeology of a Wood Wheel Manufactory," and an oral history transcript with Thomas Hoopes, Jr.
Arrangement:
Collection is arranged into four series.
Series 1: Operational Records, 1885-1964
Series 2: Patent Materials, 1834-1936
Series 3: Drawings, 1867-1955
Series 4: The Last Wheel Works Film Project Records, 1968-1969, 1978
Historical:
Hoopes Bro. & Darlington Wheel Works of West Chester, Pennsylvania was founded in 1867 by William and Thomas Hoopes to manufacture wooden wheels for carriages, wagons, and later automobile and motor truck wheels. In 1868, their cousin Edward S. Darlington joined the company. The company also made baseball bats and skis.
Related Materials:
Materials at the Archives Center
Warshaw Collection of Business Americana, Series Wagons, NMAH.AC.0060
Hagan Brothers Carriage and Wagonmakers records, NMAH.AC.1154
Samuel J. Meeks Carriage Works Records, NMAH.AC.1502
James Cunningham, Son and Company records, NMAH.AC.1193
Materials at Other Organizations
Hagley Museum and Library
The Hoopes Brothers & Darlington Inc. photograph collection (Accession 1969.099)
Collection consists of miscellaneous images from the company, largely dating between 1900 and 1948, as well as advertising material and letterheads. The photographs include images of the company's exhibit at the 1876 International Exposition in Philadelphia; an unidentified ca. 1890 trade show; their saw mill in Jackson, Mississippi, ca. 1910; various models of wooden wheels; two automobiles with wooden wheels; and views of the factory.
The Last Wheel Works: The Industrial Archaeology of a Wood Wheel Manufactory
16 mm film produced in 1975 and sponsored by the Smithsonian and the Eleutherian Mills-Hagley Foundation about the manufacturing process employed by Hoopes Brothers & Darlington, a wooden wheel producer located in West Chester, Pennsylvania. The film details each step required to fashion a 16-spoke carriage wheel from raw lumber. Directed by Peter H. Smith and Robert M. Vogel. Written by Pierce Atkins. Filmed by Albert J. Robinson and Frank T. Herzog. Post Production by John W. Hiller and Karen Loveland. Technical support by Robert A. Howard, John D. Milner, Julia F. Davis, and Don Berkebile. With financial support from the Raymond John Wean Foundation.
Chester County Historical Society, West Chester, Pennsylvania
Thomas Hoopes Family Papers, 1876-1890
The bulk of the documents were written between 1876 and 1890, and addressed to Amanda Hoopes (unless otherwise indicated). Many of the letters were written by various members of the extended family, but a considerable amount of them were written by Thomas and sent to Amanda while she was residing in Elmira, New York. Also included are a collection of stamps and several blank postcards and envelopes.
Provenance:
Immediate source of acquisition unknown.
Restrictions:
Collection is open for research. Unprotected photographs must be handled with gloves.
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.
The collection consists of forty-five (45) drawings by Antonio Zeno Shindler.
Two (2) of the drawings depict Japanese textile workers and are signed with the Shindler monogram.
Forty-three (43) of the drawings depict archaeological specimens, mostly from mound sites in Tennessee, Iowa, Indiana, Georgia, and Ohio. An annotation on the one of the of drawings reads: "Drawings of objects in the Museum by A. Zeno Shindler, probably in the 1870's or earlier. (Signed) W. H. Holmes." Most of the specimens depcicted were in the United States National Museum (USNM) collections. However, the numbers given do not always correspond to USNM catalog numbers and some drawings have no numbers. Two of the drawings depict specimens in the National Museum of Brazil. The drawings are dated and signed with the Shindler monogram and have been annotated by Shindler with the locality and collector of specimen and the scale of the drawing.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Biographical Note:
Antonio Zeno Shindler (1823-1899) was a photographer and artist for the Smithsonian Institution and a benefactor of William Blackmore. He was probably born Antonio (or Antonion) Zeno in Bulgaria or Romania. He adopted the name Shindler from a patron in Geneva, Switzerland, with whom he moved to and lived with in Paris, where he studied art. While it is uncertain exactly when Shindler first arrived in the United States, he is listed in an 1852 directory for Philadelphia, Pennsylvania as working as a drawing instructor. From then until 1863, he exhibited his artwork in the Pennsylvania Academy of the Fine Arts. In 1867, Shindler moved with his family and his brother-in-law's family to Washington, DC. In Washington, Shindler took propriotorship of the Addis Photographic Gallery, where he worked under the name Shindler and Company with his brother-in-law. Shindler was commissioned by English philanthropist William Henry Blackmore and the Smithsonian to make copies of Blackmore's collection of photographs, create a catalog for their exhibition, and photograph delegations of Native Americans visiting Washington. The Blackmore project was completed circa 1872 and Shindler continued to work for the Smithsonian as an artist until his death in July 1899.
