An interview with Allan Sekula conducted 2011 August 20-2012 February 14, by Mary Panzer, for the Archives of American Art at Sekula's studio and home in Los Angeles, California and at the Museum of Modern Art in New York, New York.
Sekula speaks of his career and some of the mediums he works in; language and contemporary art; Roland Barthes; his relation to contemporary art; west coast conceptualism; genre switches; realism; documentary photography; Belgium and the industrial revolution; Meunier; minor figures; art history and marginalism; Roberto Matta; World War I; Homer Folks; Fish Story; historic cinema; economic factors of art shows and publication; galleries and the art world; growing up and his family; his father and moving; Ohio; his brothers and sisters; San Pedro; demographics of students at school; sports at school; Vietnam; protests; cross country and swimming; California; fishing; college; U.C. system; declaring a major; John Altoon; Ed Kienholz; exposure to art; visiting museums; Marcuse's classes; Baldessari's classes; course work and student life; student demonstrations; working in a library and exposure to books; father losing his job; science and working as a chemical technician; politics; his uncle committing suicide; moving away from his father; the draft; John Birch; Students for a Democratic Society; his mother; politics of his parents; Aerospace Folk Tales, autodidacts and scholarship; San Diego and Mexico; obtaining a camera and starting to use it; art school; CalArts; UCSD; Meditations on a Triptych; David Salle; Fred Lonidier; Phel Steinmetz; MFA and art training; poets; story of Allen Ginsberg and one of Sekula's sculptures; production and the audience; A Photograph is Worth a Thousand Questions, photography and the burden of tradition; pictorialism; moving to New York; Artforum; October; New York music scene; Captain Beefheart; Bo Diddley; Little Richard; Steichen and aerial photography; origins of October; New Criterion; Art Critic's Grant; teaching at Ohio State; television; technological historians; New York subway and getting a ticket for using French money; RISD lectures; Long Beach; photography; collages; Metro Pictures; New Topographics; School as a Factory; moral choice and the viewer; work method and the audience; Social Criticism and Art Practice; east and west coasts; Ed Ruscha; documentary; film, Los Angeles; cinema and social history; Ohio State Department of Photography and Cinema; Los Angeles Plays Itself; Committee in Solidarity with the People of El Salvador; Ohio State campus, anti-Semitism; Ronald Reagan and protest; influences and colleagues; intellectual genealogy; Michael Graves and Ohio State architecture; Bad Ohio; tenure; University Exposed; AIDS issue of October; The Body and the Archive; making film; Korean War; collectors and images. Sekula also recalls Eleanor Antin, Jeff Wall, Terry Fox, Lewis Hine, Walker Evans, Paul Saltman, Marcuse, Baldessari, Sacvan Bercovitch, Stanley Miller, Jef Raskin, Paul Brach, David Antin, Howard Fried, Peter Van Riper, Alison Knowles, Dick Higgins, Manny Farber, Ihab Hassan, Diane Wakoski, Jackson Mac Low, Martha Rosler, Lenny Neufeld, Joshua Neufeld, David Wing, Brian Connell, Max Kozloff, Ian Burn, Mel Ramsden, Carole Conde, Karl Beveridge, Barry Rosens, Tom Crow, John Copeland, Harry Lunn, Hilton Kramer, Grace Mayer, Carol Duncan, Eva Cockroft, Richard Pommer, Rosalind Krauss, Sally Stein, Paddy Chayefsky, John Hanhardt, Mel Ramsden, Sarah Charlesworth, Jospeh Kosuth, Baruch Kirschenbaum, Robert Heinecken, Brian O'Doherty, Howard Becker, Jay Ruby, Jerry Liebling, Anna Wilkie, Ronald Feldman, John Gibson, David Ross, Britt Salvesen, Larry Sultan, Mike Mandel, Roy Ascott, Ilene Segalove, Paul Schimmel, DeeDee Halleck, Noel Burch, Joan Braderman, Woody Hayes, Thom Andersen, John Quigley, Ron Green, Kasper Koenig, Dan Graham, Jonathan Green, Christa Wolf, Catherine Lord, Ben Lifson, and Annette Michelson.
