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Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2014-12-11T16:18:13.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_jDoF7mYItzg

Donor:

Little Manila Foundation  Search this

Extent:

4.33 Cubic feet (13 boxes)

Culture:

Filipino Americans  Search this

Type:

Collection descriptions

Archival materials

Diaries

Correspondence

Photographs

Receipts

Date:

circa 1917-1980, undated

Summary:

Collection of archival materials removed from trunks of personal belongings abandoned at death by Filipino agricultural workers in Stockton, California.

Scope and Contents:

The contents of this collection include albums with photographs from the Philippines and the United States, receipts, pay stubs, books, letters, and other correspondence from the Philippines, framed photographs, and other ephemera. Most of the correspondence in the collection is written in Visayan, the language spoken within the southernmost islands of Luzon in the Philippines. The contents of the letters are in the process of being translated. Most of the photographs of individuals in the collection are not identified. The collection is divided into 23 series. 22 of which are individual Filipino migrants, who were members of the fraternal organization. The last series consists of the Filipino fraternal organization "Legionarios del Trabajo". The collection is important for those researchers interested in the history of early Filipino-American agricultural workers.

Arrangement:

Collection is arranged into twenty-three series.

Series 1: Enrique Andales, 1917-1937, undated

Series 2: Julian S. Arofo, 1950-1953

Series 3: A.T. Bastion, undated

Series 4: Julian Felicita Bernido, 1971

Series 5: Andres Salle Casinas, 1912-1980, undated

Series 6: Cesario Hotora Comparativo, 1925-1945, undated

Series 7: Hilario Samson Cuevas, 1925-1930, udated

Series 8: Vinancio Felisarta, 1971

Series 9: Jose Madridejo Galinato, 1926-1949, undated

Series 10: Eufricino Janier, 1920-1929, undated

Series 11: Felimon Laga, 1922-1923, undated

Series 12: Seven Madrias, 1936-1938, undated

Series 13: Eusebio Maglente, 1920-1923, undated

Series 14: Epimaco Fariola Mansueto, 1874-1947, undated

Series 15: Sixto Olaco, 1921-1954, undated

Series 16: Anastacio Atig Omandam, 1924-1937

Series 17: Juan Campoco Pascual, 1936, 1948, undated Series 18: Julian Rogas, 1929-1936, undated

Series 19: Arcadio Simangca, 1961-1971

Series 20: Julio Saranza, 1971

Series 21: Pablo Mendoza Solomon, 1921-1971, undated

Series 22: Victor Yano, 1971

Series 23: Legionarios del Trabajo: Daguhoy Masonic Lodge, 1928-1935, undated

Biographical / Historical:

The collection documents the lives of Filipino migrants in Stockton, California dating from 1920s-1970s. The collection was retrieved from the basement of the Daguhoy Lodge, a meeting place for the Filipino fraternal organization "Legionarios del Trabajo". The lodge doubled as a living space for Filipino agricultural laborers during the early twentieth century. The collection holds the belongings of Filipino migrant farm laborers who did not have a family to obtain their belongings after their deaths.

Related Materials:

Archives Center, National Museum of American History



Warshaw Collection of Business Americana Subject Categories: World Expositions, NMAH.AC.0060

Underwood & Underwood Glass Stereograph Collection, NMAH.AC.0143

Alexander Alland, Sr., Photoprints, NMAH.AC.0204

Sam DeVincent Collection of Illustrated American Sheet Music, Series 8: Geography, NMAH.AC.0300

Duncan Family Yo-Yo Collection, NMAH.AC.807

Catherine Hann Papers, NMAH.AC.0921

Kamikawa, Omata and Matsumoto Families Papers, NMAH.AC.0924

Juanita Tamayo Lott Filipino American Photographs and Papers, NMAH.AC.0925

Bishop Mitsumyo Tottori Memorial Notebooks, NMAH.AC.0926

Division of Cultural History Lantern Slides and Stereographs, NMAH.AC.0945

Other Respositories

Sacramento Public Library, Sacramento Room Photograph Collection

holdings include photograph of Legionarios Del Trabajo

Separated Materials:

The National Museum of American History's Divison of Work and Industry holds the objects that came with the collection including:

Accession number 2022.0058.

Provenance:

Collection donated by the Little Manila Foundation through Dillon Delvo, Executive Director, 2021.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Agriculture -- California  Search this

Migrant workers  Search this

Tagalog language  Search this

Genre/Form:

Diaries

Correspondence -- 20th century

Photographs -- 20th century

Receipts -- 20th century

Citation:

Filipino Agricultural Workers Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding funded by a grant from the American Women History Initiative, 2023.

Identifier:

NMAH.AC.1515

See more items in:

Filipino Agricultural Workers Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep865b08d8d-170d-410c-9794-1f0f1f0b1388

EDAN-URL:

ead_collection:sova-nmah-ac-1515

Container:

Box 7, Folder 16

Type:

Archival materials

Date:

1936

Collection Restrictions:

Collection is open for research.

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:

Filipino Agricultural Workers Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding funded by a grant from the American Women History Initiative, 2023.

See more items in:

Filipino Agricultural Workers Collection

Filipino Agricultural Workers Collection / Series 18: Julian Rogas

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep87be82022-8ee4-44f4-a22a-276d15376beb

EDAN-URL:

ead_component:sova-nmah-ac-1515-ref187

Creator:

American Anthropological Association  Search this

Extent:

175 Linear feet

Note:

The collection is stored off-site. Advanced notice must be given to view the collection.

Type:

Collection descriptions

Archival materials

Date:

1904-2005

bulk 1915-1996

Scope and Contents:

These records document the activities of the American Anthropological Association from 1904 through 2007 (although the majority of the files only date to 1996), with informational content regarding its constitution and by-laws, constitutional changes and ballot voting, dating back to its creation in 1902. The majority of the records consist of correspondence and memoranda, both originals and carbon copies, typed and handwritten. Also included are telegrams, postcards, notes, lists, reports, newspaper clippings, publications, newsletters, articles, receipts, meeting minutes and agendas, programs, expense accounts, budget material, planning schedules and other documents relating to the business of the Association, as well as tape recordings of various AAA program sessions, tape recordings and video tapes regarding interviews and other material pertaining to the Tasaday, tape recordings regarding ethics cases, tape recording for classroom material for the Anthropology Curriculum Study Project, and mainframe computer tapes, computer discs, and printouts regarding the Committee on the Status of Women in Anthropology. There are photographs, mostly documenting some of the sessions and attendees at the annual conference in Mexico, 1959, photographs and slides used for special AAA Newsletter themes (under Publication Department files in series 4), and a photograph of Roy Rappaport.

The most extensive documentation including all of the presidential papers, date from 1947, when the newly created Executive Board (established by constitutional changes in 1946) received funds from the Carnegie Corporation of New York City to establish a secretariat headed by an executive secretary (later, executive director). With the creation of the latter office, files were more systematically transferred to and maintained by the organization. With the permanent move of the executive secretary to Washington, DC, in 1959, the records of the organization became more expansive.

Though this guide documents the records in great detail, not all items of information, whether by name, subject, or geographical location has been noted. In addition to locating information through the "find" feature, researchers should search throughout the list of file folders that come within the time frame of inquiry and review those folders that may hold additional information.

Researchers should be cognizant of the fact that there will be accretions to the records of the American Anthropological Association as tranfers are made to the National Anthropological Archives. Documentation about the accretions may reside in separate guides.

American Anthropological Association Organizational Name Index

AAA committees, task forces, and commissions that are well documented include: Administrative Advisory Committee; AIDS Task Force; Anthropology and Archaeological Research in Latin America (including laws and requirements for conducting research in Latin American countries written in Spanish and Portuguese); Anthropology as a Profession; Anthropology Curriculum Study Project; Anthropology Research Services; Archives Committee; Franz Boas Memorial Committee; Committee on Anthropological Research in Museums; Committee on Science in the Promotion of Human Welfare; Committee to Study Research and Ethics (1965-1967), including interviews of anthropologists conducting research in foreign countries and regional areas; Committee on Ethics; Committee on International Cooperation; Committee on Scientific Research; Committee on the Status of Women in Anthropology and Committee to Study the Academic Employment of Women in Anthropology; Committee Point IV Manual; Committee for the Recovery of Archaeological Remains; Committee on Scientific Communications; Commission on Lesbian and Gay Issues in Anthropology; Committee on International Cooperation; Congressional Fellowship Program; Environment Task Force; Involuntary Resettlement Task Force; Lurie Commission; Program in Anthropology and Education and Special Teacher Improvement Programs; Program of Visiting Anthropologists; Publication Policy Committee; Task Force on Poverty and Homelessness; and Task Force on Teaching Anthropology.

American Anthropological Association Cases, Issues and Projects of Concern and/or Undertaken by the Association

Franz Boas issue; status of anthropology in the United States government; Alfred Metraux and Argentine indigenous population; Vietnam; reorganization; establishment of a secretariat, executive secretary and executive director; Aswan Dam and sites in "Ancient Nubia"; CIA and anthropological research; Derek Freeman and Margaret Mead controversy; El Paso Natural Gas Company archaeological salvage program; establishment of the Alfred Vincent Kidder award; anthropology and the Graduate Record Examination; anthropology and the military; Baltimore Neighborhood Project; Camelot Project; Bureau of American Ethnology; career pamphlets on anthropology; civil liberties; employment in anthropology; Exxon-Valdez litigation; guides to anthropology departments in the United States; Hollywood "ten"; human rights; Richard G. Morgan (Ohio State Museum) case; move of the secretariat to Washington, DC, and subsequent move of AAA headquarters in DC and Virginia; Navajo/Hopi land dispute; professional freedom; race and intelligence; Peruvian research; resolutions on professional and scientific freedom; River Basin surveys; register of anthropologists; River Valley Archaeology Program; scientific freedom; selected writings from American Anthropologist for special publication; Simon Fraser University (dismissal of faculty members); Morris Swadish (City College of New York) affair; Tasaday issue; Thailand research; University of California loyalty oath and dismissal of 21 faculty members; Viking Fund Medal award; David Webster case (assassination of Webster); and Yanomami (Yonomamo) Indians and human rights violations.

American Anthropological Association Sections, other Anthropology Associations, and Additional Organizations that are well Documented

American Association for the Advancement of Science; American Association of Physical Anthropologists; American Association of University Professors; American Council on Education; American Council of Learned Societies; American Ethnological Society; American Sociological Society; Anthropological Association of Hawaii; Anthropological Society of Washington; Asia Foundation; Carnegie Foundation of New York; Carroll Reece House Congressional Committee to investigate tax exempt foundations; Central States Anthropology Society; Council for Old World Archaeology; Department of Health, Education and Welfare; Division of Anthropology and Psychology, Educational Resources in Anthropology; Indian Land Claims Committee; Indian Service Program; International Congress of Americanists; International Congress of Prehistoric and Protohistoric Sciences; International Council of Anthropological and Ethnological Sciences; International Directory of Anthropologists; International Society for Psychedelic Anthropology; National Academy of Sciences; National Register of Scientific and Technical Personnel; National Institute of Mental Health; National Park Service (environmental research and applied anthropology); National Research Council; National Science Foundation; Program in Ethnographic Film; Smith, Kline and French Laboratories; Social Science Research Council; Society for American Archaeology; Society for the Anthropology of Visual Communications; Society for Applied Anthropology; Society for the History of Anthropology; Society for Medical Anthropology and Group for Medical Anthropology; Society for Psychological Anthropology; Southwestern Anthropological Society; Wenner-Gren Foundation; Western States Branch of AAA; United Nations Educational, Scientific and Cultural Organization; Yukon Island Research Reservation.