Related Materials:
The National Anthropological Archives holds photographs made by Shindler in Photo Lot 31 (Antonio Zeno Shindler photographs of Native Americans and agents) and other photograph collections.
The Smithsonian Institution Archives holds the A. Zeno (Antonio Zeno) Shindler Watercolors (Record Unit 7371).
Antonio Zeno Shindler drawings of Japanese textile workers and archaeological specimens (MS 87829), National Anthropological Archives, Smithsonian Institution
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.
From 1914-18 Bishop served as Assistant Curator in Oriental Art at the University of Pennsylvania Museum, where on an expedition for that museum he made his first trip to China. Under the auspices of the university, he conducted archaeological reconnaissance during 1915 and 1916 in China, Korea, and Japan, and again conducted archaeological surveys in 1917 and 1918, although no systematic excavations were carried out at that time. When the United States entered World War I on the side of the Allied Powers, Bishop enlisted in the United States Navy and was made assistant naval attaché, serving in China in the years 1918-20, with the rank of lieutenant, junior grade. He returned to Columbia University in 1921 to assume the position of Assistant in Anthropology, a post he held until the end of the academic season in 1922.
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
1918-1920 -- Enlists in the U.S. Navy, serving as assistant naval attaché in China
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.
American Society of Landscape Architects Search this
Extent:
1 Glass negative (black-and-white, 8 x 10 in.)
Type:
Archival materials
Glass negatives
Place:
Butterworth Garden (Philadelphia, Pennsylvania)
United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia -- Chestnut Hill
Date:
[between 1915 and 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 Glass negative (black-and-white, 8 x 10 in.)
Type:
Archival materials
Glass negatives
Place:
Butterworth Garden (Philadelphia, Pennsylvania)
United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia -- Chestnut Hill
Date:
[between 1915 and 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 Slides (photographs) (glass lantern, black-and-white, 3 x 5 in.)
Type:
Archival materials
Slides (photographs)
Place:
Pennsylvania -- Gravers Station
United States -- Pennsylvania -- Philadelphia County -- Philadelphia -- Graver's Lane Station
Date:
1905
General:
John Haworth Co. 1020 Chestnut St. Philadelphia, PA. Eastman Kodak Co.
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.
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 Slides (photographs) (glass lantern, black-and-white, 3 x 5 in.)
1 Negatives (photographic) (black-and-white, 8 x 10 in.)
Type:
Archival materials
Slides (photographs)
Negatives (photographic)
Place:
Pennsylvania -- Overbrook
United States of America -- Pennsylvania -- Allegheny County -- Pittsburgh -- Overbrook
Date:
circa 1910-1925
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.
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:
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://doi.org/10.25573/data.21771155.
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 papers of librarian, curator, and photographer Paul Vanderbilt (1905-1992) measure 25.2 linear feet and date from 1854 to 1992 with the bulk of the material dating from 1945 to 1992. The papers are comprised of biographical materials, personal and business correspondence, interviews, writings and notes, fourteen diaries and two diary fragments, reference and project files, photographic materials, sound recordings, and professional files.
Scope and Contents:
The papers of librarian, curator, and photographer Paul Vanderbilt (1905-1992) measure 25.2 linear feet and date from 1854 to 1992 with the bulk of the material dating from 1945 to 1992. The papers are comprised of biographical materials, personal and business correspondence, interviews, writings and notes, fourteen diaries and two diary fragments, reference and project files, photographic materials, sound recordings, and professional files.
Biographical materials include seven appointment books, family letters and documents, and an honorary degree from the University of Wisconsin.
Vanderbilt's correspondence is with colleagues, and organizations including Dorothea Lange, Beaumont Newhall, Roy Stryker, and Julia Vanderbilt.
Sound recordings of interviews of Vanderbilt conducted by Mary North Allen, Barbara Crane, Carl Haywood, Jack Holzhueter, and Jane Plunkett. Other recordings are of Vanderbilt discussing his personal and professional life.
