The papers of Anne Valk— a specialist in oral history, public history, and the social history of the 20th-century United States measure 3.75 linear feet and date from 1964 to 1997. The collection contains oral history interviews and documents acquired or created by Dr. Valk during her extensive research of key figures in D.C. community activism for her book, Radical Sisters: Second-Wave Feminism and Black Liberation in Washington D.C. (University of Illinois Press, 2010).
Research files and ephemera from the following people, organizations, and publications are represented in the collection: Josephine Butler (DC Statehood Party; Adams Morgan Organization), Etta Horn (Southeast Neighborhood House's Band of Angels; National Welfare Rights Organization), Dorothy Burlage (Southeast Neighborhood House), Betty Garman (Student Nonviolent Coordinating Committee), Judy Richardson (Student Nonviolent Coordinating Committee), Bernice Reagon (Student Nonviolent Coordinating Committee), Marcia Sprinkle (Student Nonviolent Coordinating Committee), Juanita Weaver (Quest), LaValleJones (Rape Crisis Center), Loretta Ross (Rape Crisis Center, National Black United Front, National Organization of Women), Peggy Cleveland (The Bridge), Joan Biren (DC Women's Liberation Movement), Cathy Wilkerson (SDS, Weather Underground), Tina Smith (SNCC), Off Our Backs newspaper, and Congress Of Racial Equality (CORE),
among others.
Biographical / Historical:
Anne Valk (1964- ) is a specialist in oral history, public history, and the social history of the 20th-century United States. Dr. Valk received a M.A. from Mount Holyoke College and a PhD in history from Duke University in 1996. Professor Valk has written extensively in the areas of women's history, history of feminism, and oral history. She teaches public history at the Graduate Center at City University of New York (CUNY) and is the director of the Center for Media and Learning/American Social History Project.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Rights:
The Anne Valk papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
This collection consists of glass plate negatives and advertising ephemera created by the Baugh & Sons Company, also known as the Baugh Chemical Company, manufacturers of a variety of agricultural fertilizers from 1855-1963.
Scope and Contents:
The collection consists of glass plate negatives documenting various operations of Baugh & Sons Company. The collection also includes trade literature, advertising ephemera in the form of pocket notebooks, and farmer's almanacs published by Baugh & Sons Company.
Series 1, Glass Plate Negatives, undated is arranged by size, 5x7 or 8x10. The glass plate negatives came to the National Museum of American History (NMAH) in 1966 from the National Park Service (NPS), Philadelphia, Pennsylvania office. The glass plates, depicting sailing ships and wharf scenes, were given to the Division of Transportation, NMAH. The plates are not dated but appear to be early twentieth century. The glass plates may be ones used for the company publication, History of the House of Baugh, published circa 1927 or used in one of the many almanacs published by Baugh.
The scenes depicted in the various plates center around the company's wharf. Images of ships, tall masted and freighter, at the company dock are included as well as various staged scenes of laborers offloading animal bones (the basis of many of Baugh's products). There are also views of the factory complex from the Delaware River, showing an overhead rail system and large wharf side fertilizer hoppers with the company logo painted on at least one of them. The William J. McCahan Sugar Refining building may be seen in the background of some of the plates. These plates have been scanned.
Series 2, Advertising Ephemera, 1903-1914, undated is arranged chronologically. This series contains one piece of trade literature, seven pieces of advertising ephemera in the form of pocket memoranda, and three farmer's almanacs published by Baugh & Sons Company in the early twentieth century. The 1908 issue of the almanac contained a small black and white individual photograph of the Boston & Bangor Steam Ship Company building in Hampden, Maine.
Arrangement:
The collection is arranged into two series.
Series 1, Glass Plate Negatives, undated
Series 2, Advertising Ephemera, 1903-1914, undated
Biographical / Historical:
Reportedly one of the oldest and largest fertilizer manufacturers in the United States during the late nineteenth to mid-twentieth centuries, Baugh & Sons Company was founded in 1855 by John Pugh Baugh (?-1882) and two of his sons, Edwin P. Baugh (?-1888) and Daniel Baugh (1836-1921) in Chester County, Pennsylvania. Some company materials claim a founding date for the "House of Baugh" in 1817, which is probably based on the fact that the family was initially engaged in the tanning industry near Paoli, Pennsylvania. Baugh manufactured a variety of ground bone-based agriculture fertilizers that were tailored for a wide range of crops. They later expanded into the manufacture of animal charcoal, glue, and chemicals. Baugh's corporate offices were located at the Delaware River Chemical Works on South Delaware Avenue in Philadelphia, Pennsylvania with offices in Baltimore, Maryland and Norfolk, Virginia. Baugh operated manufacturing plants in Baltimore, Maryland at Canton in Baltimore harbor; Oneida, New York; Philadelphia, Pennsylvania on the Delaware River at the foot of Morris and Moore Streets; Canton, Ohio; Galveston, Texas, and Norfolk, Virginia at Burton's Point.
