Search Results

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Blog posts

Smithsonian staff publications

Interviews

Blog posts

Published Date:

Wed, 18 Oct 2023 17:49:39 GMT

Topic:

Cultural property  Search this

See more posts:

Festival Blog

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

EDAN-URL:

edanmdm:posts_843e18b1938576bfe0fe56b27daa4737

Photographer:

Kirk Studio (Indianapolis, Ind.)  Search this

Names:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Scope and Contents:

Ellington sits in a studio behind a turntable, microphones (one with the letters WIRE) , and other equipment, with the interviewer. Photographer's stamp: Kirk Studio, Indianapolis.

Arrangement:

Box No. 6.

Local Numbers:

AC0301-0000068.tif (AC Scan No.)

95-11930 (SI Neg.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

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

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Radio programs -- 1950-1960.  Search this

Jazz musicians -- 1950-2000 -- United States  Search this

Genre/Form:

Photographs -- 1950-1960 -- Black-and-white photoprints -- Silver gelatin

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.35: Interviews

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep873c6baaf-e2d7-4f0c-8888-853343fe3a98

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53286

Creator:

Smithsonian Institution  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2023-02-13T22:08:02.000Z

YouTube Category:

Education  Search this

Topic:

Transcription  Search this

See more by:

SmithsonianTranscription

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianTranscription

EDAN-URL:

edanmdm:yt_GwjG9aHfUxg

Creator:

Smithsonian American Art Museum  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2011-11-03T22:24:40.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_WAllVAmVd4A

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2012-08-07T16:14:25.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_9dbDDXu-RcY

Physical Description:

metal (overall material)

Measurements:

overall: 1/4 in x 2 1/4 in; .635 cm x 5.715 cm

Object Name:

pin

button

Date made:

ca

ca 1938

ID Number:

1975.314637.8014

Catalog number:

1975.314637.8014

Accession number:

1975.314637

See more items in:

Culture and the Arts: Entertainment

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49fe650d6-9150-045f-e053-15f76fa08ba5

EDAN-URL:

edanmdm:nmah_1975336

Depicted (sitter):

White, John I.  Search this

Physical Description:

paper (overall material)

ink (overall material)

Measurements:

overall: 12 in x 9 in; 30.48 cm x 22.86 cm

Object Name:

song book

Publishing date:

1930s

Subject:

Country (music)  Search this

Radio  Search this

ID Number:

2013.0234.01

Accession number:

2013.0234

Catalog number:

2013.0234.01

See more items in:

Culture and the Arts: Entertainment

Music & Musical Instruments

Popular Entertainment

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a5-9254-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1450587

Creator:

National Museum of American History  Search this

Type:

YouTube Videos

Uploaded:

2017-02-22T19:39:10.000Z

YouTube Category:

Education  Search this

Topic:

American History  Search this

See more by:

SmithsonianAmHistory

Data Source:

National Museum of American History

YouTube Channel:

SmithsonianAmHistory

EDAN-URL:

edanmdm:yt__R631d3qFjI

Creator:

Gore, Marian L.  Search this

Subject:

Mallary, Robert  Search this

Lebrun, Rico  Search this

Kuntz, Roger  Search this

Luna, Mario  Search this

Leavitt, Thomas W.  Search this

Gerchik, Paul  Search this

Greene, Balcomb  Search this

Hopps, Walter  Search this

Hansen, Jurgen  Search this

Goeritz, Mathias  Search this

Elliot, James  Search this

Carter, Earl  Search this

Lipchitz, Jacques  Search this

Cremean, Robert  Search this

Brigante, Nicholas P.  Search this

Blair, Streeter  Search this

Ankrum, Joan  Search this

Albers, Josef  Search this

Siqueiros, David Alfaro  Search this

Albert, Michel (artist)  Search this

Wayne, June  Search this

Nevelson, Louise  Search this

Geoffrey, J. Iqbal  Search this

Vicente, Esteban  Search this

Wark, Robert R.  Search this

Schwaderer, Fritz (Fritz Karl)  Search this

Tamayo, Rufino  Search this

Robles, Esther  Search this

Schniede, Otto  Search this

Cuevas, José Luis  Search this

Ortiz, Emilio  Search this

Falkenstein, Claire  Search this

Comara Gallery  Search this

Dwan Gallery (Los Angeles, Calif.)  Search this

Ferus Gallery (Los Angeles, Calif.)  Search this

Silvan Simone Gallery  Search this

KPFK (Radio staion : Los Angeles, Calif.)  Search this

Ankrum Gallery  Search this

Ceeje Gallery  Search this

Type:

Sound recordings

Photographs

Interviews

Transcripts

Citation:

Marian Gore "Art Scene" interviews and papers, 1958-1969. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Curators -- California -- Los Angeles  Search this

Gallery owners -- California  Search this

Artists -- California -- Los Angeles  Search this

Theme:

Art organizations  Search this

Record number:

(DSI-AAA_CollID)6118

(DSI-AAA_SIRISBib)216328

AAA_collcode_goremari

Theme:

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216328

Creator:

Gore, Marian L.  Search this

Names:

Ankrum Gallery  Search this

Ceeje Gallery  Search this

Comara Gallery  Search this

Dwan Gallery (Los Angeles, Calif.)  Search this

Ferus Gallery (Los Angeles, Calif.)  Search this

KPFK (Radio staion : Los Angeles, Calif.)  Search this

Silvan Simone Gallery  Search this

Albers, Josef  Search this

Albert, Michel (artist)  Search this

Ankrum, Joan  Search this

Blair, Streeter, 1888-1966  Search this

Brigante, Nicholas P., 1895-1989  Search this

Carter, Earl  Search this

Cremean, Robert, 1932-  Search this

Cuevas, José Luis, 1934-  Search this

Elliot, James, 1943-2011  Search this

Falkenstein, Claire, 1908-1997  Search this

Geoffrey, J. Iqbal, 1939-  Search this

Gerchik, Paul  Search this

Goeritz, Mathias, 1915-1990  Search this

Greene, Balcomb, 1904-1990  Search this

Hansen, Jurgen  Search this

Hopps, Walter  Search this

Kuntz, Roger, 1926-1975  Search this

Leavitt, Thomas W.  Search this

Lebrun, Rico, 1900-1964  Search this

Lipchitz, Jacques, 1891-1973  Search this

Luna, Mario  Search this

Mallary, Robert, 1917-1997  Search this

Nevelson, Louise, 1899-1988  Search this

Ortiz, Emilio, 1936-  Search this

Robles, Esther  Search this

Schniede, Otto  Search this

Schwaderer, Fritz (Fritz Karl), 1901-  Search this

Siqueiros, David Alfaro, 1896-1974  Search this

Tamayo, Rufino, 1899-1991  Search this

Vicente, Esteban, 1903-2001  Search this

Wark, Robert R.  Search this

Wayne, June, 1918-2011  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Photographs

Interviews

Transcripts

Date:

1958-1969

Summary:

The Marian Gore "Art Scene" interviews and papers measure 2.2 linear feet and date from 1958 to 1969, with all sound recordings dated between 1962 and 1964. The core of the collection consists of 37 radio programs recorded by Marian Gore for KPFK radio in Los Angeles, California, consisting of interviews with artists, collectors, gallerists, and museum curators. A series of artist files contains notes, correspondence and other materials related to her interview subjects, and a printed materials series contains mainly exhibition posters, programs, and announcements produced by the art spaces with which her subjects were affiliated.

Scope and Contents:

The Marian Gore "Art Scene" interviews and papers measure 2.2 linear feet and date from 1958 to 1969, with all sound recordings dated between 1962 and 1964. The core of the collection consists of 37 radio programs recorded by Marion Gore for KPFK radio in Los Angeles, California, consisting of interviews with artists, collectors, gallerists, and museum curators. A series of artist files contains notes, correspondence and other materials related to her interview subjects, and a printed materials series contains mainly exhibition posters, programs, and announcements produced by the art spaces with which her subjects were affiliated.