American Anthropological Association Officers and other Individuals who are Documented or who have Important Correspondence

Aberle, David F.; Adams, Richard; Aginsky, Ethel G; Beals, Ralph Leon; Barnett, Homer Garner; Barr, William; Benedict, Ruth; Bennett, Wendell C.; Berreman, Gerald D. Boas, Franz; Boggs, Stephen T.; Bohannon, Laura; Bohannon, Paul J.; Brew, John Otis; Brumfiel, Elizabeth Margarethe; Byers, Douglas; Carstens, Peter; Casagrande, Joseph; Cault, Allen D.; Chagnon, Napoleon A.; Chapple, Eliot Dismore; Cole, Fay-Cooper; Collier, Donald; Collier, Malcolm; Collier, Malcolm Carr; Conklin, Harold C.; Cooper, John M.; Cornman, John M.; Dobzhansky, Theodosius; Douglass, Andrew Elliott (award for); Du Bois, Cora; Eddy, Elizabeth M.; Eggan, Frederick; Ehrich, Robert W.; Eiseley, Loren C.; Emery, Emil Ernest; Farabee, William Curtis; Fenton, William N.; Flannery, Regina; Forman, Sylvia Helen; Foster, George M.; Frantz, Charles; Freeman, Derek (Freeman-Mead controversy); Friedl, Ernestine; Gearing, Frederick O.; Gifford, Edward W.; Gillin, John P.; Goddard, Pliny E.; Godfrey, Jr., William S.; Godfrey, Richard; Goldschmidt, Walter; Goodenough, Ward H.; Hallowell, Alfred Irving; Haury, Emil Walter; Headland, Thomas N.; Helm, June; Henderson, Eric (use of field notes in Navajo/Hopi land dispute); Hendricks, Glenn L.; Herskovits, Melville, J.; Hill, Willard Williams; Hoebel, E. Adamson; Hoijer, Harry; Howells, William W.; Hsu, Francis K.; Hurwitch, Jan; Hymes, Dell H.; Jenness, Diamond; Jennings, Jesse D.; Jensen, Arthur P.; Johnson, Frederick; Judd, Neil M.; Keesing, Felix M.; Kidder, Alfred Vincent.; Kidder, Alfred V. II; Kluckhorn, Clyde; Knight, Jr., Vic (misuse of AAA name to collect artifacts); Kroeber, Alfred Louis; Laguna, Frederica de; Leakey, L. S. B. (1959 visit to United States); Lehman, Edward J.; Lessa, William A.; Lewis, Oscar (problem with Children of Sanchez); Linton, Ralph; Lowie, Robert H.; Lurie, Nancy Oestreich; MacCurdy, George Grant; Manners, Robert A.; Marshall, Donald S.; Maruyama, Magorah; Mason, J. Alden; Mead, Margaret; Meggers, Betty J.; Mendelbaum, David; Merwin, B. W.; Modiano, Nancy; Moorhead, Evelyn; Moorhead, Warren K.; Moran, Emilio F.; Moses, Yolanda T.; Murdock, George P.; Murra, John Victor; Nader, Laura; Noon, John A.; Nusbaum, Jesse L.; Olmsted, David; Opler, Morris Edward; Osgood, Cornelius B.; Parsons, Elsie Clews; Rappaport, Roy Abraham; Reining, Conrad C.; Roberts, Jr., Frank H. H.; Rouse, (Benjamin) Irving; Sapir, Edward; Schneider, David; Setzler, Frank Mary; Shapiro, Harry L.; Spicer, Edward H.; Spier, Leslie; Spindler, George; Spoehr, Alexander; Sterud, Eugene L.; Steward, Julian H.; Stocking, George; Stout, David B.; Strong, William Duncan; Swanton, John Reed; Tax, Sol; Textor, Robert B.; Tozzer, Alfred M.; Underhill, Ruth M.; Voegelin, Carl F.; Voegelin, Erminie Wheeler; Vogt, Evon Z.; Wallace, Anthony F. C.; Wagley, Charles; Wallach, Irving A.; Ward, Lauriston; Washburn, Sherwood Larned; Weidman, Hazel H.; Weitzer, Bella; Weltfish, Gene; White, Leslie A.; Wissler, Clark; Woodbury, Nathalie, F. S.; Woodbury, Richard B.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Historical Note:

American Anthropological Association Development and Creation of a Secretariat

Most of early American anthropology focused on indigenous Native Americans and can be traced back to 1784 when Thomas Jefferson carried out stratigraphic excavations of the Indian mounds on his land in Virginia. Jefferson's interest continued and was strongly reflected when as President he instructed Meriwether Lewis (Corps of Discovery Expedition also known as the Lewis and Clark Expedition, 1804-1806) to record the names of the nations he encountered along with their numbers, languages, traditions, laws and customs.

Local ethnological and anthropological associations were later established, such as the American Ethnological Society (AES), founded in New York, 1842, and the Anthropological Society of Washington (ASW), created in Washington, DC, 1879. Anthropology as a national science was recognized in 1882, when the American Association for the Advancement of Science (AAAS) created a Section (H) for Anthropology. By 1896, the community of anthropologists began informal discussions regarding the establishment of a national organization. These discussions were held among members of the AES and the ASW, while informal talks (sanctioned by the AAAS) were held by Section H members on establishing a national group. At the Section H meeting a decision was reached between those members who wanted a national organization and those who were concerned about diverting attention and support away from the AAAS. With formal approval by the AAAS, Section members of the Association began holding their own winter meetings, separate from the AAAS annual conference, which continued through 1901-1902. With national leadership coming from the Anthropological Society of Washington and the American Ethnological Society, the American Anthropological Association (AAA) was formed and incorporated in Washington, DC, in 1902. Two major compromises were reached. The Anthropological Society of Washington discontinued publishing the American Anthropologist and surrendered the journal name. The new journal would be called the American Anthropologist, New Series, and would be edited by representatives of all anthropological sections in the United States and Canada. This journal began publication in January 1899. The second agreement concerned whether the national organization should be opened to anyone interested in anthropology (W. J. McGee) or should only constitute professional anthropologists (Franz Boas). The matter was settled when it was decided that membership would be opened to anyone, but that control of the organization would reside in the hands of a council composed of professional members, only.

The AAA was designed to promote the science of anthropology, stimulate and coordinate efforts of American anthropologists, support local and other societies devoted to anthropology, publish and encourage publications regarding anthropology, and conduct and support research. In a revised constitution approved by the Association in December 1902, research support was dropped. The AAA grew by assisting in the development of regional associations, authorizing the creation of a Central States Branch (1921) and the Pacific Division (1929), and increasing its affiliation with existing local organizations such as the Philadelphia Anthropological Society in 1935.

Around the close of World War II, a water-shed event occurred in the development of the Association's administration that stongly supported its ability to maintain historical and administrative records in a more permanent and cohesive fashion. Starting with the May 1945 meeting of the Society for American Archaeology held at the Cosmos Club in Washington, DC, and continuing through the year, several groups of concerned anthropologists began discussing the need to find a way to provide greater support for its professional members. These anthropologists also discussed what they felt was a failure on the part of the American Anthropological Association to maximize its usefulness for the members and carry out specific projects that were desired. They questioned whether the causes were due to a lack of effective operational means. Meetings were held during the summer at the National Research Council (NRC) and again, later in the year, in Washington, DC. Additional anthropologists met at other meetings and a proposal was drafted to create an organization that represented professional anthropologists. Correspondence between Ralph L. Beals, Julian H. Steward, Margaret Mead, Theodore D. McCowan, Homer C. Barnett, Luther S. Cressman, Frank M. Setzler, and William Duncan Strong voiced a need for a new anthropological association, one that represented all areas of anthropology, supported post-war anthropological projects, coordinated activities between anthropologists and the federal government, cooperated with the various councils where anthropologists had representation, developed teaching standards in anthropology, and created employment standards for anthropologists. They drafted a constitution for such an organization. Others within this circle of correspondents wanted to reorganize the AAA. The leadership of the AAA responded to the call for reform. During the annual meeting held on December 28, 1945, attendees voted to appoint a Committee of Nine (later called the Reorganizing Committee) to ascertain the views of the professional members of the AAA, affiliated societies and local groups, regarding proposals to reorganize the AAA, establish a secretariat, and to find additional ways to further professional interests. The Committee's findings and recommendations were to be issued to the entire profession within two months before the 1946 annual meeting. Julian H. Steward was appointed chairman.

To meet the needs of those anthropologists who wanted a greater professional organization, the AAA adopted a new constitution at the winter meeting of 1946. Two classes of membership, members and fellows, were created. Anyone was eligible to become a member, but without voting privileges. To become a fellow (voting member), one had to meet certain requirements, which included a degree in anthropology, a publication(s) in the field of anthropology, or a doctorate in an allied field and being actively engaged in anthropology. An Executive Council was created. Only fellows could vote for Council members, elect officers, and vote on other business matters. The Association's Council was the final authority. From its membership were elected the president, vice-president (later, president-elect), and an Executive Board (replacing the Executive Committee). The Board voted on the selection of fellows. While the Council met once a year at the annual meeting, the Board was given the authority to meet whenever it deemed necessary. The Board received its own operating budget. It was given broad powers to act quickly and authoritatively, so that issues and actions required by the profession would be reviewed and voted upon in a timely fashion. The Board could create and disband task forces and appoint a secretary and treasurer. It could not amend the constitution and by-laws. While the revised constitution made the organization more supportive of and controlled by professional anthropologists and created a more dynamic executive branch, the Council also approved 14 major topics recommended by the Committee on Reorganization. Within those broad topics, the Council asked the Executive Board to study 35 objectives and activities. As for a permanent secretariat, the Council felt that while it could serve the profession it was unrelated to the immediate needs of the organization; that financing it should not be a problem faced for the present time and "should not prejudice the proposals concerning organization."