Biographical / Historical:
Allan Sekula (1951-2013) was a photographer, filmmaker, and writer, based at the California Institute of the Arts in Valencia, California. Mary Panzer (1955- ) is a historian from New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
The collection documents Granatelli's lifelong involvement with automobiles, from his youth through his career as an auto industry executive, and as a racing car owner, designer and promoter. The collection consists primarily of files, photographs, scrapbooks, and drawings. Some of the earliest files relate to Grancor, a company founded by Granatelli and his two brothers in 1945, which customized cars for clients. Other things contained in the files include meeting minutes, articles of association, business and financial records, legal records and profit and loss statements. Also included are papers relating to an organization he started called the Hurricane Hot Rod Association.
A large portion of the files relate to Granatelli's term as President of STP, a division of the Studebaker Corporation, from 1961-1974. These files detail the internal workings of the company during this period, and include papers relating to such things as strategic planning, sales, marketing, advertising and competitors' products. Additionally, this portion contains STP's Board of Directors' minutes, documents on policies and procedures, papers documenting advertising campaigns, comparative sales figures, sales manuals, and Granatelli's business correspondence. The largest part of the files relate to the Indianapolis 500 race. There are detailed files on the drivers and race teams he assembled for the annual race, but these files also include design drawings, specifications, test data, lap logs, performance statistics, and reports documenting the implementation of design changes. The scrapbooks in the collection contain clippings, biographical materials, and other documents relating to auto racing in America and especially the Indianapolis 500. Finally, the collection contains a large number of photographs covering all aspects of Granatelli's career.
Arrangement:
Collection is arranged into nine series.
Series 1: Biographical Materials, 1946-2006
Series 2: Granatelli Corporation, 1943-1975
Series 3: Studebaker Corporation, 1935-1991
Series 4: United States Auto Club (USAC)
Series 5: Novi Engine, 1949-1971
Series 6: Product Literature, 1949-1972
Series 7: Racing Programs, Publications, and Ephermera, 1940s-2007
Series 8: Photographs, 1932-2008
Series 9: Audiovisual Materials, 1960-2001
Biographical / Historical:
Andy Granatelli (1923-2013) was an automobile racing promoter, a race car engine designer and an automotive innovator. Two of his cars, a 1967 turbine engine race car and the 1969 Indianapolis 500 winner, are in National Museum of American History's Division of Work & Industry collection. More than any other racing figure, Granatelli bridged the realms of garage tinkerers and professional motorsports, and he stimulated public interest in auto racing on a national level. His STP Corporation became a high-profile sponsor of Indianapolis 500 and NASCAR race cars, with Granatelli appearing in ads and commercials. His larger-than-life personality and flair for the dramatic made him an American cultural phenomenon. His career is well summed up in the profile written for his 2003 induction into the Automotive Hall of Fame.
Racer, entrepreneur, engineer, promoter, business executive. This is how one begins to describe the career of Andy Granatelli. But the title Mister 500 is the one that befits him most, for it describes a lifelong dream to conquer the famous 500-mile race in Indianapolis.
It was a preposterous dream for the scrappy kid growing up in the slums of Chicago, whose mother had died when he was twelve, and two years later, at the age of fourteen, dropped out of school to help his father feed the family. Andy Granatelli began his quest for Indy 500 fame at the age of 20 in 1943, when he and his brother pooled their meager, hard-earned money and purchased a Texaco gas station on the north side of Chicago, which he called Andy's Super Service. Andy, always the promoter, needed a gimmick to set himself apart from other service stations. His gimmick? Granatelli initiated the first pit stop service station, utilizing four or five mechanics to work on a car at one time.