The "Art Scene" Interviews series contains 36 interviews from Gore's "Art Scene" radio series of interviews relating to the contemporary art scene in Los Angeles, particularly galleries and artists showing on La Cienega Boulevard in West Hollywood. Also found is a single episode of another KPFK program called "Seen at the galleries" and hosted by Earl Carter, featuring an interview with Jacques Lipchitz on the occasion of his retrospective at UCLA. Two interviews, with Mathias Goeritz and David Siqueiros, were conducted in Mexico City. Other interview subjects include Michel Albert, Josef Albers, Joan Ankrum, Streeter Blair, Nick Brigante, Robert Cremean, José Luis Cuevas, James Elliott, Claire Falkenstein, Balcomb Greene, Paul Gerchik, Jurgen Hansen, Walter Hopps, Roger Kuntz, Rico Lebrun, Dr. Thomas Leavitt, Jacques Lipchitz, Mario Luna, Robert Mallary, Louise Nevelson, Emilio Ortiz, Esther Robles, Otto Schniede, Fritz Schwaderer, Rufino Tamayo, Esteban Vicente, Robert Wark, and June Wayne.

Artist files include mainly brief, typewritten notes created for Gore's radio interviews, with the questions she asked her interview subjects and brief introductory or concluding remarks. Correspondence is also found in files for Robert Cremean, Iqbal Geoffrey, Balcomb Greene, Robert Mallary, Emilio Ortiz, and Esteban Vicente. Louise Nevelson's file also contains a transcript of her interview with Gore. Also found scattered in some files are notes, photographs, clippings, press releases, resumes, and exhibition programs. Note that not every person in this series has a corresponding sound recording in Series 1, and not every interviewee in Series 1 has a corresponding file in this series.

Most of the material in the Printed Materials series consists of exhibition announcements, programs, and posters from Galleries in the Los Angeles, California area, particularly those along La Cienega Boulevard. Of these, Ankrum Gallery, Ceeje Gallery, Comara Gallery, Dwan Gallery, Ferus Gallery, and Silvan Simone Gallery on Olympic Boulevard contain the most material, with many of the other files containing only one or two pieces. Of note are original prints promoting exhibitions at the Ferus and Ceeje Galleries, and a poster for an art walk along La Cienega Boulevard in the file for the Los Angeles County Museum of Art.

Arrangement:

The collection is arranged in 3 series:

Missing Title

Series 1: "Art Scene" Interviews (1.3 linear feet, Boxes 1-2, 4)

Series 2: Artist Files (0.2 linear feet, Boxes 2, 4)

Series 3: Printed Materials (0.7 linear feet, Boxes 3-4, OV 5)

Biographical / Historical:

Marian L. Gore (1914-2009) volunteered as a radio interviewer for KPFK between 1962-1964, conducting a series of interviews with Los Angeles-area artists, curators, collectors, and gallerists in response to a growing awareness of Los Angeles' rapidly growing role as a creative center and art market.

Born Marian Lucille Moore on Feb. 27, 1914, in Los Angeles to Fred and Lucille Moore. Fred Moore, an attorney, defended Nicola Sacco and Bartolomeo Vanzetti in the infamous 1921 trial. Following her divorce in the early 1960s, Gore approached the radio station KPFK, who was looking for someone to interview local artists. In a 1997 letter that accompanied her donation of the collection to the Archives, Gore writes,

"The early 1960's were an interesting and probably unique period for the Southern California art world. In Los Angeles on La Cienega Boulevard galleries had sprung up like mushrooms, and on Friday nights those who were interested in this scene would go from one gallery to another noting what artists were featured and what trends were apparent. It was a pleasurable way to meet artists as well as a social event where one could see friends and exchange impressions.

"Because I was searching for something to do, at the suggestion of a friend I had gone to radio station KPFK to volunteer my services in any way possible. It turned out to be a most fortuitous time for this offer. The management was interested in possible intervie3ws with artists, and so it all began. I had never done an interview in my life and was astounded to discover how easy it was to get artists, gallery owners, and even museum personnel to talk aobut what they did. Once this began I was swaped with requests for taped interviews, far more than I could manage."

Gore later became an antiquarian bookseller specializing in books on food and drink. She retired in 1994 and donated her book collection to the Los Angeles Public Library.

Provenance:

Donated 1997 by Marian Gore.

Restrictions:

Use of original papers requires an appointment.

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.

Topic:

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Curators -- California -- Los Angeles  Search this

Gallery owners -- California  Search this

Artists -- California -- Los Angeles  Search this

Genre/Form:

Sound recordings

Photographs

Interviews

Transcripts

Citation:

KPFK "Art Scene" interviews, 1950-1969. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program.

Identifier:

AAA.goremari

See more items in:

Marian Gore "Art Scene" interviews and papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b8a530a5-0d06-4fcc-95c4-d1f0648c0264

EDAN-URL:

ead_collection:sova-aaa-goremari

Creator:

Adler, Samuel, 1898-1979  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Date:

1902-1980

bulk 1927-1980

Summary:

The Samuel Adler papers measure 2.2 linear feet and date from 1902-1980, with the bulk of the records dating from 1927-1980. The collections sheds light on Adler's career through personal and professional papers, printed materials, scrapbooks, photographic materials, and sound recordings.

Scope and Contents:

The Samuel Adler papers measure 2.2 linear feet and date from 1902-1980, with the bulk of the records dating from 1927-1980. The collections sheds light on Adler's career through personal and professional papers, printed materials, scrapbooks, photographic materials, and sound recordings.

Personal and professional papers consist of Adler's identification cards, marriage certificate, scant notes on painting, and some studio insurance records. Correspondence is comprised of personal and professional letters about exhibitions, purchase of artwork, Adler's artist-in-residence position at Notre Dame University, and more. The series also contains a guestbook from an Adler exhibition at Rehn Gallery, several of Adler's sketches and drawings, lecture notes from classes he taught, and other writings on contemporary art.

Printed materials include exhibition catalogs, invitations, and announcements of Adler's solo and group shows, ephemera from Adler's speaking engagements, scant writings about Adler and reproductions of his work, and a copy of Education and the Imagination, edited by Irving Kaufman, which includes a chapter by Samuel Adler titled "Imagination and the Artist."

Six scrapbook volumes and 2 folders of scrapbook contents document Adler's career through a myriad of materials including awards and certificates, correspondence including letters about Adler's teaching positions, printed material, an inventory of artworks from Adler's estate, and more.

Photographic materials depict Adler, his family, friends, and works of art. Nine sound recordings are of interviews, radio programs, and lectures.

Arrangement:

This collection is arranged as five series.

Series 1: Personal and Professional Papers, 1926-1975 (Box 1; 8 folders)

Series 2: Printed Materials, circa 1945-1977 (Box 1; 0.5 linear feet)

Series 3: Scrapbooks, 1945-1980 (Box 1, Bound Volumes 4-9; 1.2 linear feet)

Series 4: Photographic Materials, 1902-1972 (Box 2; 0.2 linear feet)

Series 5: Sound Recordings, 1957-1979 (Box 2-3; 0.3 linear feet)

Biographical / Historical:

Samuel Adler (1898-1979) was an abstract painter, sculptor, and educator active in New York, New York.

Under special arrangement, Adler was admitted to the National Academy of Design at age 13 for a six-year program, studying under Leon Kroll, Charles Louis Hinton, and others. He did not graduate, and instead became a professional violinist, playing for conductors Henry Hadley and Bruno Walter, and he studied under Harold Eisenberg and Herbert Butler.

In 1933, Adler left his music career to work on his art and offered private classes in painting and drawing. During World War II, he designed radio housings for the Army. In 1948, Adler had his first one-man show at Joseph Luyber Galleries, New York, and began teaching at New York University. He went on to have solo shows at various museums and galleries including University of Indiana, Louisville Art Center, Grace Borgenicht Gallery, University of Georgia, Frank Rehn Gallery, Notre Dame University, Rose Fried Gallery, and Krannert Art Museum. His work was also featured in group shows widely throughout the United States and abroad.

In the 1950s Adler contributed a chapter titled "Imagination and the Artist" to Education and the Imagination (1958), edited by Irving Kaufman. His work can be found in the permanent collections of Brooklyn Museum, Smithsonian American Art Museum, Newark Museum, Norfolk Museum, and others.