President Clyde Kluckhorn and the Executive Board realized that they would not be able to evaluate all the proposals and or begin the activities approved by Council, regardless of its members' individual goodwill. The AAA urgently needed an executive secretary. At the request of the Board, Kluckhorn wrote Charles Dollard at the Carnegie Corporation of New York, asking for funds to hire an executive secretary full-time for the first year and half-time for two more years, and for a salaried full-time typist-clerk for twenty-nine months. Their work and responsibilities would include the re-integration of the sub-sciences of anthropology and increasing the strategic value of anthropology as a discipline where the humanities, natural sciences and social sciences met. If the grant was awarded the Executive Board's choice for the position would be Erminie Voegelin. Kluckhorn then enumerated some of the recommendations voted by Council. Not wanting to take any chances, Kluckhorn wrote a personal letter to his friend Dollard that same day. On June 12, 1947, Dollard notified Kluckhorn that the officers of the Corporation took a very "sympathetic" view of the Association and agreed to commit the requested funds. A formal follow-up letter from the secretary would confirm the action. The funds were to be used from August 1, 1947 until December 31, 1949. When the grant was concluded, funds were committed by the AAA for a part-time executive secretary, with limited staff, until 1959, when the position once again became full-time.

From 1947 until 1959, the executive secretariat received support from the local institution where the position resided: Indiana University (Bloomington), Phillips Academy, and Beloit College. In 1959, the executive secretariat moved to Washington, DC, which became the permanent home for the Association. There, the position was funded full-time. The offices were first located at the Carnegie Institution of Washington, without cost. When the AAA lost its quarters in 1967 to the expanding needs of its host, the Association moved its offices to a permanent structure on New Hampshire Avenue. In 1993, the AAA moved to Arlington, Virginia.

American Anthropological Association: History of its Archives and an Archives for the Papers of Anthropologists

Beginning with the creation of an executive secretariat, the AAA became interested in trying to retrieve as much of its early history as possible. Calls went out from the executive secretary and president for the transfer of task force material and papers of past presidents. In addition, from 1957 through 1972, the organization officially began looking at the need to provide support for unpublished anthropological records, repositories to house them, and the question of what do with its own accumulation of records.

On April 24, 1957, the Executive Board delegated the president to appoint a committee to collaborate on the preservation of primary records. This interest appears to have come from the AAA's membership in the Committee of Primary Records, which was established in the Division of Anthropology and Psychology located within the NRC of the National Academy of Sciences. Sol Tax was appointed chairman of the Special Committee on the Preservation of Primary Records. The Committee met in Chicago, February 17-18, 1958, drafted a tentative report, and sent it to a few selected fellows for comment and suggestions. The fellows approved the recommendations and the Committee issued the draft as a final report. One recommendation was that the AAA should publish an international directory of primary sources, to continue serially with the assumption that it would report on institutional holdings and perhaps major personal collections. The Executive Board approved the report on April 25, 1958 and had it forwarded to the NRC for its consideration with an informal note that a tentative editor for the publication had been selected. At the following Board meeting, the Committee was terminated.

Formal discussions regarding the topic of what to do with research material created by anthropologists was again taken up by the Board in 1962. At the Board's next meeting, May 13-14, 1963, the Publication Policy Committee reported on the first day that its mission was to publish research findings from the conclusion of the work until the dissemination of the information. The following day Board member Joseph Casagrande reported that the issues he was concerned with, the location and preservation of field notes, papers, and other documents, were "intimately" related to the recommendations made by the Publication Policy Committee. He wanted to pursue the problem with a small committee through conversations with the Social Science Research Council (SSRC). The Board agreed and suggested that Margaret Blaker, archivist at the Bureau of American Ethnology [the BAE later merged with the Department of Anthropology and the BAE archives became the National Anthropological Archives], be contacted as a good resource person. At the November 1963 Board meeting, Casagrande reported that he was planning to form an ad hoc group after an initial discussion with the SSRC, which would meet once or twice to formulate a proposal to the Council.

Within the body of the AAA's records there appears to be no continuity between the various initiatives undertaken regarding what to do with primary source material of anthropologists as well as the Association's own records. At the November 1966 Board meeting, editor Ward Goodenough proposed publishing Anthropological Documents to make available anthropological research data so it could be used by fellow scientists. During the meeting of the Board in May 1967, its members discussed the possibility of forming another committee on archives. Executive Secretary Charles Frantz stated that he had written to several members to see if they would be interested in forming a committee to inventory and perhaps centralize documents about the Association and individual anthropologists. Several responded enthusiastically and it was suggested that the American Philosophical Society might fund such a committee. The Board endorsed the recommendation and asked that Frantz continue his correspondence with interested persons. Franz resigned from the AAA around August 1968 and Conrad C. Reining became secretary later that year (he was eventually given the title executive secretary). In October 1968, the Executive Board formed an Archives Committee. Its mission was to develop policy and procedures for the conservation and use of documents of value to the profession. Reining served as the acting chair. By November 1968, Reining reported to the Board that he had formed a committee. He found that the archives in the Department of Anthropology at the Smithsonian Institution adequate for the purposes proposed in a resolution that would be brought before the Council meeting. Later that month the Council adopted a resolution urging anthropologists to consider the NAA as the repository for their field notes, reports and professional papers if no other arrangements had been made for preservation of such materials.

The question before Council was whether the National Anthropological Archives should be considered the repository of choice for anthropologists, if no other arrangements were made with other archival programs. Before Council made its decision there was some concern about the selection of the NAA. At one point during the discussion, Reining considered the Library of Congress. Informal and formal discussions were held with Smithsonian staff and members of the Department of Anthropology. Saul Riesenberg, chairman of the Department of Anthropology, was sent a copy of the draft resolution and was asked if his office was prepared to undertake the task involved. The draft resolution, he wrote, had been discussed and agreed upon, and expansion of the Department's Archives was being contemplated. The Committee on Archives, now chaired by Sturtevant, met in May 1969 at the Department of Anthropology in the National Museum of Natural History. One major outcome of the meeting was the decision that all files of the Association, prior to 1959, would be transferred to the NAA as long as they would be accessible to the AAA and could be reclaimed with the proviso that the Archives be allowed to microfilm any files reclaimed. Reining would provide an inventory of the contents of the Association's files; and Sturtevant would draft a recommendation to the Board on management and preservation of official or copies of records of current and future officers, and draft a letter for Cora Du Bois requesting ex-presidents contribute their papers still in their possession.

During the following month Secretary Conrad C. Reining transferred 12 feet of records stored in file drawers, along with a content list, to the NAA archivist Margaret C. Blaker. Before she would accession them, Blaker requested a formal ruling by the Board transferring the records to the NAA. She provided suggested points to Reining for the Board to consider in a resolution at the New Orleans annual meeting later in the year. It was not approved. Instead, the Board wanted to know why it was considering Blaker's recommendations and not their own. They were more concerned about having their own personal remarks placed on record and having them quoted than approving the recommendations.

In February 1970, Stocking wrote Reining that files dating from 1917 to 1957 had been sent to the NAA. The Board was supposed to have developed a transfer form for a lawyer to review, which was then to be forwarded to Pilling to send on for comment by an archivist he knew at his university. Stocking wanted to know where the matter stood. There was no response. On July 19, 1971, Charles Wagley (AAA president) wrote Stocking that the Executive Board voted at its May 1971 meeting to discharge the Archives Committee. The new AAA executive secretary, Edward J. Lehman, wrote Stocking in August that the Committee, as well as several others, were dismissed due to a deficit in funds, and, because of that, the Finance Committee had recommended that committees which had not been active be dismissed. The Board did not take up a resolution regarding its records at the San Diego meeting in 1970, nor the following year in New York City. Blaker updated her recommendations to be considered for a resolution in October 1971. Those recommendations were basically what the Board wrote in its resolution in May 1972, establishing the NAA as the permanent repository for its records. The deposit was permanent and was not to be withdrawn under any circumstances unless the AAA established its own archives. The action was concluded after Blaker retired.

With the 1972 resolution, the American Anthropological Association officially concluded its long historical discussion regarding its recognition of the importance of anthropologists maintaining their materials, the importance of its own records, and the availability and value of the National Anthropological Archives to the anthropology community.

Related Materials:

There are over twenty-five collections in the National Anthropological Archives and Human Studies Film Archives that document various aspects of the American Anthropological Association. Researchers should work with the reference archivist in finding this material. NAA also houses the records of the following AAA sections:

American Ethnological Society Association for Feminist Anthropology Central States Anthropological Society Council for Museum Anthropology Society for Anthropology in Community Colleges Society for Cultural Anthropology Society for Humanistic Anthropology Society for Medical Anthropology Society for Visual Anthropology

NAA is also the repository for the following anthropological societies whose activities are documented in the records of AAA:

Society for American Archaeology Society for Applied Anthropology Below is a selected list of collections, not housed at NAA, documenting individuals who played a prominent role in the activities of AAA:

Homer Garner Papers, 1937-1986, Special Collections and University Archives, University of Oregon Ruth Benedict Papers, 1905-1948, Archives and Special Collections, Vassar College Alfred Irving Hallowell Papers, American Mss. Coll. 26, Philosophical Society E. Adamson Hoebel Papers, 1925-1993, Mss. Coll. 43, American Philosophical Society Dell H. Hymes Papers, 1947-1992, American Philosophical Society Frederick Johnson Papers, 1948-1968, Special Collections, University of California at Los Angeles Alfred Louis Kroeber papers, 1869-1972, Bancroft Library John Alden Mason Papers, 1904-1967, MSS.B.M384, American Philosophical Society Morris Edward Opler Papers, #14-25-3238, Division of Rare Books and Manuscript Collections, Cornell University Libraries Elsie Clews Parsons papers, 1880-1980, Mss. Ms.Coll. 29, American Philosophical Society

Provenance:

Records were transferred from the American Anthropological Association to the National Anthropological Archives. The three last subseries of presidential papers (series 1) were donated directly from the creator or their heirs to NAA.

Restrictions:

At the 71st meeting of the Executive Board, May 1972, the Board adopted the motion authorizing transfer of the American Anthropological Association archives to the National Anthropological Archives. By definition all records created by elected and appointed offices, or committee members of AAA, while acting in an official capacity were records of the Association. No records less than five years old were to be deposited, and no records less than ten years old were open for scholarly use, except by Association officers, or when otherwise stated. All records would be open to use after 50 years from date of creation. The American Anthropological Association gave literary property rights to the public. Researchers will need to review restrictions that may apply to presidential papers.

All Exxon-Valdez folders located in series 4, subseries 4, "Committee on Ethics," are closed until further notification from the State of Alaska, Department of Law.

Access to the American Anthropological Association records requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Professional associations  Search this

Citation:

American Anthropological Association records, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1973-49

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw38fbc3573-79ba-4b82-aaa8-cb19d9245181

EDAN-URL:

ead_collection:sova-naa-1973-49

Collection Creator:

Strong, William Duncan, 1899-1962  Search this

Container:

Box 1

Type:

Archival materials

Date:

1951-1953

Scope and Contents:

Includes receipts for Strong's organization dues and one bank statement with checks.

Collection Restrictions:

The William Duncan Strong papers are open for research.