Writings by Paul Vanderbilt include drafts of Between the Landscape and its Other, poems, lectures, student papers, and notes on a variety of subjects. Writings by others are found for William Blake, Gregory Conniff, Woody Guthrie, Michael Lesy, Arnold R. Pilling, Jesse H. Shera, and Roy Stryker.
Fourteen of Vanderbilt's personal diaries and two diary fragments date from 1926 to 1990.
Reference files consist of printed materials on art, art historians, book reviews, library and information studies, photography and microphotography techniques, and other themes of interest to Vanderbilt. Project files include material from Vanderbilt's various projects, including a guide to the iconography of Iran, the reclassification of FSA photographs, and the Union Library Catalog of Philadelphia.
Included in professional files are administrative records, correspondence, exhibition files, project files, printed material, and research files created during Vanderbilt's career at the Library of Congress, Graphic History Society, State Historical Society of Wisconsin, Philadelphia Museum of Art, and the Farm Security Administration. Also found are materials for Vanderbilt's work as a consultant for several organizations, lecture documents, and art-related workshops.
Photographs are by and of Paul Vanderbilt, the staff of the Library of Congress, and George Talbot. Negatives include images for the Farm Security Administration. Bibliography cards and photographs of artwork from the Library of Congress can be found on microfilm reels within the collection.
Also found are fourteen unidentified sound recordings.
Arrangement:
The collection is arranged as 10 series.
Missing Title
Series 1: Biographical Materials, 1894-1992 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1933-1992 (1.5 linear feet; Box 1-2)
Series 3: Interviews, 1967-1992 (1.5 linear feet; Box 2-4)
Series 4: Writings and Notes, 1887-1992 (4.0 linear feet; Box 4-8)
Series 5: Diaries, 1926-1990 (0.5 linear feet; Box 8)
Series 6: Reference Files, 1877-1992 (2.5 linear feet; Box 8-10, 26)
Series 7: Project Files, 1935-1990 (3.0 linear feet; Box 10-13)
Series 8: Professional Files, 1854-1991 (11.7 linear feet; Box 13-24)
Series 9: Photographic Materials, 1912-1980s (0.5 linear feet; Box 24)
Series 10: Sound Recordings, circa 1980s (0.5 linear feet; Box 24-25)
Biographical / Historical:
Paul Vanderbilt (1905-1992) was a librarian, curator, and photographer active in Philadelphia, Pennsylvania, Washington, D.C. and Madison, Wisconsin.
Paul Vanderbilt was born in Cambridge, Massachusetts and educated in Germany, Switzerland, and Massachusetts. He attended Amherst College from 1923 to 1925 before transferring to Harvard where he graduated with a BA in art history in 1927. After graduation, Vanderbilt traveled to Europe where he studied at the American School of Librarianship in Paris and the Institut de Psychologie Bibliogique in Lausanne. In 1929, he returned to the United States and became a librarian at the Philadelphia Museum of Art and director of the Union Library Catalog project for the Philadelphia area.
In 1941 Vanderbilt began working under Roy Stryker cataloging the extensive photographic survey collection of the Farm Security Administration and U.S. Office of War Information. The collection is a rich resource of images of American life between 1935 and 1944. In 1943, the FSA photograph collection was transferred to the Library of Congress and Vanderbilt went with it as the curator of the newly formed Prints and Photographs Division, eventually becoming the Division chief of fine arts.
During the early 1950s, Vanderbilt also served as the director of the Graphic History Society of America. There he published a quarterly bulletin Eye to Eye and developed a guide to iconography in Iran. In 1954, he became the Curator of Iconographic Collections at the State Historical Society of Wisconsin and worked there until he retired in 1972.
Vanderbilt remained active after retirement. He became an artist-in-residence at the Apeiron Workshops, worked as a photographer for the Seagram courthouse project and the George Eastman House, and was a presenter at multiple conferences. Vanderbilt devoted much of his later life to working on his book titled Between the Landscape and its Other which was published posthumously after Vanderbilt's death in 1992.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Paul Vanderbilt conducted by Richard Doud on November 10, 1964.