Customers appreciated the true super service experience and would often wait in line for this unique treatment. With this unique service and Andy's P.T. Barnum style it was no wonder that the station was prosperous, and just two years later, in 1945, he formed the Granatelli Corporation, known as Grancor Automotive Specialists. As the head of Grancor, Andy Granatelli pioneered the concept of mass merchandising performance products and power and speed equipment to a generation of Americans who were discovering the joys of hot rodding.
Andy quickly learned that if you give the customer what he needs, you can make a living; give him what he wants, and you can make a fortune! Granatelli's racing career began in 1946, when he built the first rocket-powered car to race on an oval track. That same year, he took his first car to the Indianapolis 500--a pre-war Harry Miller--designed Ford.
When Andy Granatelli wasn't burning up tracks, he was tearing up the business world. In 1958, Andy and his brother Joe purchased Paxton Products, a failing engineering firm that made superchargers. With Andy at the helm, Paxton Products became profitable in seven months. In 1961, Andy sold Paxton Products to Studebaker Corporation and stayed on as Paxton's CEO. Two years later, Studebaker management wanted Granatelli to work his magic on an under-performing division called Chemical Compounds Corporation. Chemical Compounds had only one, little known product . . . STP Oil Treatment. With virtually no advertising budget, Andy created a four-pronged approach to turn the company around: a recognizable corporate logo (the STP oval), a product (oil treatment), a product spokesman (himself) and a reason for existence (racing). The STP logo became one of the best recognized in history. STP could be found in virtually every venue of speed: on land, on the water or in the air. Andy Granatelli once said that in the 1960s, virtually every kid in America had an STP sticker on his bedroom door, his notebook or his lunchbox, and he was probably right!
Back at Indianapolis, Granatelli entered a revolutionary race car of his own design - one with a turbine engine in 1967 and 1968. Even though the car failed to finish both years due to mechanical failure, the cars demonstrated superior speed and performance. At the end of the 1968 season, the U.S. Auto Club revised engine specifications, effectively outlawing Granatelli's turbine car. Undeterred, Granatelli returned to Indy the following year with a conventional car and proceeded to win his first Indianapolis 500 with Mario Andretti at the wheel. Four years later, in 1973, Andy won his second and last Indy 500 with a car driven by Gordon Johncock. Andy Granatelli's childhood dream of conquering Indy was fulfilled, not once, but twice.
Source
Andy Granatelli Biography, Automotive Hall of Fame (last accessed January 29, 2020 https://www.automotivehalloffame.org/honoree/andy-granatelli/)
Related Materials:
Materials in the Archives Center
Warshaw Collection of Business American, Series: Automobile Industry (NMAH.AC.0060)
Sam DeVincent Collection of Illustrated American Sheet Music, Series 1: Transportation (NMAH.AC.0300)
Evan Rangeloff Collection of Punchboards and Liggett & Myers Tobacco Sales Materials (NMAH.AC.0716)
Materials at the National Museum of American History, Division of Work and Industry
The Divison holds artifacts related to STP and the STP-Paxton Turbo Car. Included are key chains, trophies, STP stickers, TuneUp Masters stickers, belt buckle, and patch. See accession 2017.3043.
STP-Paxton Turbocar, 1967. See accession 1978.0418.
Materials at the National Museum of American History, Division of Cultural and Community Life
Division holds artifacts related to Andy Grantelli's racing career such as helmets, goggles, trophies, and coveralls and vests with the STP logo. See accession 2017.0092.
Provenance:
Collection donated by Vincent J. Granatelli, 2017.
Restrictions:
Collection is open for research. Viewing film and audio portion of collection requires special appointment. See repository for details.
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.
Quotes and excerpts must be cited as follows: Oral history interview with Allan Sekula, 2011 August 20-2012 February 14. Archives of American Art, Smithsonian Institution.
The collection consists of approximately 50 cubic feet of material documenting Aladdin Industries Inc., manufacturers of vacuum ware and lunch boxes. The majority of the material dates from 1947 to the 1970s. The strength of the collection is with the lunch box documentation and product development, marketing, and sales records. There is some interesting labor history—specifically United Steel Workers agreement. The files of Victor S. Johnson, Sr. and Victor S. Johnson, Jr. form the core of the collection and provide rich documentation on the company's activities.