Access to the William Duncan Strong papers requires and appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

William Duncan Strong papers, National Anthropological Archives, Smithsonian Institution

See more items in:

William Duncan Strong papers

William Duncan Strong papers / Series 1: Miscellaneous personal papers

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3156f2cb4-11e5-4c18-99f9-b2158fe4a269

EDAN-URL:

ead_component:sova-naa-1974-28-ref19

Collection Creator:

Strong, William Duncan, 1899-1962  Search this

Container:

Box 22

Type:

Archival materials

Date:

1939

Scope and Contents:

Includes check stubs, a notebook listing expenses, lists of expenses, receipts, and correspondence concerning accounts.

Collection Restrictions:

The William Duncan Strong papers are open for research.

Access to the William Duncan Strong papers requires and appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

William Duncan Strong papers, National Anthropological Archives, Smithsonian Institution

See more items in:

William Duncan Strong papers

William Duncan Strong papers / Series 3: Materials relating to field work / 1939, South Dakota:

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw36c758345-85a6-440e-a3ff-e7a68c995581

EDAN-URL:

ead_component:sova-naa-1974-28-ref346

Artist:

An-My Lê (Vietnam, born 1960)  Search this

Medium:

Gelatin silver print on paper

Dimensions:

H x W (image): 33.5 x 47.8 cm (13 3/16 x 18 13/16 in)

Type:

Photograph

Origin:

Vietnam

Date:

1994, printed 1997

Topic:

garden  Search this

Vietnam  Search this

Southeast Asian Art  Search this

city  Search this

Contemporary Art  Search this

Credit Line:

Purchase — Smithsonian Unrestricted Trust Funds

Accession Number:

S1997.13

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

F|S Southeast Asia

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye392ff71e6-68ed-4764-a10c-06b9052c9b45

EDAN-URL:

edanmdm:fsg_S1997.13

Artist:

An-My Lê (Vietnam, born 1960)  Search this

Medium:

Gelatin silver print on paper

Dimensions:

H x W (image): 33.3 x 48 cm (13 1/8 x 18 7/8 in)

Type:

Photograph

Origin:

Vietnam

Date:

1994, printed 1997

Topic:

landscape  Search this

duck  Search this

farming  Search this

family  Search this

Vietnam  Search this

Southeast Asian Art  Search this

Contemporary Art  Search this

Credit Line:

Purchase — Smithsonian Unrestricted Trust Funds

Accession Number:

S1997.14

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

F|S Southeast Asia

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye302f753c7-cce7-44c4-ba0d-24b98e504897

EDAN-URL:

edanmdm:fsg_S1997.14

Artist:

An-My Lê (Vietnam, born 1960)  Search this

Medium:

Gelatin silver print on paper

Dimensions:

H x W (image): 33.7 x 48 cm (13 1/4 x 18 7/8 in)

Type:

Photograph

Origin:

Vietnam

Date:

1995, printed 1997

Topic:

landscape  Search this

farming  Search this

family  Search this

garden  Search this

Vietnam  Search this

Southeast Asian Art  Search this

Contemporary Art  Search this

Credit Line:

Purchase — Smithsonian Unrestricted Trust Funds

Accession Number:

S1997.15

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

F|S Southeast Asia

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye354bfd2ed-843d-4232-a420-a9fbf18e8740

EDAN-URL:

edanmdm:fsg_S1997.15

Artist:

An-My Lê (Vietnam, born 1960)  Search this

Medium:

Gelatin silver print on paper

Dimensions:

H x W (image): 33.5 x 47.8 cm (13 3/16 x 18 13/16 in)

Type:

Photograph

Origin:

Vietnam

Date:

1994, printed 1997

Topic:

landscape  Search this

tree  Search this

Vietnam  Search this

Southeast Asian Art  Search this

Contemporary Art  Search this

Credit Line:

Purchase — Smithsonian Unrestricted Trust Funds

Accession Number:

S1997.16

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

F|S Southeast Asia

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3d784d909-a3d2-44aa-9c3a-6a8a67c9bb85

EDAN-URL:

edanmdm:fsg_S1997.16

Artist:

An-My Lê (Vietnam, born 1960)  Search this

Medium:

Gelatin silver print on paper

Dimensions:

H x W: 40.5 x 50.4 cm (15 15/16 x 19 13/16 in)

Type:

Photograph

Origin:

Vietnam

Date:

1995, printed 1997

Topic:

landscape  Search this

Vietnam  Search this

Southeast Asian Art  Search this

Contemporary Art  Search this

flag  Search this

Credit Line:

Purchase — Smithsonian Unrestricted Trust Funds

Accession Number:

S1997.17

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

F|S Southeast Asia

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye357bd7a96-a676-4a8e-82a6-ca0733745ed9

EDAN-URL:

edanmdm:fsg_S1997.17

Creator:

Hiler, Hilaire, 1898-1966  Search this

Subject:

Hiler, Hilaire  Search this

Type:

Sketchbooks

Citation:

Hilaire Hiler papers, 1925-1966. Archives of American Art, Smithsonian Institution.

Theme:

Diaries  Search this

Sketches & Sketchbooks  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)9015

(DSI-AAA_SIRISBib)211204

AAA_collcode_hilehila

Theme:

Diaries

Sketches & Sketchbooks

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211204

Creator:

Curry, John Steuart, 1897-1946  Search this

Subject:

Curry, Kathleen  Search this

Type:

Scrapbooks

Video recordings

Photographs

Sketches

Interviews

Citation:

John Steuart Curry and Curry family papers, 1848-1999. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Study and teaching  Search this

Art -- Technique  Search this

Works of art  Search this

Regionalism  Search this

Muralists -- Wisconsin  Search this

Illustrators -- Wisconsin  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9459

(DSI-AAA_SIRISBib)211657

AAA_collcode_currjohn

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211657

Creator:

Bohm, Max, 1868-1923  Search this

Names:

Beachcombers (Organization)  Search this

Salmagundi Club  Search this

Bohm, Zella Newcomb  Search this

Hunt, Clyde du Vernet  Search this

Locke, Esther Bohm, d. 1913  Search this

Longyear, Mary Beecher, 1851-1931  Search this

Macbeth, Robert W. (Robert Walker), 1884-1940  Search this

Macbeth, William, 1851-1917  Search this

Extent:

5.6 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Sketchbooks

Sketches

Paintings

Photographs

Drawings

Diaries

Place:

France -- description and travel

Date:

1873-1970

bulk 1880-1959

Summary:

The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. The papers contain scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including fifteen sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.

Scope and Contents:

The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found within the papers is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. Also found are scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.

Family correspondence consists of letters exchanged between various Bohm family members during their long periods of separation. Decades of almost daily exchanges of letters offer detailed descriptions of Bohm's activities in pursuit of notoriety as an artist including his frequent travels in Europe and the United States, attendance of art-related and other cultural events, and his thoughts about art, philosophy, and his strong opposition to German aggression in World War I. The often affectionate letters from Bohm's wife Zella describe her concerns over finances and raising the children during Bohm's frequent absences, but also include descriptions of their summers in coastal France.

Professional correspondence consists of scattered letters discussing art-related business with colleagues including Bohm's longtime patron and Christian Science advocate, Mary Beecher Longyear, and Macbeth Gallery owners Robert and William Macbeth.

Scattered business records include price lists for art work, banking records, and miscellaneous receipts.

Five diaries and loose diary pages written by Bohm's wife Zella contain detailed descriptions of daily activities and her observations and thoughts, some drawings, notes, and financial notations. Some of the diaries contain annotations by her daughter, Esther.

Notes and writings include notebooks containing original short stories and miscellaneous sketches by Bohm, lists of art work, miscellaneous notes including several written by Esther Bohm, and miscellaneous writings by and about Bohm including his typescript "An Artist's Philosophy."

Art work consists of fifteen sketchbooks, miscellaneous drawings including a self-portrait, and oil paintings on board and on unstretched canvases including Bohm's studies of works by Titian and Van Dyke, and a painting of a young Esther Bohm looking at the sea. Works by others include a batik design on silk by Zella Bohm, a watercolor by Bohm's aunt, Anna Stuhr Weitz, and an oil portrait of Zella by her granddaughter.

Printed material primarily consists of clippings generated by Bohm's participation in the Paris Salons, in addition to several exhibition announcements and catalogs for Bohm and for others, and reproductions of art work by Bohm and others. There are also 2 copies of a silent, black and white Pathé newsreel titled Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It on 16mm and 35mm film reels.

Photographs are of Bohm and his family, colleagues including Clyde du Vernet Hunt in his studio and a Salmagundi Club "Get Together" dinner, views of the town of Etaples, France, and of works of art by Bohm and others.

Arrangement:

The papers have been organized into 8 series.

Missing Title

Series 1: Biographical Material, 1898-1970 (0.1 linear feet; Box 1, OV 8)

Series 2: Correspondence, 1880-1955 (3.3 linear feet; Boxes 1-4, 7)

Series 3: Business Records, 1910-1930 (0.2 linear feet; Box 4)

Series 4: Diaries, 1887-1916 (0.2 linear feet; Box 4)

Series 5: Notes and Writings, 1882-circa 1970 (0.2 linear feet; Boxes 4, 7)

Series 6: Art Work, 1873-1951 (0.6 linear feet; Boxes 4-5, 7, OVs 8-10)

Series 7: Printed Material and Motion Picture Film, 1886-1957 (0.8 linear feet; Boxes 5-7, FC 11-12)

Series 8: Photographs, 1886-1959 (0.2 linear feet; Boxes 6-7)

Biographical / Historical:

Max Bohm was born on January 21, 1868, in Cleveland, Ohio, the son of Henry and Emilie Bohm.

Bohm began his study of art in 1887 when he accompanied his aunt, Anna Stuhr, on the first of several voyages to France. He studied in artist communities in Brittany and in Paris at the Académie Julian with Boulanger, Lefebvre, and Benjamin Constant. He also traveled to Belgium, The Netherlands, and Germany.

In 1895, Bohm attended an open school of painting in Etaples on the coast of France, and during the winter months he taught painting at a school in London, England. His painting En Mer was awarded the Gold Medal by the Paris Salon of 1897.

While teaching in Etaples in 1898, Bohm married one of his pupils, Zella Newcomb, an art teacher from Carlton College in Minnesota. In 1900, the Bohms traveled to Italy for several months before returning to Minneapolis, Minnesota, where Bohm established a studio. After trying to find affordable studio and living space in New York City, Bohm moved his family back to France in 1902. Bohm established a studio in Paris for two years and during the summer months his wife and children moved to the less expensive and cooler coastal towns of France. Bohm continued to display his work in the annual Paris Salons.

From 1905 until the summer of 1908, the Bohm family lived primarily in England. In 1909, Bohm entered and won the Cleveland Court House mural competition, prompting the family to return to the United States for several months. They returned to Paris the following year, where Bohm established a studio and worked on the Cleveland Court House mural. Again, Bohm's wife and children would live in French coastal towns, while Bohm was on extended visits to Paris, London, or the United States.