Separated Materials:

Papers loaned for microfilming on reel D231, including: correspondence (with correspondents such as Morris Blackburn, Glenn Raymond Bradshaw, Howard S. Conant, Lamar Dodd, Ernest Fiene, Anthony Lauck, Sidney Laufman, Arthur Osver, John Rood, and Hudson D. Walker); three scrapbooks, 1944-1955; catalogs; and gallery literature were returned to Samuel Adler after microfilming and are not described in the collection Container Inventory.

Provenance:

The collection was donated in several installments from 1965 to 1980 by Samuel Adler and his wife, Beverly Adler.

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 born-digital records or 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.

Occupation:

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

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

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

Topic:

Scrapbooks  Search this

Genre/Form:

Sound recordings

Citation:

Samuel Adler papers, 1902-1980. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.adlesamu

See more items in:

Samuel Adler papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93c1437e7-5dab-4de0-a149-67ebceef995a

EDAN-URL:

ead_collection:sova-aaa-adlesamu

Creator:

Lerner, Abram  Search this

Subject:

Hirshhorn, Joseph H.  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Type:

Sketchbooks

Sound recordings

Radio programs

Lectures

Citation:

Abram Lerner papers, circa 1930-2006. Archives of American Art, Smithsonian Institution.

Theme:

Art organizations  Search this

Record number:

(DSI-AAA_CollID)17624

(DSI-AAA_SIRISBib)397727

AAA_collcode_lernabra

Theme:

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_397727

Collector:

Whitehead, Henry Preston, 1917-2002  Search this

Extent:

156.91 Linear feet (178 boxes)

Type:

Collection descriptions

Archival materials

Pamphlets

Sound recordings

Clippings

Memorabilia

Newspapers

Photographs

Books

Brochures

Date:

1843-2010

bulk 1940-1986

Summary:

The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection documents Whitehead's careers, as well as his family and personal life. The collection also includes the personal papers of Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The combined collection is comprised of black theatrical memorabilia; materials relating to civil rights activities in the District of Columbia; and the African American experience in general. Included are playbills, sheet music, admission tickets, newspapers, magazines, books, photographs, clippings, flyers, brochures, pamphlets, sound recordings, research files, and other material.

Scope and Contents note:

The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection includes the personal papers of Henry P. Whitehead, Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The collection is divided into four series.

Series I focuses on Whitehead and includes papers dating from 1843 to his death in 2011. This series includes biographical material including a large amount of appointment books, identification and membership cards, resumes, certificates, and personal and family material. There is a limited amount of correspondence, which focuses on his personal relationships with family, friends, and general correspondence relating primarily to his work as a local historian.

Also found within Whitehead's papers are countless records from his time employed by the Washington DC government. Materials include memoranda, notes, research material, handbooks, guides, manuals, affirmative action info and records, affirmative action plans, promotion recommendations, recruitment plans and summaries, personnel files (complaints), civil actions and reports related too Whitehead's 37 years of government employment. It reflects the activities of numerous departments, primarily in regards to employment and affirmative action.

There are also a number of files that document Whitehead's involvement in numerous community organizations. Among the organizations in which Whitehead was involved include U Street Festival, Lincoln Corporation, and the U Street Theater Foundation. The papers of the U Street Foundation document the production and establishment of the annual U Street Festival. The Lincoln Theater Foundation and the U Street Theater Foundation papers document the efforts to reopen the Lincoln Theater. Also included are Whitehead's research on the Lincoln as well as old Lincoln Theatre programs. Additionally found within this series are documents and clippings on the economic development within Washington DC particularly in the Shaw/U Street location.

The majority of this series consists of printed material. Printed material in this series includes books, clippings, magazines, newsletters, newspapers, press releases, sheet music, programs as well as promotional material for several Washington DC theaters and organizations. There is a large quantity of theater programs dating from 1900-1986. The majority of the clippings and magazines are theater related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Whitehead's attention.

Research, notes and writings include a large amount of scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook pertaiing to Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.

There are several photographs of African Americans in the performing arts as well as images of Washington DC and several unidentified men, women, and children.

Audio recordings include 23 cassette from the Alexandria Church of God.

The remainder of the collection consists of the papers of Tomlinson D. Todd, Elizabeth B. Delaney, and those about the Howard Theatre.

The Howard Theatre papers are arranged in Series II and include documents relating to the Washington DC historic Howard Theatre and date from 1910 to 1986. The papers in this series predominantly document the Howard Theatre Foundation's efforts to reestablish and run the Howard Theatre in which Whitehead was the vice president. Records include business correspondence, founding documents, photographs, memoranda, press releases, member lists, financial records, clippings, and scrapbooks of clippings pertaining to the organization and theatre.

The correspondence in the collection include a handful of letters from the Washington DC government along with individuals and organizations. Also included is a large amount of interoffice memoradums.

Administrative records include lawsuits, resolutions, meeting minutes, grant proposals, press releases, memoranda, member lists, studies and reports.

Financial records include check stubs, receipts, invoices, bank statements, expenses, and contribution lists. Printed material includes original and photocopied clippings relating to the history and coverage of the foundation activities. Mostly promotional material as flyers, brochures, and press releases along with programs. In particular two 1920 Howard Theatre programs.

The scrapbooks of original and photocopied clippings compiled by Whitehead chronicle the history of the theatre and coverage of the foundation activities.

There are three VHS cassette featuring Whitehead discussing the Howard Theatre. Also found in series 2 are numerous stock investment record books belonging to A.E. Lichtman one of the early managers of the Howard Theatre. In addition early correspondence between Lichtman and the Rex Amusement Company concerning operational management issues of the Howard Theatre.

The Tomlinson D. Todd papers are arranged in Series III and date from 1902-1986 they include organization files, collected printed materials, subject files, and personal papers.

The collection includes materials relating to organizations in which there was a relationship to Todd's work and in which he had an interest primarily during the 1940s and 1950s, organizations include the National Negro Congress (ca, 1946-1947); the Congress for Industrial Organizations (1943-1947); National Council of Negro Women (1947-1949); Committee for Racial Democracy in the Nation's Capital (1947-1948).

The subject files include documents from three of Todd's organizations; Institute on Race Relation, Club Internationale, and his radio program "Americans All". As well as printed material from Todd's alma mater Lincoln University.

The largest subject file is "Americans All" which includes radio scripts as well as audio recording of a few programs and public service announcements. Also found are several black and white photographs of Todd at the radio studio. Printed materials include newspapers, leaflets, convention proceedings, and flyers, There are a large amount of programs ranging from church worship to convention as well as performance. Also present is a small amount of personal papers, including resumes, certificates, admission tickets, family documents, and travel ephemera from his all expense paid trip to Nigeria.

There are a few photographs of Todd at functions and with notable individuals as well as some family, friends and travel.

Elizabeth's B. Delaney papers are arranged in Series IV and date from 1874-1973.

The papers primarily document her involvement in four organizations, the Grand Oder of Odd Fellow of Kentucky, the Order Eastern Star Kentucky, the State Federation of Colored Women's Clubs of Kentucky and the National Association of Colored Women. There is a small amount of printed material belonging to her son primarily the Alpha Phi Alpha material and Gospel Choral Sheet Music, and books.

The Scrapbook was complied by Whitehead consisting of photocopied clipping documenting the life of Elizabeth B. Delaney.

Arrangement note:

This collection is arranged into four series:

Series 1: Henry P. Whitehead papers Series 2: Howard Theatre Series 3: Tomlinson D. Todd Series 4. Elizabeth B. Delaney

Biographical/Historical note:

Henry Preston Whitehead Jr., was a native of Columbus Ohio. A graduate of Ohio State University, where he also attended law school and was a member of the Omega Psi Phi fraternity. Mr. Whitehead discovered Washington's "Black Broadway" in 1940, when he was a soldier in town on a weekend furlough. As he served in the Army in the South Pacific during World War II. Prior to moving to Washington DC Henry P. Whitehead worked for five years as a liquor inspector. Mr. Whitehead moved to Washington D.C. in 1949 and worked for the Post Office before working for the District of Columbia government where he stayed 21 years. He led several equal employment initiatives during the 1960s and 1970s, and was last employed as associate director of the District's Office of Human Rights. In 1980 after putting in 37 years of government service Mr. Whitehead retired. Mr. Whitehead was an historian who led efforts to restore Washington's U Street cultural corridor and achieved recognition as an authority on and collector of black theatrical memorabilia. Mr. Whitehead worked to promote and preserve the city's rich African American cultural heritage.