Provenance:
The collection was donated in 1981 by Paul Vanderbilt and in 1993 by his estate through John W. Winn, executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Gathering history : the Marian S. Carson collection of Americana / historical overview by Robert V. Remini ; with essays by Gerard W. Gawalt ... [et al.] ; edited by Sara Day
Photographs mostly made by William S. Soule and George E. Trager, and probably acquired by John Rutter Brooke while stationed with the US Army at Camp Supply (circa 1873) and the Department of the Platte (1888-1895). Photographs by William S. Soule document life at Camp Supply, depicting Arapaho people (including Chief Powder Face), tipis and encampments, drying bison meat, and one image of Cheyenne captives, identified as Dull Knife, Curly Hair, and Big Head. Photographs by George E. Trager (through his studios Trager and Kuhn and the Northwestern Photographic Company) depict Red Cloud, Pine Ridge Agency, Rosebud Agency, and a Grand Council between Plains chiefs at Pine Ridge. The collection also includes three images relating to a Ute Bear Dance at Uintah Agency.
Biographical/Historical note:
John Rutter Brooke (1838-1926) graduated from Ursinus College shortly before enlisting in the 4th Pennsylvania Infantry division in April 1861. At the age of twenty-three, Brooke was granted the rank of colonel and served as the commanding officer for the 53rd Pennsylvania volunteer regiment. He led the 53rd at Antietam and a brigade of the Union Army's 1st Division during the Gettysburg campaign, leading to his appointment as Brigadier General in 1864. During peacetime, Brooke participated in the removal of Native American tribes to reservations. He commanded troops at Camp Supply in 1873, the U.S. 7th Cavalry during the attack at Wounded Knee, the Department of the Platte when the Ghost Dance War began in 1890 and the 1st Corps during the Spanish-American War. In 1897, he was promoted to major general and served as military governor of Puerto Rico and Cuba in the last years of the 19th century. Brooke returned to the United States as commanding officer of the Department of the East, eventually retiring to Philadelphia in 1902.
Local Call Number(s):
NAA Photo Lot 4599, NAA MS 4598, USNM ACC 63760
Location of Other Archival Materials:
Photographs previously filed in MS 4598 have been relocated and merged with Photo Lot 4599. These photographs were also collected by John Rutter Brooke and donated in accession 063760 and form part of this collection.
Additional Soule photographs held in National Anthropological Archives Photo Lot 3912, MS 4791, MS 2531, Photo Lot 24, Photo Lot 97-6, and the BAE historical negatives.
John R. Brooke also donated a large copper nugget, a bolo and sheath, and a dagger, which are held in the anthropology collections of the National Museum of Natural History in accession 063760.
The Historical Society of Pennsylvania holds John Rutter Brooke papers.
Photo Lot 4599, John Rutter Brooke photograph collection from Camp Supply and Pine Ridge Reservation, National Anthropological Archives, Smithsonian Institution
Circa 500 photographs documenting Sheldon Jackson's work in the Presbyterian Church and among Alaskan natives, including images of towns, buildings, scenery, and Alaskan natives. The collection includes commercial prints and photographs probably made by Jackson.
Biographical/Historical note:
Sheldon Jackson (1834-1909) was a Presbyterian minister and missionary and a United States government official. He graduated from Union College in New York (1855) and completed a program in theological studies at Princeton (1858). After graduation, he worked at a school for Choctaw boys in what is now Spencer, Oklahoma. He then moved to Minnesota to work as a pastor (1859-1869), stopping briefly to serve as a chaplain in the Civil War. In 1869, he became superintendent for the Board of Home Missions for Iowa, Nebraska, the Dakotas, Wyoming, Montana, and Utah. In 1870 his superintendency included almost all of the American West.
Jackson first visited Alaska in 1877, and in 1884 the federal government appointed him the territory's first superintendent of public instruction. In 1885 he joined the Bureau of Education as a general agent for education in Alaska. In this position, he worked to increase access to education and establish schools. He also introduced domesticated reindeer to Alaska in 1892 in order to alleviate undernourishment in the Alaska native population. In 1897, Jackson was elected moderator of the General Assembly of the Presbyterian Church, the highest honor of that denomination.
Local Call Number(s):
NAA Photo Lot R81-13
Location of Other Archival Materials:
The Presbyterian Historical Society holds the Sheldon Jackson papers.
Photographs relating to Jackson's project to import reindeer for Alaskans held in National Anthropological Archives Photo Lot 130.
The Department of Anthropology collections holds artifacts collected by Sheldon Jackson in Alaska and elsewhere.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
The microfilm was obtained for reference purposes only. Copies of the images should be obtained from the Presbyterian Historical Society in Philadelphia.