A visitor to the Delaware River works reportedly wrote this description of the plant, "I have just inspected the Baugh Fertilizer Works on the Delaware River. I saw many large buildings, much machinery and numerous workmen. There was business activity everywhere; but, more than anything else, I saw bones. The whole placed suggested animal bones. There were bones in heaps, in sheds, on carts, on ships. There were bones whole and bones crushed; and bone ground, ready for shipment. I learned that the annual sales of Baugh's brands aggregate nearly 100,000 tons; which would be six thousand freight-car loads. I was told that these bones came from everywhere: from North America and from South America; from the West Indies and even from the East Indies. It was intimated that the present big bone heaps would soon be bigger, owing to incoming cargoes, but the statement made no impression on me." Baugh's Farmer's Almanac for 1903, page 14.
By the early twentieth century Baugh products were widely available from a network of independently owned farm supply stores. Baugh carried trade brands for each of its primary regions in Philadelphia, Baltimore, and Norfolk. Baugh also exported products to England, France, Germany, and other countries. In its yearly almanacs they suggested the appropriate brand of Baugh fertilizer for specific crops and in some almanacs printed farmer testimony as well as photographs of crops grown with Baugh fertilizers.
Baugh Chemical Company was purchased by Kerr-McGee Oil Industries, Incorporated in 1963. Kerr-McGee ceased to exist as an independent entity in 2006 when purchased by Houston, Texas-based Anadarko Petroleum Corporation.
Provenance:
Collected for the museum by the Division of Work and Industry, National Museum of American History in 1966.
Restrictions:
The collection is open for research use.
The collection is open for research use.
Rights:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Former and present residents of North Brentwood speak about growing up and raising their families in North Brentwood. They discuss education, schools, churches, family histories, incorporation of the town, desegregation, and community as a family. They reminiscence about a time when the area was rural, everyone knew everyone, and neighbors disciplined each other's children.
Interview clips. Part of Footsteps from North Brentwood Audiovisual Records. Undated.
Biographical / Historical:
The exhibition, Footsteps from North Brentwood, included an oral, pictorial and artifact collection of life in North Brentwood from the 1900s to 1930. It was developed by the North Brentwood Historical Society and the Smithsonian Institution's Anacostia Museum; and on display at the Anacostia Museum from April 1996 through December 1996, North Brentwood Community Center from February 1997 through May 1997, and Lowe House of Delegates in Annapolis, Maryland from June 1997 through December 1997. The exhibition used pictures, documents, and artifacts to document the history of the first black incorporated town in Prince George's County. The oral histories describe North Brentwood's social history as told by 23 families who were either residents or descendants of residents who lived there during the 1920 U.S. Manuscript Census; they were collected by students in Dr. Elizabeth-Clark Lewis' public history class at Howard University between November 10, 1993 and November 29, 1993.
General:
Title created by ACMA staff from transcription on physical asset and title of related exhibition.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Publication, "History of United States Navy Airships Since World War II," Commander Fleet Airship Wing One
Collection Creator:
Vaeth, J. Gordon (Joseph Gordon), 1921-2012 Search this
Container:
Box 3, Folder 7
Type:
Archival materials
Date:
Circa 1960
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
J. Gordon Vaeth Collection, NASM.1994.0011, National Air and Space Museum, Smithsonian Institution.
The papers of art collector Emily Hall Tremaine measure 8.9 linear feet, date from circa 1890 to 2004, and document the development of Tremaine's seminal collection of modernist, pop, and contemporary art. The papers comprise biographical material including a sound recording, personal correspondence, art collection files, artist files, exhibition loan files including a video recording, and reproduction request files. Also found are two scrapbooks documenting Tremaine's first marriage to Baron Maximilian von Romberg; and photographs of Tremaine, her family and friends, and works of art from her collection.
Scope and Contents:
The papers of art collector Emily Hall Tremaine measure 8.9 linear feet, date from circa 1890 to 2004, and document the development of Tremaine's seminal collection of modernist, pop, and contemporary art. The papers comprise biographical material including a sound recording, personal correspondence, art collection files, artist files, exhibition loan files including a video recording, and reproduction request files. Also found are two scrapbooks documenting Tremaine's first marriage to Baron Maximilian von Romberg; and photographs of Tremaine, her family and friends, and works of art from her collection.