Sometime around 1911, Bohm became acquainted with Mrs. Mary Beecher Longyear, a wealthy follower of Mary Baker Eddy and Christian Science. Over the next decade, Mrs. Longyear commissioned many works by Bohm and supported his career. In May of 1912 Bohm's mural, First New England Town Meeting, was installed in the new Cleveland Court House and arrangements were made with Macbeth Galleries to exhibit Bohm's work. Late in 1913, Bohm became involved with the Pan-Pacific International Exposition where his painting Promenade won the Gold Medal in 1915.

During World War I, the Bohm family fled France and temporarily settled in Tuckahoe, New York, and Bohm made frequent visits to his patron, Mrs. Longyear, in Boston. In 1916, the Knoedler Gallery exhibited Bohm's murals for Mrs. Longyear's music room. Also during this time, the family enjoyed spending summers in Provincetown, where Bohm joined The Beachcombers, an organization of artists.

In 1919, the Bohms built a house in Bronxville, New York, for easy access to New York City, while simultaneously purchasing a cottage in Provincetown. While the house was being constructed, Zella and the children became boarders in the home of painter Spencer Nichols, who also lived in Bronxville. During this year, Max Bohm, Jr., entered Harvard University while Mrs. Longyear continued to provide commissions for Max Bohm's art work.

Between 1922 and 1923, Bohm had exhibitions in Greenwich, Connecticut, Washington, D.C., and at the Grand Central Galleries, with his painting En Mer being exhibited at the National Academy of Design.

Max Bohm died on September 19, 1923 in Provincetown, Massachusetts.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reels 420-421) including biographical material, scattered letters, notes and writings, drawings, clippings, exhibition catalogs, booklets, a scrapbooks, and photographs of Bohm, his family, colleagues, and residences. Loaned materials were returned to the lender and are not described in the collection container inventory.

The original Six Foot Art film was also transferred to 16mm and 35mm film reels in the 1970s, but is not in the collection.

Provenance:

Kathryn Esther Locke and Elizabeth Schwarz, the artist's daughters, lent the material on microfilm reels 420-421 and donated papers in 1972.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:

Painters -- Massachusetts -- Provincetown  Search this

Topic:

World War, 1914-1918  Search this

Art -- Philosophy  Search this

Christian Scientists  Search this

Painting, American -- Massachusetts -- Provincetown  Search this

Genre/Form:

Motion pictures (visual works)

Sketchbooks

Sketches

Paintings

Photographs

Drawings

Diaries

Citation:

Max Bohm papers, 1873-1970, bulk 1880-1959. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.bohmmax

See more items in:

Max Bohm papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a9971cac-441d-463e-81f7-e2902adf468f

EDAN-URL:

ead_collection:sova-aaa-bohmmax

Creator:

Curry, John Steuart, 1897-1946  Search this

Names:

Curry, Kathleen, 1899-  Search this

Extent:

10.1 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Video recordings

Photographs

Sketches

Interviews

Date:

1848-1999

Summary:

The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 10.1 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.

Scope and Content Note:

The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 10.1 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.

Biographical Materials include chronologies, biographical narratives, genealogical notes, certificates and awards, and other ephemera related to Curry and his family. Family Correspondence includes the earliest records created by Curry himself, including letters home from art school and from the East Coast during his early career.

Correspondence and Project files document mural projects, appearances, gallery relationships, and other activities from the early 1930s until his death in 1946 with correspondence, photographs, clippings, contracts, writings, and other miscellany. Subject files include pictorial reference and research files created by Curry for subjects depicted in his murals and paintings. Curry's writings include essays, lectures, interviews, and notes related to his technical and philosophical approach to art, as well as notes from his various travels, and essays by others about Curry. Personal Business Records contain records of artwork, business transactions, and personal finances.

Print Materials include print copies of published artwork by Curry, including magazine illustrations from Curry's early career. Extensive clippings, exhibition catalogs, and a scrapbook created by Curry as a youth are also found. Photographs depict Curry throughout his life in formal portraits, candid snapshots, and publicity photographs, with a significant number of photographs depicting Curry creating and posing with his artwork. The Artwork series contains a few sketches by Curry and seven canvases used for testing art materials. Additional sketches are found in Subject Files and scrapbooks.

Estate Papers contain materials dated after Curry's death in 1946 and mainly document the activities of Kathleen Curry in managing her husband's estate from 1946 until her death in 2001. Estate papers contain writings about Curry, correspondence, inventories of artwork, and alphabetical files documenting sales, exhibitions, and other projects.

Arrangement:

The collection is arranged into ten series:

Missing Title

Series 1: Biographical Materials, 1911-1993 (Box 1; 0.2 linear feet)

Series 2: Family Correspondence, 1916-1946 (Box 1; 0.2 linear feet)

Series 3: Correspondence and Project Files, 1928-1946 (Boxes 1-3, OV 11; 2.3 linear feet)

Series 4: Subject Files, 1848-1946 (Boxes 3-4, OV 11-12; 0.7 linear feet)

Series 5: Notes and Writings, circa 1911-1946 (Box 4; 0.3 linear feet)

Series 6: Personal Business Records, 1916-1952 (Box 4, OV 13; 0.3 linear feet)

Series 7: Print Materials, 1918-1985 (Boxes 4-5, 10; OV 12-13; 1.6 linear feet)

Series 8: Photographs, circa 1900-1998 (Boxes 5-6, OV 14; 1.1 linear feet)

Series 9: Artwork, 1941, undated (Box 7, OV 12, 14, 15; 0.2 linear feet)

Series 10: Estate Papers, circa 1946-1999 (Boxes 7-9 and rolled document; 2.3 linear feet)

Biographical Note:

Painter, muralist, and illustrator John Steuart Curry is considered one of the three important painters of the American Regionalist movement, along with Thomas Hart Benton of Missouri and Grant Wood of Iowa. Curry was born in north-eastern Kansas in 1897, and grew up on his family's farm. Curry left high school to attend the Kansas City Art Institute briefly, and then studied at the Art Institute of Chicago in 1916 with Edward J. Timmons and John Norton. Curry later spent a year in Paris studying with Basil Schoukhaieff in 1926 and 1927.

Curry began his career as a freelance illustrator in Leonia, New Jersey, under the influence of Harvey Dunn. Curry's illustrations were widely published in illustrated magazines such as Boy's Life, Country Gentleman, and Saturday Evening Post in the early 1920s. He married Clara Derrick in 1923 and lived in Greenwich Village, and then Westport, Connecticut, from 1924 to 1936. Derrick died in 1932, and in 1934 Curry married Kathleen Gould.

Curry's career shifted from illustration to painting during the 1920s and 1930s, bolstered by success in exhibitions and sales. Exhibits included the National Academy of Design (1924), the Corcoran Gallery (1927-1928), a solo exhibition at the Whitney Studio Club (1930), and the Carnegie International Exhibition (1933). Early sales include Baptism in Kansas, purchased by the Whitney in 1930, and Spring Shower, purchased by the Metropolitan Museum in 1932. Curry taught at Cooper Union (1932-1934) and the Art Student's League (1932-1934), and painted his first murals in Westport under the Federal Art Project in 1934.

In 1936, he was appointed artist-in-residence at the University of Wisconsin College of Agriculture as part of a rural art program developed by rural sociologist John Burton. The purpose of his residency was to serve as an educational resource for rural people of the state. Curry stayed in this position until his death in 1946, carrying out the program's mission through lectures and visits with dozens of art and civic groups around the state, and by making himself available to rural artists through correspondence and guidance in his studio. He also helped to organize annual rural art exhibitions for UW's Farm and Home Week beginning in 1940. In return for his work, he was given a salary and a studio on campus and the freedom to execute his own work as he chose.

Under the Federal Art Program's Section of Painting and Sculpture, Curry completed two murals in the Justice Department building in Washington in 1936, Westward Migration and Justice Defeating Mob Violence, and two murals in the Department of the Interior building in 1938, The Homestead and The Oklahoma Land Rush. A design that was rejected by the government for the Justice building, a mural entitled Freeing of the Slaves, was later executed at the University of Wisconsin in their law library. From 1938 to 1940, Curry worked on murals for the state house rotunda in Topeka, Kansas admist a stormy, public controversy over his dramatic depiction of Kansas history. The legislature effectively blocked Curry's completion of the project through a formal resolution not to remove marble that was blocking areas that were part of Curry's design. Infuriated, Curry left the unfinished murals unsigned, and later derided the state frequently for the treatment he received. The Kansas State legislature issued a formal apology and appreciation of the completed murals in the 1990s.

Despite the lack of appreciation of his home state, Curry did receive recognition elsewhere during his lifetime as an artist of national importance. He continued to paint and exhibit in the art centers of the East Coast. In 1941, he won the Gold Medal Award at the Pennsylvania Academy of the Fine Arts exhibition, and in the 1942 Artists For Victory exhibition, he won the top prize for Wisconsin Landscape. Curry's book illustrations were in high demand, and he contributed to books such as My Friend Flicka, editions of Lincoln's and Emerson's writings, and Wisconsin writer August Derleth's The Wisconsin. A biography of Curry written by Laurence Schmeckebier was published in 1942.

Curry died in 1946 of heart failure. A retrospective that had been planned for the living artist opened less than a month after his death at the Milwaukee Art Institute. His wife, Kathleen Curry, maintained his estate until her death, in 2001, at the age of 102. Additional retrospective exhibitions were held at Syracuse University in 1956 and in the Kansas State Capitol in 1970. In 1998, the exhibition "John Steuart Curry: Inventing the Middle West" was organized at the University of Wisconsin and traveled to the M.H. de Young Memorial Museum and the Nelson Atkins Museum of Art.

Related Material:

The Archives of American Art holds an oral history interview with Kathleen Curry regarding John Steuart Curry conducted in 1990 and 1992.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels 164-168 and 4574-4576) including 98 sketchbooks, 1919-1942; a ledger, 1938-1946, of expenses with four loose letters to John Steuart Curry in Italian and Spanish; a notebook, 1932-1938, titled "Account and records of works, etc."; a journal, undated, of drafts of poems, and approximately 50 sketches. Loaned materials were returned to the lender some of which were subsequently donated to the Worcester Museum of Art in Worcester, Massachusetts. This material is not described in the collection container inventory.

John Steuart Curry memorabilia received with the Kathleen Curry's donation in 1979 (baby cup, baby dress, overalls, medals, paint box, watercolor box, 2 photographs) were transferred to the Spencer Museum of Art in 1985.

Provenance:

John Steuart Curry's widow, Kathleen Curry, lent materials on reels 164-168 for microfilming in 1971. In 1979, she subsequently donated portions of the material lent, along with additional items, some of which were transferred to Spencer Museum of Art. In 1972, Mildred Curry Fike, John Steuart Curry's sister, gave material and R. Eugene Curry, a brother, donated more material in 1975 and 1993. Ellen Schuster, John Steuart Curry's daughter, donated the home movies in 1973 and Daniel Schuster, John Steuart Curry's son-in-law, gave additional papers in 1991 in 1992, 1995, and 1999. In 1992, 1999 and 2000, additions were received from Kathleen Curry that may contain material previously filmed as a loan on reels 164-168.

Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions 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.

Occupation:

Painters -- Wisconsin  Search this

Topic:

Art -- Study and teaching  Search this

Art -- Technique  Search this

Works of art  Search this

Regionalism  Search this

Muralists -- Wisconsin  Search this

Illustrators -- Wisconsin  Search this

Genre/Form:

Scrapbooks

Video recordings

Photographs

Sketches

Interviews

Citation:

John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.currjohn

See more items in:

John Steuart Curry and Curry family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9943b22b6-7e9f-4538-b0aa-808dbe459e9d

EDAN-URL:

ead_collection:sova-aaa-currjohn

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 23, Folder 6

Type:

Archival materials

Date:

2012

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Series 1: Project Files / Snow Worker's Ballet 2012

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99175fd12-868a-4cfd-85c0-4b44c1a80bc8

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref827

Creator:

Williams, Claude, 1908-2004  Search this

Fouse-Williams, Blanche Y.  Search this

Extent:

1 Electronic discs (CD)

13 Cassette tapes

4.66 Cubic feet (14 boxes, 3 map- folders)

Container:

Map-folder 1

Map-folder 3

Type:

Collection descriptions

Archival materials

Electronic discs (cd)

Cassette tapes

Letters (correspondence)

Photographs

Programs

Posters

Scrapbooks

Financial records

Awards

Business records

Audiotapes

Articles

Manuscripts

Date:

1920-2005

Summary:

Business and personal papers, photographs, and audio recordings of Claude "Fiddler" Williams, an award-winning jazz fiddler. Although Williams played music for almost a century the materials in this collection date largely from 1970 to 2005.

Scope and Contents:

This collection documents the later life and career of jazz violinist Claude "Fiddler" Williams. Materials include correspondence, photographs, unpublished writings, awards, business records, financial records, programs and a few music manuscripts. There is one scrapbook and several audio recordings. There are also an autographed poster from 1997 honoring five inductees to the Oklahoma Music Hall of Fame, including Claude Williams, Merle Haggard, Patti Page, Woody Guthrie and Eddie Burris. While there are some materials from Williams's youth, the vast majority of the collection dates from 1970. Williams's second wife, Blanche Y. Fouse-Williams, was vigilant about saving his papers. She also managed his career for the last few years of his life. This accounts for the increased volume of materials documenting his later years. Materials generally are arranged in chronological order within series and subseries.

Series 1, Business Records, 1973-2005, undated, is divided into seven subseries and includes business records, information relating to tours and performances, awards and certificates, business and personal correspondence, financial papers, articles and newspaper clippings, and biographical information.

Subseries 1, Events, 1977-2004, undated, includes contracts, copies of newspaper clippings, performance programs, brochures, ticket stubs, travel itineraries, travel receipts, correspondence, materials regarding his work as a fiddle teacher, advertisements for performances, a certificate of recognition, and napkins saved from a Washington Education Television Association (WETA) performance at the White House in 1998. Materials are arranged in chronological order.

Subseries 2, Itineraries, 1990-2001, includes lists and correspondence detailing locations, musicians, travel and lodging plans, and financial compensation for William's performances. Materials are arranged in chronological order.

Subseries 3, Awards and Certificates, 1978-2002, contains awards and certificates of appreciation from the Steamboat Delta Queen, Annual Black Musicians Conference, Kansas City Chapter of the International Association of Jazz Record Collectors, and the Manhattan School of Music, as well as an invitation to a reception honoring Kansas City Jazz musicians from the Consul General of Japan. Materials are arranged in chronological order.

Subseries 4, Correspondence, 1975-2004, consists of information relating to travel arrangements, tours, remuneration, music recordings, press kits, contracts, public television performances, involvement with the National Endowment for the Arts and the National Endowment for the Humanities, as well as Williams's Smithsonian Folkways recording. Materials are arranged in chronological order.

Subseries 5, Financial Papers, 1990-2005, includes information about travel and payment, hotel bills and receipts, invoices for performances, music recordings sales, royalty statements and copies of checks. Materials are arranged in chronological order.

Subseries 6, Press, 1973--005, undated, includes magazines, newspaper clippings and articles, about Williams's performances and music, appearances and jazz festivals, as well as the Kansas City Jazz scene. Magazine titles include Kansas City Magazine , Missouri Alumnus , The Masters Traditional Arts Apprenticeship Program , Jazz Ambassador Magazine , Kansas City Ambassador to Jazz , The Mississippi Rag , Fiddler Magazine , Jazz News , Jazz Times , Living Blues , Blues Access , and Kansas City . Materials are arranged by type and then in chronological order.

Subseries 7, Music, 1989-1995, undated, contains thirteen audio tape recordings, one CD, sheet music and set lists of music performed by Williams. There is an audio recording of Black and Blue: A Musical Revue , a Folk Master performance at Carnegie Hall. Williams's work with James Chirillo, an appearance on Birdflight , as well as recordings of live and studio performances are also included among these materials. There is a copy of Williams's CD Swingtime in New York and an interview from1992. Materials are arranged in chronological order.

Series 2, Personal Papers, 1978--005, undated, is divided into two subseries and contains letters, cards, postcards, invitations, copies of email, and requests for information and interviews. Most of the correspondence was addressed to Williams but there are materials that were sent to Blanche Williams. The correspondence is generally from fans, friends and family.

Subseries 1, Correspondence, 1978-2005, undated, consists of birthday cards from school age children, postcards, copies of newspaper clippings, White House and other government correspondence, congratulations or birthday wishes, as well as personal correspondence from friends inquiring about Williams's health and well-being. Also included is a draft for a chapter in a book on Claude Williams's contributions to jazz. Requests relating to research about Williams are also included. Materials are arranged in chronological order. Materials are arranged first by type followed by general correspondence in chronological order.

Subseries 2, Miscellaneous, undated, contains ephemera, autographs, affiliates list, well-wishes to Blanche Williams, a funeral program, mailing lists, lists of affiliated organizations, and a Count Bassie autograph.

Series 3, Photographs, 1977-2004, undated, includes personal and professional photographic prints and negatives of Williams. Subjects include performances and festivals, headshots and publicity, images of other musicians, family, friends, and posters with photographs created for his funeral. The majority of these photographs are of performances. Materials are arranged by subject.

Arrangement:

The collection is arranged into three series.

Series 1, Business Records, 1973-2005, undated

Subseries 1.1, Events, 1977-2004, undated

Subseries 1.2, Itineraries, 1990-2001

Subseries 1.3, Awards and Certificates, 1978-2002

Subseries 1.4, Correspondence, 1975-2004

Subseries 1.5, Financial Papers, 1990-2005

Subseries 1.6, Press, 1973-2005, undated

Subseries 1.7, Music; 1989-1995, undated

Series 2, Personal Papers, 1978-2005, undated

Subseries 2.1, Correspondence, 1978-2005, undated

Subseries 2.2, Miscellaneous, undated

Series 3, Photographs, 1977-2004, undated

Biographical / Historical:

Claude "Fiddler" Williams, 1908-2004, was born in Muskogee, Oklahoma, the son of a blacksmith. His musical gifts developed at a very early age, and he quickly became adept at the guitar, banjo, mandolin and cello, learning mostly by ear, without formal training. After hearing the jazz violinist Joe Venuti, the violin became his instrument of choice, and it remained so for the rest of his life. He migrated to Kansas City in 1927 and toured with several territory bands. Additionally Williams toured with the Twelve Clouds of Joy and the Cole Brothers, and in 1936, joined Count Basie's band as the first guitarist. After he was fired from Count Basie's band because John Hammond thought Williams's guitar solos were taking too much attention away from Basie, he went back to the violin (or "fiddle" as he preferred to call it) and focused exclusively on it for the rest of his life. Later he started his own band and toured with several jazz groups working for a short time with the Works Progress Administration (WPA). His band appeared at the Monterey Jazz Festival, the Nice Jazz Festival, and the Smithsonian Institution's Festival of American Folk Life. Williams received numerous honors and awards, including induction into the Oklahoma Jazz Hall of Fame, a proclamation from the city of Kansas City, and a 1998 National Heritage Fellowship which included a $10,000 award. President Bill Clinton invited him to perform at one of the parties celebrating his first inauguration. Williams continued to tour and perform until well into his nineties. He also gave instruction at Mark O'Connor's annual fiddle camp to young violinists. Mr. Williams died in April 2004.

Separated Materials:

Artifacts donated to the Museum's Division of Culture and the Arts (now Division of Cultural and Community Life) include a suit and violin. See accession numbers: 2005.3105 and 2007.3020.

Provenance:

This collection was donated by Claude Williams's widow, Blanche Y. Fouse-Williams, in 2005.

Restrictions:

The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Technical Access: Do not use original materials when available on reference audio tapes.

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:

Music -- 20th century -- United States  Search this

Jazz -- 20th century -- United States  Search this

Jazz musicians -- United States  Search this

Violinists  Search this

Musicians -- United States  Search this

Genre/Form:

Letters (correspondence) -- 20th century.

Photographs -- 2000-2010

Programs

Posters -- 1950-2000

Scrapbooks

Financial records

Awards

Business records -- 20th century

Audiotapes

Articles

Photographs -- 20th century

Manuscripts -- Music -- 20th century

Citation:

Claude Williams Papers, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0909

See more items in:

Claude Williams Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82736f8a2-824b-43e6-96c8-6449a163c087

EDAN-URL:

ead_collection:sova-nmah-ac-0909

Creator:

Norvo, Red, 1908-1999  Search this

Donor:

Corlin, Portia Norvo  Search this

Extent:

4 Cubic feet (7 boxes)

Type:

Collection descriptions

Archival materials

Awards

Biographies

Correspondence

Photographs

Clippings

Interviews

Date:

1932-1998

Summary:

Correspondence, transcripts of interviews, photographs, a biography, a discography, an award, printed material and other miscellany documenting the life and career of Red Norvo.

Scope and Contents:

The Red Norvo Papers consist of correspondence, transcripts of interviews with Red Norvo, miscellaneous publications (catalogues, monographs, newsletters, pamphlets, programs), periodicals, articles and clippings, photographs, and several miscellaneous documents: various advertisements, a hotel receipt, liner notes, an award from Metronome, a biography prepared by Capitol Records, a Red Norvo discography, a concert engagement advertisement in the form of a postcard, a poster (Benny Goodman), and a Red Norvo concert tour itinerary.

Arrangement:

Divided into 7 series: Series 1: Correspondence, 1939-1997; Series 2: Red Norvo Interview Transcripts, 1991-1993; Series 3: Miscellaneous Publications; Series 4: Miscellaneous Documents; Series 5: Periodicals, Series 6: Periodical Articles and News Clippings; Series 7: Photographs.