Mr. Whitehead, served as the chairman and president for 10 years of the Howard Theater Foundation Inc., which he helped establish. There he led the effort to include Howard Theatre in the National Register of Historic Places.

Similarly he was an active member of the U Street Festival Foundation. He was an adviser to the Kennedy Center, Anacostia Museum, and other Smithsonian Institution units and contributed materials to their exhibitions. He was also a consultant to historical documentaries broadcast on public television and radio, including PBS's "Duke Ellington's Washington." His writings included "Remembering U Street," a book used for annual festivals in the historic area.

Mr. Whitehead was also the founder and board member of the Lincoln Theatre Foundation.

Henry P. Whitehead Jr. died on January 8th 2002 at the age of 84.

Provenance:

The collection was donated to the Anacostia Community Museum on September 1, 2005 by Michael A. Watkins.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Rights:

The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Topic:

Howard Theatre (Washington, D.C.)  Search this

African Americans  Search this

National Negro Congress (U.S.)  Search this

National Council of Negro Women  Search this

Radio broadcasting  Search this

African American neighborhoods  Search this

African American musicians  Search this

Genre/Form:

Pamphlets

Sound recordings

Clippings

Memorabilia -- 20th century

Newspapers

Photographs

Books

Brochures

Citation:

Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.

Identifier:

ACMA.06-042

See more items in:

Henry P. Whitehead collection

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa751389911-f3d5-474b-82b4-126047b9cc46

EDAN-URL:

ead_collection:sova-acma-06-042

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2012-08-05T18:42:24.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_ls3LFLVNc-c

Artist:

Benton, Thomas Hart, 1889-1975  Search this

Collector:

Marx, Groucho (Julius Henry), 1890-1977 (comedian)  Search this

Names:

Four Nightingales  Search this

Marx Brothers  Search this

Paramount Pictures  Search this

RKO Pictures (studio)  Search this

Three Nightingales  Search this

United Artists  Search this

Warner Brothers  Search this

Marx, Chico  Search this

Marx, Harpo, 1888-1964  Search this

Palmer, Minnie  Search this

Extent:

12 Cubic feet (39 boxes)

Type:

Collection descriptions

Archival materials

Personal papers

Photographs

Motion pictures (visual works)

Photographic prints

Scrapbooks

Sheet music

Correspondence

Place:

Hollywood (Los Angeles, Calif.)

Date:

1911-1978, undated

Summary:

Papers, films, and collected materials of 20th century comedian Julius Henry "Groucho" Marx.

Scope and Contents:

Series 1: Correspondence, 1932-1977 is arranged alphabetically by correspondent. In 1965, Marx gave the Library of Congress a portion of his correspondence with well-known personages. The majority of the correspondence in this collection dates from the post World War II era (Marx's early correspondence is located at the Library of Congress.) This series includes correspondence from well-known persons, fans, admirers and friends. There is an extensive amount of correspondence with the screenwriter Nunnally Johnson. The series includes letters concerning public relations, Walt Disney caricatures of the Marx Brothers, The Grouchophile permission letters, unidentified correspondence and one letter from Chico Marx to Gummo Marx.

Series 2: Publications, Manuscripts and Print Articles by Marx, 1930-1958, undated is arranged chronologically with circa and undated material placed before the book manuscripts. This series contains written material by Groucho Marx excepting scripts and sketches. The series includes articles written by Marx for national magazines, various speeches and manuscripts for three of Marx's books.

Series 3: Scripts and Sketches, 1939-1959, undated, is arranged alphabetically with television scripts and sketches placed before full-length movie and theatre scripts. This series contains television, motion picture and theatre scripts and sketches, monologues, and related written material pertaining to works starring or featuring Marx. It also contains scripts for the one theatrical play written by Marx, A Time for Elizabeth.

Series 4: Scrapbooks, 1923-1978 is arranged chronologically and contains sixteen scrapbooks spanning Marx's career from his first Broadway success, I'll Say She Is to the year after his death. Of particular interest are the early scrapbooks for the Marx Brothers career, a scrapbook spanning the years 1934-1958 complied by Marx himself for his daughter Melinda, a photographic scrapbook compiled by the staff of Life magazine documenting a 1963 magazine layout of Marx and his then wife Eden Hartford Marx. There is also a scrapbook devoted to Chico Marx's brief career as a bandleader in the mid-late 1940s.

Series 5: Music,circa 1930-1975, undated is arranged alphabetically and includes original music manuscripts written by Marx and songs for Marx's shows and motion pictures and unidentified manuscripts perhaps written by Marx, his friends, his daughter Melinda or her music teacher. It also includes commercially produced sheet music purchased by Marx, copies of songs featured in Marx's motion pictures, music from "Minnie's Boys the theatrical production based on the Marx Brothers and their mother, an autographed copy of "Stay Down Here Where You Belong" by Irving Berlin, songs written by Marx published commercially, and Marx's copy of a collection of songs by Gilbert and Sullivan.

Series 6: Publicity, ca. 1911-1977 contains theatre programs, motion picture reviews, newspaper clippings both foreign and domestic, record album covers, a book cover and one poster of the Marx Brothers. There are items related specifically to Chico Marx. This series is arranged chronologically.

Series 7: Artwork and Photographs, 1911-1976, undatedis arranged according to subject matter and includes artwork, features cartoons and caricatures of the Marx Brothers by various artists including the Metro-Goldwyn-Mayer art department and Hirschfield, sketches of the Marx Brothers by Sheila Smith, Peggy Jacobs, Bridget Crowe and Mark E. Williams (all probably fans of the Marx Brothers), various candid photographs, publicity photographs and studio portraits of Marx, his brothers, his immediate family, correspondence and related images and photographic negatives and transparencies.

Series 8: Personal and Family Documents, 1925-1975, undated contains documents relating to Marx's personal life and his brothers Chico Marx, Harpo Marx, and his daughter Melinda. Of particular interest is Marx's copy of the transcript of his divorce deposition from Eden Hartford Marx, two proclamations from the City of Los Angeles and a portfolio cover made for him by his daughter Melinda. This series is arranged chronologically.

Series 9: Audiovisual, 1929-1970 includes home movies of Groucho, brothers Harpo and Chico, and Groucho's wife and children as well as film and kinescope copies of television programs featureing Groucho as the star or guest.

Arrangement:

The collection is organized into 9 series.

Series 1: Correspondence,1932-1977

Series 2: Publications, Manuscripts, and Print Articles by Groucho Marx, 1930-1958, undated

Series 3: Scripts and Sketches, 1939-1959, undated

Series 4: Scrapbooks, 1923-1978

Series 5: Music, circa 1930-1975, undated

Subseries 5.1: Original Music Manuscrpts

Subseries 5.2: Commercially Produced Sheet Music and Collections

Series 6: Publicity, circa 1911-1977

Series 7: Artwork and Photographs, 1911-1976, undated

Subseries 7.1: Artwork

Subseries 7.2: Photographs

Subseries 7.3: Photographic Negatives and Transparencies

Series 8: Personal and Family Documents, 1925-1978, undated

Series 9: Audiovisual

Subseries 9.1: Moving Images

Subseries 9.2: Sound Recordings

Biographical / Historical:

One of 20th century America's most enduring comics and cultural icons was Groucho Marx. Julius Henry Marx, better known as Groucho, was born in New York City on October 2, 1890. He was the third of five sons born to Minna and Samuel Marx. Minna's brother, Al Shean, was a part of the well-known vaudeville team, Gallagher and Shean.

The Marx family consisted of five boys: Leonard (Chico), Arthur (Harpo), Julius (Groucho), Milton (Gummo) and Herbert (Zeppo). The family lived in the Yorkville section of New York City. Groucho had a high soprano singing voice and his first job was singing in the choir of an Episcopal church. He joined Gus Hall and his vaudeville troupe when he was eleven. Groucho attended P.S. 86 but never went beyond the 7th grade. Minna organized the Three Nightingales with Groucho, Gummo and a girl singer. The girl was eventually replaced by a boy tenor and Harpo joined the troupe. The name of the group was changed to The Four Nightingales. Minnie acted as the group's manager. The group became known as the Marx Brothers with everyone except Gummo taking part in the act. The family moved to Chicago ca. 1904 where their grandfather lived.