Arrangement:
The collection is divided into seventeen series.
Series 1: Historical and Background Materials, 1919-1997
Series 2: Victor S. Johnson Sr. Files, 1916-1945
Series 3: Victor S. Johnson Jr. Files, 1906-1983
Series 4: Employee and Personnel Records, 1910-2001
Series 5: Research and Development Records, 1910-1976
Series 6: Patent Records, 1889-1973
Series 7: Sales Records, 1939-2000
Series 8: Advertising and Marketing Records, 1931-2001
Series 9: School Lunch Kits, 1952-1989
Series 10: Lamps and Kerosene Heaters, 1911-2000
Series 11: Temp-Rite, 1972-2000
Series 12: Competitors, 1963-2001
Series 13: Style Guides, 1966-1998
Series 14: Newsletters, 1943-1998
Series 15: Photographs, 1923-1986
Series 16: Scrapbooks, 1908-1962
Series 17: Audiovisual Materials, 1993-1996
Biographical / Historical:
Victor Samuel Johnson Sr., (1882-1943) was born in Nebraska. As a soap salesman for the Iowa Soap Company, he became interested in kerosene mantle burners. Dissatisfied with the available kerosene lamps, he began selling and dealing U.S. made mantles and incorporated the Mantle Lamp Company of America in Chicago in 1908. Johnson selected the name "Aladdin" from the famous story, "Aladdin; or The Wonderful Lamp." Johnson began research and development of a mantle lamp that gave off a steady white light and did not smoke. The Mantle Lamp Company began manufacturing lamps in 1912, with Plume & Atwood Manufacturing Company burners, and marketed them as "Aladdin Lamps." The company diversified in 1917 and began producing insulated cooking dishes, known as Aladdin Thermalware jars, for the U.S. military. These jars had an aluminum or steel jacket wrapped around a heavy glass receptacle. The space between was filled with cork. The introduction of the thermalware began the company's venture into heat and cold retaining receptacles.
In 1919, Johnson organized a subsidiary of the Mantle Lamp Company of America, Aladdin Industries, Inc., to market and sell the Aladdin thermalware jars and vacuum ware. At the same time, Mantle lamp Company of America formed Aladdin Limited in Canada and England to sell thermalware as well as Pathfinder Radio Corporation, Cadillac Photograph Corporation, Aladdin Chemical Corporation, Aladdin Phonograph Corporation, Johnson Laboratories, Inc. (radio components), and Aladdin Radio Industries (magnetic and radio research). Pathfinder, Cadillac, Aladdin Chemical and Aladdin Phonograph all failed. In 1926, the Mantle Lamp Company acquired Lippincott Glass Company of Alexandria, Indiana, where it manufactured and fabricated glass chimneys, shades and lamp bases, mantles, wicks, and metal lamp bases. The Alexandria plant closed in 1952 and eventually moved to Nashville.
In 1943, Victor S. Johnson Sr. died and his son, Victor S. Johnson Jr. (1906-), succeeded him as president of Aladdin Industries Inc. Johnson Jr. moved Aladdin from Chicago to Nashville, Tennessee in 1949 to place the company strategically in mid-America to distribute its products. Aladdin's general offices, vacuum bottle production, and electric lamps and kerosene completed the move by 1952.
In 1950, Aladdin began illustrating flat metal school lunch kits (lunch boxes with liquid containers) with images of popular radio, movie and television figures. Hopalong Cassidy was the first character kit. This innovative marketing decision produced an explosive growth in the lunch kit market and made Aladdin a pioneer in image licensing. Character lunch boxes became a large part of the childhood experience and are collector's items today. Over the years, Aladdin extended the range of characters depicted and began manufacturing plastic and soft, vinyl lunch kits with printed themes. It also introduced "3D" embossing on the flat metal kits. Embossed metal lunch kits were completely phased out in 1986 due to high production costs. In addition to the school lunch kits, Aladdin also introduced wide mouth vacuum bottles (pint and quart size) in 1953. The wide mouth bottles also carried "adult" themes such as the "Angler" fisherman's bottle. The thermosware line eventually moved from metal to plastic jackets and from a glass insulated filler to foam.