Biographical / Historical:

Along with Lionel Hampton, Red Norvo stands as one of the most celebrated and influential figures in the history of Jazz vibraphone. Norvo was born Kenneth Norville in Beardstown, Illinois on March 31, 1908. He began studying marimba at an early age and played in a rhumba band in 1925. After a brief stint as a tap dancer and conductor on the Vaudeville circuit, Norvo played xylophone with the Paul Whiteman Orchestra. He later married the band's singer, Mildred Bailey, and together they were known as Mr. and Mrs. Swing. From the late 1930's through the early 1940's Norvo lead his own orchestra (with arrangements by Eddie Sauter) and his own sextet.

In 1944 Norvo switched permanently to vibraphone and joined the Benny Goodman Sextet. In 1945 the Red Norvo Selected Sextet (featuring Charlie Parker and Dizzy Gillespie) recorded Hallelujah, Get Happy, Slam Slam Blues, and Congo Blues—an event that many critics regard as helping to commence the bebop era and the establishment of modern jazz. In 1946 Norvo played with Woody Herman's First Herd. But in Norvo's formative years it was the improvisational piano style of Teddy Wilson that most influenced his own style of play. In 1950 Norvo founded the Red Norvo Trio, which included Tal Farlow on guitar and Charles Mingus on bass. Norvo also performed and recorded with a quintet. He settled in Santa Monica, California and became a prolific recording musician with Capitol and other labels. Most of the essential singers of the period either performed or recorded with him: Frank Sinatra, Billie Holiday and Peggy Lee to name a few. Norvo notably backed Sinatra on his Australian tour in 1959 and appeared with him in the 1960 film, Ocean's Eleven. In 1961 Norvo began to suffer hearing loss, a condition which worsened throughout the remainder of his life. In the 1970's he performed mainly in Las Vegas. He died April 6, 1999 in Santa Monica.

Related Materials:

Materials in the Archives Center

Benny Carter Collection (NMAH.AC.0757)

Milt Gabler Papers (NMAH.AC.0849)

Jazz Oral History Program Collection(NMAH.AC.0808)

William Russo Music and Personal Papers(NMAH.AC.0845) Jack Siefert/Woody Herman Collection(NMAH.AC.0659) Ernie Smith Jazz Film Collection (NMAH.AC.0491)

Provenance:

The collection was donated to the Archives Center by Portia Norvo Corlin on April 1, 2004.

Restrictions:

Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.

Rights:

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

Topic:

Periodicals  Search this

Vibraphone  Search this

Jazz  Search this

Jazz musicians -- United States  Search this

Music -- 20th century  Search this

Genre/Form:

Awards

Biographies

Correspondence -- 20th century

Photographs -- 20th century

Clippings -- 20th century

Interviews -- 1990-2000

Citation:

Red Norvo Papers, 1932-1997, Archives Center, National Museum of American History. Gift of Portia Norvo Corlin.

Identifier:

NMAH.AC.0858

See more items in:

Red Norvo Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b2c9ef61-86a8-4078-bfa5-98cf05e3fad7

EDAN-URL:

ead_collection:sova-nmah-ac-0858

Creator:

Eisler Engineering Company.  Search this

Names:

General Electric Company  Search this

Incandescent Lamp Manufacturer's Association.  Search this

Westinghouse Electric & Manufacturing Company  Search this

Eisler, Charles, Jr.  Search this

Extent:

30 Cubic feet (49 boxes, 25 oversize folders)

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Blueprints

Correspondence

Place:

Newark (N.J.)

Hungary

Date:

1885 - 1988

bulk 1920-1950s

Summary:

Records document Charles Eisler, a Hungarian immigrant who was a skilled mechanic and engineer and his company, Eisler Engineering Company of Newark, New Jersey, which manufactured equipment for producing electric lamps, television and radio tubes, welding equipment and laboratory equipment.

Scope and Contents:

The bulk of the materials date from the 1930s to the 1950s and document Charles Eisler's contributions to the modern lamp making industry. There is considerable personal information documenting Eisler and his family, and his connection to his native Hungary. The collection is divided into 9 series: personal materials; business materials; employee records, operating records; diagrams and drawings; litigation and patent records; photographs; and scrapbooks.

Series 1, Personal Materials, 1944-1970, is divided into six subseries: Passports and Naturalization Certificate, 1910-1970s; Photographs, 1912; Chronological Correspondence, 1944-1970; Alphabetical Correspondence, 1941-1969; Family and Friends Correspondence, 1956-1966; Vacation Information, 1951; Financial Information, 1960-1967; and Medical Bills and Information, 1963-1967.

There are several passports (United States and German) for Eisler and his United States naturalization certificate of 1910. The photographs, 1912, are from Eisler's friend, Ed Korn. The photographs depict an airplane that Eisler created drawings for and two individuals, Bert Berry (parachutist) and Tony Januss, a pilot at Kinloch Field, St. Louis, Missouri.

The chronological correspondence, 1944-1970, is arranged chronologically. It contains letters about Hungarians and Hungarian issues; invitations to social events and speaking engagements; thank you letters; letters of condolence; donations; birthday greetings; and club memberships. Eisler was active in the Newark, New Jersey, Hungarian community. He donated equipment, clothes, and money to a variety of organizations that assisted Hungarians in the United States and in Hungary. Some of the correspondence was written by Mrs. R. Testa, secretary to Charles Eisler.

The alphabetical correspondence, 1941-1969, is arranged alphabetically. It consists of letters documenting such issues as stock in Eisler Engineering Company, personal purchases of Eisler's at the Ivanhoe Lobby Gift Shop by the Sea Hotel, and "Help the Suffering Hungarians" organization (1956-1961). This includes canceled checks from donors, specifically Operation Mercy to assist refugees from Budapest. Additionally, there is correspondence and itemized price lists for food and clothing for Hungarians. Of note is some Raritan Yacht Club (R.Y.C.) of Perth Amboy, New Jersey, materials. There is a R.Y.C. Duffle Bag newsletter, February, 1964. Eisler was a member of R.Y.C.

Family and friends correspondence, 1956-1966, includes letters and postcards from family and friends, mostly in Hungarian. Topics discussed include sending food, clothing, hearing aids, and medicine to Hungarian refugees; Christmas packages; emigration; and U.S. Relief Parcel Service receipts.

Vacation information, 1951, consists of one file folder of documentation of airline tickets, baggage tickets, tour itineraries, receipts from hotels, letterhead from hotels, and itemized lists of purchases for several trips Eisler made. Airlines ephemera represented include Pan American World Airways System; Air France; British Overseas Airways Corp; Trans World Airlines, Inc; and Eastern Airlines.

Financial information, 1960-1967, contains investment securities (certificates) information for Massachusetts Investors Trust; consolidated checking account information; lists of personal donations, personal income, and savings accounts. Eisler's personal donations varied greatly, both in amount and in the type of organization—American Hungarian Studies Foundation at Rutgers, Father Flanagan's Boy's Home; and the Jewish Community Council of Essex County, New Jersey.

Medical Bills and Information, 1963-1967, consists mostly of bills from doctors for services rendered.

Series 2, Business Materials, 1885, 1931-1985, is divided into seven subseries: correspondence, general files, financial information, World War II boards and regulations, real estate holdings and investments, articles, and Kahle Engineering.

Correspondence, 1946-1971, is arranged alphabetically by surname or company name. It contains a variety of issues—real estate, accounting, legal representation, and tenants. Attorneys Kessler and Kessler handled Eisler vs. General Electric Company. There is correspondence about meetings, depositions, and reviewing documents before filing. The tenant information includes assignments and agreements between individual tenants and the landlord, Lesire Corporation, which Eisler owned.

General Files, 1931-1985, contains files arranged alphabetically on a variety of topics.

Financial Information, 1931-1945, is mainly comprised of Treasury Department and Internal Revenue correspondence, and income tax documentation

World War II Boards and Regulations, 1942-1946, contain information about manpower, labor, and production during World War II for the manufacturing industry. The National War Labor Board contains wage rates and audit information for Eisler Engineering. The Manpower Commission established the total manpower allowance for Eisler Engineering and other companies. It set specific quotas for the number of male employees permitted. The War Production Board material includes a plant report of operations. It describes the product being made and categorizes the percentage of "war" versus "civilian" work. The War Department Plant Protection Division contains notes and recommendations for Eilser Engineering Company to implement.

Real Estate Holdings and Investments, 1932-1980, consists mainly of tax and stock returns and income information and cancelled notes for collateral with the Lesire Corporation. The record of real estate, 1952-1974, contains ledger sheets for seven separate properties with the name of the property, improvements if any, and address: Farm Flagtowne, Neshanic, New Jersey; 733 S. 12th Street, Newark, New Jersey; 735-737 S. 12th Street, Newark, New Jersey; 738-758 S. 13th Street, Newark, New Jersey; 16 N. Salem Street, Dover, New Jersey; 269 E. Blackwell Street, Dover, New Jersey; and Lad Construction. The ledger sheets also include a loan record with rents and mortgage receivable information. The Avenue L files document a factory building owned by Eisler in Newark, New Jersey. The files contain correspondence, receipts, and bills for work done on the building in preparation for sale.

Articles, 1885-1962 (not inclusive) includes four articles relating to the topic of electricity.

Kahle Engineering, 1960-1982, contains Dun and Bradstreet analytical reports from 1960 to 1964 and interoffice correspondence with Steven Logothetis, an employee of Kahle Engineering, interoffice memos, credit profiles, notes, mortgage papers, and information sheets for specific properties for purchase at public auction for the period 1979-1982.

Series 3, Employee/Personnel Records, 1940-1988, is divided into ten subseries: personnel files; accident reports; lists of employee names; service years and anniversaries; union (IUE AFL-CIO) agreements; benefits (health and pension); deceased employees; payroll information; electrical license course; Department of Labor; and miscellaneous.

The bulk of this series consists primarily of employee personnel files from the 1940s to 1960s. Arranged alphabetically by surname, the files contain employee record cards, employee applications, in some instances photographs (head shots), tax withholding exemption certificates, medical forms, union dues information, union steward reports detailing grievances and appeals, correspondence, recommendations, unemployment benefit payments, workers compensation, paychecks, and applications for United States citizenship and visa requests. The employee record cards capture the employee name; address; social security number; department; occupation; title; clock number; phone number; race; marital status; date of birth; number of children; stating rate; increases; vacation taken; country of birth; entry into the United States; naturalized and, if so, when and where; former employees and any union grievances. It provides a comprehensive view of the employee composition of the company.

The accident reports, 1958-1988, are arranged chronologically by year and then further arranged alphabetically by employee surname. These accident claim forms used by Eisler Engineering Company are for the New Jersey Manufacturers Casualty Insurance Company of Trenton, New Jersey. Additionally, there are blank State of New Jersey accident forms. There is some correspondence about specific claims and employees. There is one file folder documenting injuries and illness, 1971-1978. It consists of Occupational Safety and Health Administration (OSHA) forms completed by Eisler Engineering. They provide a summary of the types of injuries and illnesses, number of lost work days, number of cases and a supplementary record of occupational injuries.