Biographical material relates to the Hall, von Romberg, and Tremaine families, and includes a sound recording about the Tremaine family. Correspondence is with family members, including Tremaine's three husbands, her mother, and her sister Elizabeth, and includes Christmas cards with reproductions of artwork from Tremaine's collection.
Art collection files include inventory binders and document the purchase dates, prices, market value, and provenance of artwork purchased by the Tremaines.
Artist files provide further detail on works by individual artists, and track the purchase, sale, trade, loan, and donation of many of those works. Of note is extensive documentation of the provenance, restoration, and sale of Piet Mondrian's Victory Boogie Woogie which was sold in 1988.
Exhibition loan files document loans from the Tremaine collection for exhibitions in the United States and abroad. Records of a 1984 Wadsworth Atheneum exhibition of artwork from the Tremaine collection include a video recording of a lecture by Philip Johnson. Requests for permission to reproduce images from the Tremaine collection document the extensive publication history of many of the works of art.
Two scrapbooks document the courtship and marriage of Emily Hall and Maximilian von Romberg and record von Romberg's passions for polo and aviation.
Photographic material primarily documents Tremaine's personal life, through portraits of Tremaine, her sister, and parents; wedding pictures from her marriage to von Romberg; photos of friends and members of Santa Barbara high society, including Clark Gable, Ruth and Walter Pidgeon, and Jeanne and Juan Reynal; and photos of the home Emily shared with von Romberg on the Brunninghausen Estate in Montecito, California. Two dismantled photograph albums include photos of artwork in the Tremaine collection.
Arrangement:
The collection is arranged as eight series.
Missing Title
Series 1: Biographical Materials, circa 1910-1980 (7 folders; Box 1)
Series 2: Correspondence, circa 1905-1985 (0.4 linear feet; Box 1)
Series 3: Art Collection Files, circa 1950-1985 (0.6 linear feet; Boxes 1, 9)
Series 4: Artist Files, 1936-2004 (4.6 linear feet; Boxes 2-6, 9)
Series 5: Exhibition Loan Files, 1960-2001 (1.5 linear feet; Boxes 6-7)
Series 6: Reproduction Request Files, circa 1964-1989 (0.6 linear feet; Box 8)
Series 7: Scrapbooks, 1931-1937 (0.3 linear feet; Boxes 9-10)
Series 8: Photographic Materials, circa 1890-1997 (0.8 linear feet; Boxes 8, 10-11)
Biographical / Historical:
Art collector Emily Hall Tremaine (1908-1987) lived in New York City and Madison, Connecticut, and was known for having assembled one of the most noteworthy collections of post World War II art focused on modernist, pop, and contemporary artists.
Tremaine was born in Butte, Montana, to mining executive William Hubbard Hall and his wife, Elizabeth Smith Hall. Her first marriage to Baron Maximilian von Romberg was well publicized in the society pages of the time and ended with von Romberg's death in a plane accident in 1938. Tremaine's second marriage to sugar heir Adolph B. Spreckels, Jr., ended in divorce in 1940.
While Tremaine collected art in the 1930s, it was not until her 1945 marriage to industrial executive Burton Tremaine that she began acquiring works in earnest. Together, the Tremaines assembled a collection that initially focused on American and European modern artists and would eventually include emerging pop and contemporary art. Their first purchase was Piet Mondrian's unfinished painting, Victory Boogie Woogie, now owned by the Gemeentemuseum. The collection would eventually number over four hundred works of art and range from paintings by Picasso, Kandinsky, and Georges Braque to works by Jasper Johns, Claes Oldenburg, Roy Lichtenstein, and Jean-Michel Basquiat. While single pieces were sold, traded, or donated throughout Tremaine's active collecting years, the bulk of the collection was sold at auction in 1988 and 1991 to raise funds for the Emily Hall Tremaine Foundation. Tremaine died from complications of emphysema in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Emily Hall Tremaine conducted by Paul Cummings, January 24, 1973.
Provenance:
The papers were donated in 2005 by Tremaine's step-grandson, Burton G. Tremaine III.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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.
Emily Hall Tremaine papers, circa 1890-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the The Brent R. Harris Charitable Fund. Funding for the digitization of the papers was provided by the Emily Hall Tremaine Foundation. Researchers are invited and encouraged to inform the Emily Hall Tremaine Foundation of publication efforts at collection@tremainefoundation.org.
1 Photographic print ((mounted on cardboard), black-and-white, mount 8.5 x 10.5 in.)
Type:
Archival materials
Photographic prints
Place:
Roland Park (Baltimore, Maryland)
United States of America -- Maryland -- Baltimore
Date:
1916
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.
Gardner, James B. 2010. "Trust, Risk, and Public History: A View from the United States." Public History Review, 17 52–61. https://doi.org/10.5130/phrj.v17i0.1852.
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