The brothers toured the South and Midwest performing a vaudeville skit called, "Fun in Hiskule". It is noted that the comedy act began in Nacogdoches, Texas. The Marx Brothers first big success came in 1919 with their vaudeville act entitled "Home Again". In 1920, they were booked into the Palace Theatre in New York City and played there for thirteen months. They were later banished from the circuit due to a contract violation - they had accepted employment without Albee's permission. Groucho married Ruth Johnson on February 4th, 1920 and divorced her in July 1942. They had one daughter, Miriam and one son, Arthur born in 1921.

In 1923, they toured with the show, "I'll Say She Is", a collection of vaudeville routines that Groucho had written in collaboration. The show ran on Broadway for thirty-eight weeks. On December 8, 1925, the brothers (using their nicknames professionally for the first time) opened on Broadway in "The Cocoanuts". The play was written expressly for them by George S. Kaufman and Morris Ryskind with music by Irving Berlin. The brothers made a silent film circa 1924 called "Humor Risk" but it was never released. "Animal Crackers" opened on October 23, 1928. It was in this show that Groucho created one of his most famous characters, Captain Spaulding, the African explorer. Groucho was by this time paired with Margaret Dumont, stooge and foil, whom Groucho claimed never, really understood the Marx Brothers comedy.

On the strength of their success in "The Cocoanuts", they were signed to a film contract. In 1929, they made the film version of "The Cocoanuts" while performing "Animal Crackers" on the stage. Their mother, Minna Marx died the same year. The following year they starred in the film version of "Animal Crackers". Both films were made in New York City. In 1931, Groucho moved to Hollywood where The Marx Brothers made thirteen films. The brothers signed with Paramount Pictures and made "Monkey Business" (1931), "Horsefeathers" (1932) and "Duck Soup" (1933) while at the studio. In 1933, Zeppo left the troupe and Samuel Marx died.

In February 1934, Groucho and Chico teamed up in a radio program called, "Flywheel, Shyster and Flywheel", about characters who were comic lawyers. In March 1934, they replaced Ethel Waters on a weekly radio series sponsored by the American Oil Company. In 1935, the brothers starred in "A Night at the Opera" for Metro-Goldwyn-Mayer, a film produced by Irving Thalberg and a sequel, "A Day at the Races" (1937). In addition to working for MGM, the brothers starred in "Room Service" (1938) for the RKO studio.

The brothers discontinued the act in September 1941 but reunited for the film "A Night in Casablanca" (1946) and "Love Happy" (1949). Groucho found work as a solo artist making films for RKO, Warner Brothers and Paramount. In March 1943, the Pabst Blue Ribbon Brewery sponsored a half-hour variety show on CBS starring Groucho. Groucho married his second wife, Catherine "Kay" Gorcey in July 1945, they had one daughter Melinda. They divorced in 1951. Groucho continued to guest on many radio shows and continued to be at his peak when ad-libbing. John Guedel created "You Bet Your Life" for Groucho in October 1947. The show aired over the ABC radio network. It moved to CBS and in 1950 it was purchased by NBC and ran on television until 1961. The show ran for a total of four years on radio and eleven years on television. Groucho won radio's Peabody Award as best comedian on radio in 1948; an Emmy award in 1951; and the Motion Picture Daily Annual TV poll from 1951-1954.

Groucho was also musical. He played the guitar, but never as part of his shows. He was also an author and a playwright. He wrote the stage play, "A Time for Elizabeth", in 1948 with Norman Krasna. The play ran for eight days on Broadway but had longer runs in summer stock. In July 1954, Groucho married his third and final wife Eden Hartford. They divorced in December of 1969. In 1967, Simon and Schuster published excerpts from letters Groucho had donated to the Library of Congress in 1965. The book was entitled The Groucho Letters. Groucho authored other books, Groucho and Me (1959) his autobiography, The Secret Word is Groucho (1976) with Hector Arce and The Grouchophile (1976).

Groucho retired in 1961 but in 1972 with the help Erin Fleming, his companion and manager since 1969, he toured in a solo act. The show entitled, "An Evening with Groucho" played Carnegie Hall in New York City in May 1972. Groucho was made a Commander of the French Order of Arts and Letters at the Cannes Film Festival in 1972. In 1974, Groucho received an honorary Academy Award (Oscar) for the contribution of the Marx Brothers to the art of film. Marx died on August 19th, 1977.

Provenance:

Collection donated by Julius H. (Groucho) Marx, through the Estate of Groucho Marx, August 5, 1987.

Restrictions:

Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Reference copies of audiovisual materials must be used. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

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

Topic:

Comedians -- 1920-1970  Search this

Entertainment  Search this

Radio comedies  Search this

Comedy  Search this

Theater  Search this

Radio programs  Search this

Vaudeville  Search this

Television programs  Search this

Genre/Form:

Personal papers

Photographs -- 20th century

Motion pictures (visual works)

Photographic prints

Scrapbooks

Sheet music

Correspondence -- 1930-1950

Citation:

Groucho Marx Collection, 1911-1978, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0269

See more items in:

Groucho Marx Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep845dd2cd0-46ee-4664-8bb1-93308c140f43

EDAN-URL:

ead_collection:sova-nmah-ac-0269

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

2.44 Cubic feet (consisting of 4.5 boxes, 1 folder, 5 oversize folders, 2 flat boxes (partial), 1 map case folder.)

Type:

Collection descriptions

Archival materials

Business ephemera

Business letters

Publications

Receipts

Business cards

Trade literature

Logs (records)

Sales catalogs

Print advertising

Ephemera

Catalogs

Advertising mail

Commercial catalogs

Invoices

Trade cards

Technical reports

Trade catalogs

Advertising

Manuals

Reports

Manufacturers' catalogs

Commercial correspondence

Catalogues

Printed materials

Illustrations

Bulletins

Technical manuals

Printed material

Transcripts

Letterheads

Printed ephemera

Advertisements

Advertising cards

Radio scripts

Correspondence

Advertising fliers

Business records

Date:

1893-1992

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

The radio category contains material primarily related to radio company products, radio broadcasts and programs, technical documentation on the use of radios, and material documenting the effect of radio on modern life. The bulk of the material covers sales catalogues and advertisements, though no complete records for single companies are present.

The radio broadcast transcripts and programs include fictional or anecdotal stories, transcripts of contests, interviews, or speeches, and notifications about future broadcasts.

Literature concerning the effect of radio on modern life includes brief radio historiographies, discussions about the need for advanced education for the radio field, and documentation of the use of radio in leisure time or in rural life. Additional publications address the uses and effects of radio during times of war. While no extensive documentation exists on any one topic, the publications may provide general histories of the radio with snapshots of specific facets of radio history.

Arrangement:

Radio is arranged in three subseries.

Business Records and Marketing Material

Genre

Subject

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Radio is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Rights:

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

Topic:

Radio -- History  Search this

Radio -- Receivers and reception  Search this

Radio  Search this

Radio -- Transmitters and transmission  Search this

Radio -- Apparatus and supplies  Search this

Radio broadcasting  Search this

Radio broadcasts  Search this

Radio in politics  Search this

Radio advertising  Search this

Radio -- Receivers and reception -- Design and construction  Search this

Radio audiences  Search this

advertising -- Business ephemera  Search this

Consumer goods -- Catalogs  Search this

Periodicals  Search this

Broadcast advertising  Search this

Radio comedies  Search this

Broadcasting  Search this

Broadcasting -- United States  Search this

War  Search this

Retail trade  Search this

Radio programs  Search this

Transmission of culture  Search this

Radio -- 1930-1940  Search this

Radio -- Antennas  Search this

Genre/Form:

Business ephemera

Business letters

Publications -- Business

Receipts

Business cards

Trade literature

Logs (records)

Sales catalogs

Print advertising

Ephemera

Catalogs

Advertising mail

Commercial catalogs

Invoices

Trade cards

Technical reports

Trade catalogs

Advertising

Manuals

Reports

Manufacturers' catalogs

Commercial correspondence

Catalogues

Printed materials

Illustrations

Bulletins

Technical manuals -- 20th century

Printed material

Transcripts

Letterheads

Printed ephemera

Publications

Advertisements

Advertising cards

Radio scripts

Correspondence

Advertising fliers

Business records

Citation:

Warshaw Collection of Business Americana Subject Categories: Radios, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Radios

See more items in:

Warshaw Collection of Business Americana Subject Categories: Radios

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep805ffaf5e-f3b1-4f2a-9714-a4f2c6774754

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-radios

Creator:

Flack, Audrey  Search this

Hamblin, Ken  Search this

Type:

Sound Recording

Date:

1998 January 15

Citation:

Audrey Flack and Ken Hamblin. Radio interview with Audrey Flack on the Ken Hamblin Show, 1998 January 15. Audrey Flack papers, 1950-2022. Archives of American Art, Smithsonian Institution.