In 1965, Aladdin purchased the Stanley steel bottle operation from Landers, Frary and Clark in New Britain, Connecticut. Aladdin's diversification strategy led to the introduction in 1968 of the Temp-Rite® meal distribution plan, an insulated thermal tray service for hospitals, the airline industry, and prisons. The Temp-Rite® system gave rise to a full line of products and services and Aladdin formed a subsidiary, known as Aladdin Synergetics, Inc., to handle its health care and food service operations. Aladdin Synergetics was sold to Welbilt Corporation in 1998; the new operation was named Aladdin Temp-Rite. Other products added over the years included electric lamps, shades, kerosene stoves, and an electronics division in 1956. This division was established from a small technical research group whose function was patent licensing. As a subsidiary of Aladdin Industries, it produced transformers and radio and telephone filters. The subsidiary was sold to Vernitron in October, 1979.
At various times, Aladdin established offices in Alexandria, Indiana; Chicago, Illinois; Nashville, Tennessee; Portland Oregon, Canada; Hungry; France; Australia, New Zealand; England; Iraq, Iran, Brazil, Japan, Peru, Venezuela, Chile, Uruguay, France, Germany, Iceland, Sweden, and South Africa to market and sell its products.
Aladdin was financially mismanaged in the 1990s and rapidly declined. Aladdin Industries Inc. reorganized in 1999 and became known as Aladdin Industries LLC. High labor costs and unsuccessful efforts to develop new products led to further decline. By January, 2002, Aladdin had sold its remaining product lines and closed its Nashville plant. Aladdin lamps are still sold today by the Aladdin Mantle Lamp Company of Clarksville, Tennessee.
Separated Materials:
The Division of Cultural History (now Division of Cultural and Community Life) holds 30 lunch boxes and 28 thermos bottles from Aladdin Industries, Nashville, Tennessee. Additionally, there is a pair of lamps. See Accession 2003.0255. Although the children's steel lunch boxes predominate, the collection represents the full spectrum of Aladdin box designs including vinyl, hard plastic, and fabric.
Provenance:
Donated to the Archives Center by Aladdin Industries in 2003.
Restrictions:
Collection is open for research but the oversize map folders are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Aladdin Industries, Inc. (Nashville, Tenn.). Search this
Container:
Box 107, Folder 3
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the oversize map folders are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Collection Citation:
Aladdin Industries, Inc. Records, 1889-2002, Archives Center, National Museum of American History.
Scurlock, George H. (Hardison), 1919-2005 Search this
Container:
Box 9
Type:
Archival materials
Date:
undated
Scope and Contents note:
Job Number: 10626
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Series Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Series Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Series Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
An interview of Sidney E. King conducted circa 1980-1983, by Buck Pennington and Herbert Collins, for the Archives of American Art.
King speaks of growing up in Boston, Mass.; working under John Singer Sargent at the Museum of Fine Arts in Boston, Mass.; searching for a job during the Great Depression; travelling the United States by car with a friend; prospecting for gold in Spotsylvania County, Va.; painting signs for the National Park Service; developing a technique to make painted signs weather the elements well; painting the murals, "The Life of Christ" and "Creation," for the Mormon Church; meeting his wife, Peggy, and her cousin, Mary; researching historical scenes for murals; teaching at Rappahannock Community College; speculating on the future of the arts in America. King also recalls John Singer Sargent, Lawrence Kocher, Ronald Reagan, Elizabeth Pitts, Peggy King, and others.
Biographical / Historical:
Sidney E. King (1906-2002) was a painter and muralist from Caroline County, Va.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 52 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
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.
Collection Citation:
The Carolyn and Donald Grepke Paper Doll Collection, 1800s-1998, undated, Archives Center, National Museum of American History.
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:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
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:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