Topic:

Interview  Search this

Race relations  Search this

Record number:

(DSI-AAA)20911

See more items in:

Audrey Flack papers, 1950-2022

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_20911

Creator:

Perkins, James Secor  Search this

Gilbreth, Frank Bunker, 1868-1924  Search this

Gilbreth, Lillian Moller, 1878-1972  Search this

Extent:

5 Cubic feet (19 boxes)

5 Cubic feet (19 boxes)

Type:

Collection descriptions

Archival materials

Videotapes

Betacam sp (videotape format)

Motion pictures (visual works)

Date:

1907-2000

bulk 1911-1924

Summary:

The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Also included are slides dcoumenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Scope and Contents:

The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. As scientific managers, the Gilbreth's introduced new techniques to analyze work, the workplace, and work practices with the goal of eliminating waste to maximize productivity. The collection illustrates these new techniques and their application to a wide variety of studies. The collection is diverse and provides insight into understanding how Gilbreth approached his studies. Also included are slides documenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Series 1, Background Information, 1892-1997, includes biographical materials about Frank B. Gilbreth; copies of some of Frank Gilbreth's patents, 1892-1916; and printed materials, 1907-1997, that contain articles, newspaper and magazine clippings about Frank and Lillian Gilbreth and time and motion study generally. Black-and-white photo prints of Gilbreth or work Gilbreth documented from collections held at Purdue University and Ohio State University are included.

Series 2, Glass plate stereo slides, 1910-1924, consists of approximately 2,250 glass stereo slides photographed by Frank B. Gilbreth and others and intended for viewing through an optical viewing machine. Some are positive black and white, positive color, and negative black and white. The subject matter of the slides covers the work undertaken by Frank Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Many of the images serve as documentation for the studies the couple performed as they were hired by firms in an attempt to provide solutions to the problems of inefficiency. Also included are the Gilbreth Family, their travels, residences, and friends.

The slides are numbered sequentially. For example, a glass plate slide numbered 318949.001 will have a corresponding photoprint 318949.001 in Series 3, Photoprints of glass plate slides. Note: not all glass plate slides have corresponding photoprints. Additionally, there are Office of Photographics Services, Smithsonian Institution negative numbers assigned to many of the photo prints.

Some subject categories include:

Frank B. Gilbreth: working in motion laboratories, on factory inspections, seated in offices, with family and friends, in World War I uniform, watching and monitoring shop operations.

Lillian M. Gilbreth: with family, during university graduation ceremonies, traveling and working with Frank and observing office workers.

Gilbreth Family: family on the road in an automobile, at home seated around the dinner table, in the parlor, in the garden, and with friends and relatives.

Gilbreth ship travel: contains views on steamer voyages to Europe, deck scenes, arrivals, departures, ship officers and crew, and other passengers.

Automobile assembly study: internal and external views of a warehouse/factory, including large piles or rows of metal car frames and other parts.

Benchwork study: images of a male worker standing or sitting in a chair while filing an object secured in a vice at a workbench.

Betterment: images of efforts whcih contributed to industrial betterment (the Gilbreth chair, employee library, and the home reading box).

Bricklaying study: view of men wearing overalls and caps, shoveling, and men laying bicks.

Business and apparatus of motion study: views of lectures, meetings, film showings, demonstrations, charts, drawings, motion models, charts amd some equipment.

Disabled study: views of partially blind World War I veterans, amputees using special tytpewriter, assembling machinery, use of cructhes, and a one armed dentist.

Factory bench work: table-top machines assembly operations, hand tools, orderly arrangement of parts prior to and during assembly and a variety of bench vises.

Factory documentation: various images of the interior and edterior of factories including heavy machinery.

Golfing study: various cyclegraphs of a man swinging a golf club.

Grid boards: back drops used by Gikbreth to isolate and measure worker motions. This includes walls, floors, desktops, and drop cloths divided into grids of various densities and scales.

Handwriting and cyclegraphs: finger lights moving in patterns of script.

Ladders: include step ladders and painters' ladders shown in use near shelving.

Light assembly study: wide variety of images ranging from cyclegraphs of women working, to the factory floor as well as tools and machinery.

Materials handling study: different angles of an empty cart, a cart oiled high with boxes, and a man pushing a cart illustrating different body positions.

Military study: illustrate work on the Army foot meausring machine, gun parts, men holding a rifle.

Motion models: images of simple wire motionmodels.

Needle trade study: views of textile machinery and workers.

Office study: various shots inside of an office with tables, desks, drawers, files, and typewriters. Some of the images are cyclegraphs of femal and male workers performing tasks, such as writing, both tin the context of an office as well as in front of a grdidded background. There are several close-ups of an organizer containing penciles, paperclips, pins and rubberbands.

Packing: methods of placing and arranging goods in boxes, such as soap packing.

Panama-Pacific Exposition 1915: contains views of statuary, fountains, and architecture of the exposition held in San Francisco.

Pure light cyclegraphs: no workers or grids visible only finger lights in motion.

Rubber stamping study: hand movements and access to ink pads and stamps.

Scenic views: views of buildings, landscapes, street scenes, and fountains from around the world documenting Gilbreth's travels.

Shoe making study: laboratory studies of shoe assembly operations with an emphasis on workers access to component pieces.

Shop machinery: various shots of machines and workers working with machines.

Signage: include organizational flow charts, shop floor plans, route maps, office layouts, numbering systems, exhibit display boards illustrating Frank Gilbreth's efficiency studies and techniques.

Stacking: views of the art and science of stacking boxes, clothing, equipment, containers, and vertical storage without shelves.

Stock bins: consists of storage pips, paper, other raw materials, shelves, and corridoe shots.

Storage: images illustrate contrast between old techniques and new.

Surgical and dental studies: thester views of surgeons, assistants, nurses, hand motions in grasping, placing surgical instruments, dental work and self inspection of teeth.

Tool cribs: storage of hand tools in shops with an emphasis on easy access and easy inventorying.

Typing study: various views of femaile s under observation using Remington typewriters.

Series 3, Photoprints of glass plate slides, 1910-1924, consist of black and white photoprints of the glass plate slides depicting the fields of motion study, shop efficiency, and factory organization. Also included are the Gilbreth Family, their travels, residences, and friends.

Series 5, Stereographs,1911-1914,

Series 6, Audio Visual Materials, 1968, 2000, and undated, is divided into three subseries: Subseries 1, Audio visual documentation, 1968 and undated; Subseries 2, Moving Images, 1968 and undated; and Subseries 3, Audio Recordings, 1980, 1990,. 2000 and undated. The series contains several formats: 7" open reel-to-reel audio tape, 1/2" VHS, Beta Cam SP, DVD, audio cassette, one inch audio tape, and 16 mm film.

Subseries 1, Audio visual documentation, 1967-1968 and undated, consists of supplemental documentation for the film, "The Original Films of Gilbreth The Quest for the One Best Way." Specifically, there are brochures and other printed materials detailing what the film is about and how copies may be obtained. This subseries also contains a copy of the book Cheaper by the Dozen, 1948. The book was written by Frank Bunker Gilbreth, Jr. and Ernestine Gilbreth Carey and tells the biographical story of Frank Bunker Gilbreth and Lillian Moller Gilbreth, and their twelve children. The book was adapted to film by Twentieth Century Fox in 1950.

Subseries 2, Moving Images, 1967, consists of one title, "The Original Films of Gilbreth The Quest for the One Best Way." The film materials consist of the film's production elements: 16 mm black and white negative A-roll; 16mm black-and-white negative B-roll; and the optical track negative. Each is 800 feet in length.

The film presents a summary of work analysis films which were taken by Frank B. Gilbreth between 1919 and 1924 showing a number of industrial operations from which the motion study was developed. Demonstrates motion and fatigue study, skill study, plant layout and material handling, inventory control, production control, business procedures, safety methods, developing occupations for the handicapped, athletic training and skills, military training, and surgical operations as researched and developed by Gilbreth. Points out that Gilbreth created entirely new techniques on how to improve industrial efficiency, while at the same time significantly improving conditions for the workers. The film was produced by James S. Perkins in collaboration with Dr. Ralph M. Barnes and with commentary by Liilian M. Gilbreth and James S. Perkins. The film was presented on December 3, 1968 at the American Society of Mechanical Engineers Annual Meeting in New York. The formats for this title include: 16 mm, Beta Cam SP, and DVD. Additionally, there is a one inch audio tape recording for the film.

Subseries 3, Audio Recordings, 1980, 1990, 2000 and undated consist of a Smithsonian radio program titled "Inside the Smithsonian, Cheaper by The Dozen," from 1980 and an recording of Ernestine Gilbreth Casey discussing Gilbreth Family photographs from 2000. Hosted by [Ann Carroll?], "Inside the Smithsonian, Cheaper by The Dozen," featured Fred and Bill Gilbreth discussing their parents Frank and Lillian, Gilbreth, and the book Cheaper by the Dozen. The radio program coincided with the 100th Anniversary of the American Society of Mechancial Engineers (founded 1880)of which Lillian Gilbreth was the Society's first female member and showcased a single case exhibition at the Museum of History and Technology (now the National Museum of American History) titled "Frank and Lillian Gilbreth: Motion Engineers." Inside Smithosnian Radio was a weekly program produced by the Office of Telecommunications. The recording of Ernestine Gilbreth Carey was recorded on July 9, 2000 and documents Ms. Carey's identification and discussion of Gilbreth Family photographs. David Ferguson assisted in the discussion. A hard copy index to the photographs Ms. Carey discusses is available.

Arrangement:

The collection is arranged into six series.

Series 1: Background Materials, 1892-1997

Subseries 1.1: Frank B. Gilbreth, undated

Subseries 1.2: Frank B. Gilbreth patents, 1892-1916

Subseries 1.3: Printed Materials, 1907-1997

Series 2: Glass Stereo Slides (Positive), 1910-1924 and undated

Series 3: Photo prints of glass stereo slides, 1910-1924 and undated

Subseries 3.1: Photo Print Books, 1-9, undated

Subseries 3.2: Photo prints (duplicates), undated

Series 4: Stereo Autochromes, undated

Series 5: Stereograph Cards, 1911-1914

Series 6: Audio Visual Materials, 1968, 1990, 2000 and undated

Subseries 6.1, Audio visual documentation, 1968 and undated

Subseries 6.2: Moving images, 1968 and undated

Subseries 6.3: Audio recordings, 1980, 1990, 2000, and undated

Biographical / Historical:

Frank Gilbreth is best known for his work on the efficiency of motion. Working with his wife and professional partner Lillian Moller Gilbreth, he applied modern psychology to his work with management. His innovative motion studies were used on factory workers, typists and people with disabilities. Gilbreth established the link between psychology and education to be succesful management.

Frank Gilbreth was born in Fairfield, Maine on July 7, 1868. His parents, John and Martha Bunker Gilbreth were New Englanders. John Gilbreth ran a hardware business, but died when Frank was only three. Bearing the responsibilty of raising her children alone, Martha moved the family twice in search of quality education for her children. Ultimately she decided to school the children herself. In 1885, Frank graduated from English High School in Boston. Despite gaining admission into the Massachusetts Institute of Technology, Frank opted to enter the work world immediately as a bricklayer's apprentice with Whidden and Company, building contractors in Boston.

Smart and skilled, Gilbreth worked his way up in the company. He learned the trade quickly and soon was promoted to supervisor, foreman, and finally to the position of superintendent. To further his edcuation, he went to night school to study mechanical drawing.

At the age of 27, Gilbreth embarked upon his first business venture. He started his own contracting firm. His firm developed a fine reputation for quality work at a very rapid pace. He invented tools, scaffolding, and other contraptions to make the job easier. His company goals included the elimination of waste, the conservation of energy, and the reduction of cost. His work included canals, factories, houses, and dams. His clients came from all parts of the United States, and he performed some work in England.

In 1903, Frank Gilbreth met Lillian Moller (1903-1972) and married her on October 19, 1904. Lillian graduated from the University of California, Berkeley with a BA (1900) and MA (1902). She later earned a Ph.D from Brown University (1915), earning a dissertation titled The Psychology of Management. Lillian's academic work, large family and integral role in Frank's consulting business kept her busy. Her contributions to the business led to a greater understanding of an individual's welfare in the work world. This becamme a key idea to increasing productivity through scientific management techniques.

Working together, the couple became leaders in the new field of scientific management. They published books, gave lectures, and raised tweleve children together: Anne, Mary (1906--912), Ernestine, Martha, Frank Jr., William, Lillian, Frederick, Daniel, John, Robert and Jane. Some of Gilbreth's books include Fields System (1908); Concrete System (1908); Bricklaying System (1909; Motion Study (1911); and Primer of Scientific Management (1911). Gilbreth co-authored with Lillian: Time Study (1916); Fatigue Study (1916); Applied Motion Study (1917); and Motion Study for the Handicapped (1919).

It wasn't long before Gilbreth moved away from construction. Together with his wife, they focused on the link between psychology and motion. With her strong psychological background, and his interest in efficiency, the Gilbreth's opened the School of Scientific Management in 1913. The school was in session for four years. Numerous professional attended the school, and soon the Gilbreth's had established a reputation as consultant's to the new field of scientific management.

In 1912, Frank won a contract with the New England Butt Company in Providence, Rhode Island. There he installed his system of scientific management in a factory setting for the first time. Contracts with the Hermann-Aukam handkerchief manufacturing company in New Jersey and the Auergessellschaft Company in Germany followed. Using motion study, Gilbreth studied and reoganized the factories, attempting to find "the one best way" to do work.

Gilbreth traveled to Germany to continue his work was a scientific manager. He visited factories and hospitals, working to improve procedures and eliminate waste. Using micro-motion study and the chronocyclegraph procedure, he analyzed and dissected motion, discovering therblings, the seventeen fundamental units of any motion. World War I slowed Gilbreth's progress abroad, so he focused his consulting business on firms n the United States.

After World War I, Gilbreth's business thrived. in 1920, the American Society of Mechanical Engineers instituted its Management Division, something Gilbreth had been demanding for years. He was now a famous American engineer, gaining financial rewards as as professional honors.

Frank Gilbreth died suddenly of a heart attack on June 14, 1924, still in the middle of three contracts. He was honored after his death in 1944 by the American Society of Engineers and the American Management Association with the Gant Gold Medal. After Frank's death, Lillian moved the family to California where she continued to work on efficiency and health in industry issues. She was a respected buiness woman and was hired by several companies to train employees, study working conditions, and reduce fatigue. She lectured at several universities (Newark College of Engineering and the University of Wisconsin), and joined the faculty at Purdue University in 1935 as the first woman professor in the engineering school.

Frank and Lillian Gilbreth often used their large family (and Frank himself) as guinea pigs in experiments. Their family exploits are lovingly detailed in the 1948 book Cheaper by the Dozen, written by Frank Jr. and Ernestine Gilbreth Carey.

Related Materials:

Material in Other Institutions

Purdue University, Archives and Special Collections

Frank and Lillian Gilbreth papers, 1869-2000

The Gilbreth Papers documents the professional and personal lives of Frank Gilbreth and Lillian Gilbreth. The collection consists of personal papers, letters, correspondence, photographs, and other memorabilia that Lillian Gilbreth collected during her life regarding her youth, marriage, family, and career.

Collection of materials related to Lillian Gilbreth, 1964-2006

One folder of items relating to the life of Lillian Gilbreth, and her family, collected by her granddaughter, Lillian (Jill) Barley and Nancy Weston. Materials include clippings relating to the Lillian Gilbreth postage stamp (1984); obituaries and memorial programs for Peter Barney, Ernestine Carey, Lillian Gilbreth, Anne Gilbreth Barney, Charles Carey, and Frank Gilbreth Jr.; programs and photographs relating to Lillian Gilbreth's visit to Athens in 1964; and biographical information on Lillian Gilbreth.

Cornell University, Kheel Center for Labor-Management Documentation and Archives

Frank Gilbreth Papers on Microfilm, Collection Number: 5424 mf

Selected papers pertaining to industrial engineering. Original materials are held by Purdue University. Microfilm copied purchased from Purdue University in April 1968.

Provenance:

The collection materials were donated by several individuals: New Jersey Institute of Technology (1975); Frank B. Gilbreth, Jr., (1980); Ernestine Gilbreth Carey (1995); Daniel B. Gilbreth (1998); and James Secor Perkins in 2001.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Series 2: Glass Stereo Slides are restricted. Boxes 3-9 were digitized in 2021. Researchers must use digital copies. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

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

Topic:

Motion study  Search this

Machinery industry  Search this

Machine shops  Search this

Industrial management  Search this

Industrial films  Search this

Industrial engineering  Search this

Genre/Form:

Videotapes

BetaCam SP (videotape format)

Motion pictures (visual works) -- 1930-1950

Citation:

Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0803

See more items in:

Frank and Lillian Gilbreth Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a48e652d-6387-4a23-98c0-299772c454d5

EDAN-URL:

ead_collection:sova-nmah-ac-0803

Creator:

Horstman, Dorothy, 1930-1999  Search this

Cline, Patsy  Search this

Horstman, Madi  Search this

Horstman, Fritzi  Search this

Mare, Frank  Search this

Lynn, Loretta  Search this

Snow, Hank  Search this

Rodgers, Jimmie  Search this

Williams, Hank (Harold), 1934- (musician)  Search this

Tubb, Ernest  Search this

Acuff, Roy  Search this

Extent:

11 Cubic feet

Type:

Collection descriptions

Archival materials

Audiotapes

Audiocassettes

Recordings

Oral history

Interviews

Date:

1959-1999.

Summary:

Tape recordings containing oral history and radio show recordings of country and western music, collected and produced by Dorothy Horstman.,Recordings include such musicians as Jimmie Rodgers, Ernest Tubb, Hank Williams, Loretta Lynn, Patsy Cline, Hank Snow, and Roy Acuff.

Scope and Contents note:

The Dorothy Horstman Oral History Field and Radio Show recording consist of 351 cassette audio tapes and 164 reel-to-reel audio tapes documenting her field research and radio shows dedicated to the creative process associated with the composers of Country and Western songs. Also included in her collection are 82 reel-to-reel audio tapes complied by Mrs. Horstman and her colleague Mr. Frank Mare. Mr. Mare is a microbiologist from New Jersey, currently residing in Covington, GA. In his free time he is an avid collector of Country and Western recording of the 1920s and 1930s, a music critic, a writer of liner notes, and an information guide to the Country and Western music genre.

The collection is organized into three series. Series 1 comprises the 351 cassette audio tape recordings of the oral history interviews that Mrs. Horstman conducted in the field. They contain the social history of the music, the creative process behind song writing for each artist or theme, and often include biographies and backgrounds of the individuals she interviewed. Series 2 contains 164 reel-to-reel audio tapes of Mrs. Horstman's WNYC radio shows. They trace the history and influence of the music, often using primary material from her interviews that no longer exist in other forms. The shows are devoted to individual artist, composers, or themes, and often include her own commentary and insight. Shows 113-127 are based on the chapters of Mrs. Horstman's book, Sing Your Heart Out Country Boy. Shows in this series without a playlist could not be listened to because of preservation reasons and therefore are unavailable for use. Series 3 comprises the 82 reel-to-reel audio tapes compiled by Frank Mare and Mrs. Horstman. They consist of tape recordings of songs that are in Mr. Mare's personal collection. They were made at the request of Mrs. Horstman as part of her research of the music and her personal

Arrangement:

The collection is divided into 3 series.

Series 1: Oral history and field recordings, 1961-1999

Series 2: Radio show recordings, 1972-1977

Series 3: Frank Mare and miscellaneous recordings, 1959-1976

Biographical/Historical note:

Songwriter and Journalist Dorothy Horstman (1930-1999), began her love affair with Country and Western music early in life. She was born in Georgia, adopted and raised in Louisiana. She attended the University of Texas at Austin in the 1950s and became a registered nurse. In 1959 she married James Horstman and would later make her home in New York City, taking her love for Country and Western music with her. It is here that her interest in the creative process of song writing moved from a personal interest to one that would include a more public persona. Although never academically trained, Mrs. Horstman spent four decades between 1954-1999, conducting countless interviews with some of the most important artist and performers in Country and Western music. Following the example of Sigmund Spaeth, Dorothy left no door closed in her search for the facts and origin to a particular song. In the mid-1970s, she put her research to work in her own weekly WYNC radio show. Many will remember her signature opening of "Hello Country Fans. . ."

In 1975 Mrs. Horstman published her first book titled, Sing Your Heart Out, Country Boy, in it she continued to work with the concept she originated known as song annotation or the process of learning the origin and inspiration of a song and its connection to the people.

Prior to her death in September 1999, Dorothy had just completed work on her second book titled, America's Best Loved Country Songs. It is being posthumously published.

Dorothy Horstman once wrote that "Country music is as American as mom's apple pie. . . (covering such values as) God, country, home, mother, good and evil, right and wrong." Spanning four decades the Dorothy Horstman Oral History Field and Radio Show recording collection portrays the astonishing range of this genre. Contained within it are such country legends as Jimmie Rodgers who, is not only known as the "Father of Country Music," but who also helped move country music from its hillbilly roots of instrumentals to its modern day vocal sound and style. Ernest Tubb, who throughout his fifty year career in the business helped some of country music's greats, Hank Williams, Loretta Lynn, Pasty Cline, Charlie Walker, and Hank Snow get their start. Roy Acuff once named the "King of Country Music" by baseball great Dizzy Dean, who along with Fred Rose formed Acuff-Rose Publications, Nashville's first country music publishing company. And the Carter Family, also known as the "first family of country music," who blended tradition songs and lyrics with their own musical and vocal techniques to help put country music on the map during the 1930s.

Provenance:

Collection donated by Madi and Fritz Horstman, 2000.

Restrictions:

Collection is open for research and access to user copies of tapes, on site by appointment.

Rights:

Copyright restrictions. Fritzi and Madi Horstman retain all rights to these recordings. Contact the Archives Center for more information.

Topic:

Country musicians  Search this

Country music  Search this

Radio programs, Musical  Search this

Genre/Form:

Audiotapes -- 1950-2000

Audiocassettes

Recordings

Oral history

Interviews -- 1950-2000

Citation:

Dorothy Horstman Oral History Field and Radio Show Recordings, 1959-1999, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0723

See more items in:

Dorothy Horstman Oral History Field and Radio Show Recordings

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8381f0acc-99f4-405c-b616-5f3c203d2921

EDAN-URL:

ead_collection:sova-nmah-ac-0723

Artist:

Ruth Light Braun, 1906 - 2003  Search this

Sitter:

Molly Picon, 28 Feb. 1898 - 5 Apr. 1992  Search this

Medium:

Conte crayon on paper

Dimensions:

Image: 53.3 × 38.7 cm (21 × 15 1/4")

Sheet: 54.6 × 40.6 cm (21 1/2 × 16")

Type:

Drawing

Date:

c. 1929

Topic:

Drawing  Search this

Molly Picon: Female  Search this

Molly Picon: Performing Arts\Performer\Actor  Search this

Molly Picon: Performing Arts\Performer\Actor\Theater  Search this

Molly Picon: Performing Arts\Performer\Television personality  Search this

Molly Picon: Journalism and Media\Broadcast journalist\Commentator\Radio  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Catherine and Michael Podell

Object number:

NPG.2022.100

Restrictions & Rights:

Usage conditions apply

Copyright:

© Hirschl & Adler Galleries, New York

See more items in:

National Portrait Gallery Collection

Exhibition:

Recent Acquisitions 2023

On View:

NPG, North Gallery 140

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4770230ff-4594-4179-983b-6b8dc15f1137

EDAN-URL:

edanmdm:npg_NPG.2022.100