Lists of employee names, 1957-1977, provides information on employees who left employment, were laid off, owed union dues; years of service to the company, birthdays, addresses, and job descriptions.

Service years and anniversaries, 1955-1970, provides the employee name, when employment began, years of service and if a service pin was awarded.

Union (IUE AFL-CIO) agreements, 1942-1957 contain union contracts and agreements between Eisler Engineering Mutual Employees Association, Inc., and the International Union of Electrical, Radio and Machine Workers (IUE-AFL-CIO).

Benefits (health and pension), 1957-1967, contains information on dental benefits, hospital service plans, Group Health Insurance (GHI) Inc., claim forms for medical care insurance, and the annual report of District 4 IUE, AFL-CIO Welfare Plan for 1957.

Deceased employees, 1946-1951, consists of form letters with the employees name, address, next of kin, date of death, and the amount of unpaid salary due.

Payroll Information, 1940-1973, includes deduction of wages or salary forms for union dues, plans for enrolling in the U.S. Savings Bond program, canceled payroll checks, forms for requesting vacation, and bonus and merit increases for employees.

Electrical License Course, undated, includes homework assignments, tests, and answers to questions, in lessons/courses on: compound generators, DC (direct current) self-excited generators, power, combination circuits, parallel circuits, split phase/resistance-start induction run motors, electricity, and compound motors.

Department of Labor, 1944-1956, contains employment reports and public contracts and minimum wage determinations. There is statistical information on the type of employee (male, female, non-white, and part-time) and a report of current and anticipated employment.

Miscellaneous contains one file folder with an undated Department of Labor and Industry letter about a highly desirable labor pool of technical, skilled, and semi-skilled workers becoming available.

Series 4, Operational Records, 1934-1977, is divided into two subseries: Equipment Quotes, 1960-1977, were prepared by Eisler for clients/companies in the United States and in foreign countries. The quotes include details about the machine requested and its price.

Operating Instructions and Parts Lists, 1934-1940s, are arranged predominately by machine number, but there are some exceptions. The files include drawings and sketches, operating instructions on assembling and disassembling, black and white photographs, charts, and product literature. There are some documents that were not created by the Eisler Engineering Company. These documents include operating instructions and drawings from other companies that Eisler had a working relationship with. The instructions, [1934-1945?], arranged alpha-numerically, are operating instructions for machines manufactured by the Eisler Engineering Company. The instructions are labeled D-1 to D-800. These instructions should be used in conjunction with the other operating instructions for specific machines. For example, instructions D-1 are for Eisler machine No. 00, a coil winding machine

Series 5, Diagrams and Drawings, 1924-1960, is divided into two subseries, wiring diagrams and drawings. The wiring diagrams 1934-1956, are arranged by type and provide instructions and diagrams on how to connect wires for Eisler machines. The drawings, 1924-1960, include blueprints, tracings, sketches and in some instances, specifications for specific machines. The name and number of the machine are listed. Also, the drawings contain factory layouts for companies in the United States and in Leningrad, Russia.

Series 6, Sales Records, 1924-1984, is divided into three subseries: customer sales lists, lamp machinery sales records, and catalogs. The Customer Sales Lists, 1951-1958, and the Lamp Machinery Sales Records, 1929-1958, include detailed information for each machine built and shipped to a client: shop number, job number, type of machine, machine number, customer name, customer order number, Eisler order number and date shipped, and a serial number if applicable. There are some lists for customer requested machines such as exhaust machines, stem machines, and base filling machines.

The catalogs, 1924-1979, are arranged into two sub-subseries, Eisler catalogs and other companies' catalogs. The catalogs are further arranged chronologically and are bound or consist of loose pages and individual bulletins. They provide information on incandescent lamps, power transmission tubes; neon tube signs; tungsten equipment and wire; burners, torches, fires, gas and air mixers; metal sprayers; bases; furnaces; vacuum flasks; ampules and vials; vacuum pumps; and electric welders.

Index cards for Eisler Engineering Anniversary Catalog 1945, are arranged by machine number and contain the machine name with a description, pricing information, and in some instances a date and annotations. Each card has a page number that correlates to the Anniversary Catalog No. 45-CE, 1945.

Series 7, Litigation and Patent Records, 1897-1953 (bulk 1926-1929), 1949, 1953, consist of briefs (for the defendant, Eisler, and plaintiff, General Electric) and the transcript of record in the case General Electric vs. Charles Eisler and Eisler Engineering Company, 1926-1929. The litigation was heard in the U.S. District Court, Eastern District of New Jersey and U.S. Circuit Court of Appeals, Third District. GE brought suit against Eisler for infringement of two U.S. patents, #1,128,120 for manufacturing glass rods and forming spiders, and # 1,220,836 for a filament support wire inserting machine. Eisler allegedly infringed by manufacturing and selling a hook inserting machine.

There is one file folder of newspaper clippings about anti-trust in lamp manufacturing and specifically conclusions to the Opinion for the case United States of America vs. General Electric Company, 1953. GE, Corning Glass Works, N.V. Philips Gloeilampenfabriken, Consolidated Electric Lamp Company, Hygrade Sylvania Corporation, Chicago Miniature Lamp Works, and Tung-Sol Lamp Works, Inc., were found guilty and in violation of the Sherman Anti-Trust Act. GE, in particular, negotiated agreements through its wholly-owned subsidiary, International General Electric that divided the world lamp markets. This division permitted GE to have the U.S. market exclusively and bar foreign lamp manufacturers. The domestic licensees' growth was limited by GE to a fixed percentage of its own production and expansion so that over the years a licensee's share of the business was diminished. This restrained trade, and competition by GE unlawfully monopolized the incandescent electric lamp business.

A separate case involving Westinghouse Electric and Manufacturing Co. vs. Beacon Lamp Co., Leopold Rossbach, C. L. Shoninger, A.H. Moses, L.E. Whicher and J.T. Hambay from 1896 to 1898 is also documented through the brief for the complainant and a record of the case.

Patents, 1913-1931, are further divided into tube patents, 1924-1931 and tube patents assigned to Raytheon Company, 1913-1929. The patents were assembled by Eisler for reference.

Series 8, Photographs, 1944-1967, is further divided into six subseries: machines by number, CAMS; timers; jigs; transformers and electrodes; welders; welders, tips, jigs and fixtures; and miscellaneous. The series contains 8" x 10" black and white prints. Originally organized in three- ring binders, the photographs are arranged by machine number with further numerical identifiers. For example, Machine No. 103 is a glass lathe machine and No. 103-XL is a vertical glass lathe machine.

CAMS are curved wheels mounted on a rotating shaft and used to produce variable or reciprocating motion in another engaged or contacted part. They are used to produce or machine something. Tips refer to the remnant of the glass tubing through which the lamp was exhausted of its air (as well as filled with inert gases after the invention of the gas-filled lamp in 1912) and jigs are devices for guiding a tool or for holding machine work in place.

The majority of photographs document machinery; few employees are featured.

Photographs for Machine No. 170, can working equipment at vacuum products, features African American workers circa the 1950s and Machine No. 160, an automatic tub bottoming machine features a female employee. Some of the miscellaneous photographs contain prints of equipment, parts and employees working in the factory.

Series 9, Scrapbooks, 1916-1959, includes three scrapbooks. Many of the articles are in Hungarian or Spanish.

Scrapbook, 1943 (bulk 1945-1955), 1959, contains newspaper articles about Charles Eisler and Eisler Engineering Company. Many articles and advertisements focus on specific machines Eisler manufactured. Articles about Charles Eisler contain information about the associations he belonged to, litigation, awards received, Lesire Corporation, his tenant company; and the appointment of Charles Eisler, Jr., as President of Eisler Engineering Company. Other items include company Christmas cards.

Scrapbook, 1916-1944, 1948, 1957, contains newspaper clippings and catalog pages on machines manufactured by Eisler; personal information about Charles Eisler's trip to Europe; a fire at his summer home; and Christmas decorations. There is documentation on Eisler Engineering Company employees, World War II contributions and production, and photographs of Charles Eisler presenting a donation to the Newark Hungarians and the U.S. Army Ambulance Branch.

Scrapbook, 1924-1959, contains convention programs, Family Circle information, documentation on various social events Eisler attended and machine advertisements.

Arrangement:

Collection organized into nine series.

Series 1, Personal Materials, 1910s-1970s

Subseries 1, Passports and Naturalization Certificate, 1910-1970s

Subseries 2, Photographs, 1912

Subseries 3, Chronological Correspondence, 1946-1970

Subseries 4, Alphabetical Correspondence, 1941-1969

Subseries 5, Family and Friends Correspondence, 1956-1966

Subseries 6, Vacation information, 1951

Subseries 7, Financial information, 1960-1967

Subseries 8, Medical Bills and Information, 1963-1967

Series 2, Business Materials, 1885, 1929-1985

Subseries 1, Correspondence, 1946-1971

Subseries 2, General Files, 1929-1985

Subseries 3, Financial Information, 1931-1945

Subseries 4, World War II Boards and Regulations, 1942-1946

Subseries 5, Real Estate Holdings and Investments, 1932-1980

Subseries 6, Articles, 1885-1962 (not inclusive)

Subseries 7, Kahle Engineering, 1960-1982

Series 3, Employee/Personnel Records, 1940-1988

Subseries 1, Personnel Files, 1940s-1960s

Subseries 2, Accident Reports, 1958-1988

Subseries 3, Lists of employee names, 1957-1977, undated

Subseries 4, Service years and anniversaries, 1955-1970

Subseries 5, Union (IUE AFL-CIO) agreements and contracts, 1942-1957, undated

Subseries 6, Benefits (health and pension), 1957-1967, undated

Subseries 7, Deceased employees, 1946-1951

Subseries 8, Payroll Information, 1940-1973

Subseries 9, Electrical License Course, undated

Subseries 10, Department of Labor, 1944-1956

Subseries 11, Miscellaneous, undated

Series 4, Operating Records, 1934-1977

Subseries 1, Equipment Quotes, 1960-1977

Subseries 2, Operating Instructions and Parts Lists, 1934-1940s

Series 5, Diagrams and Drawings, 1924-1963, undated

Subseries 1, Wiring Diagrams, 1934-1956

Subseries 2, Drawings for Machines, 1924-1963

Subseries 3, Drafting Tools, undated

Series 6, Sales Records, 1924-1984

Subseries 1, Customer Sales Lists, 1951-1958

Subseries 2, Lamp Machinery Sales Records, 1929-1958

Subseries 3, Eisler Catalogs, 1924-1979

Subseries 4, Index cards for Eisler Engineering catalogs

Series 7, Litigation and Patents Records, 1897-1953

Subseries 1, Litigation Records, 1897 (bulk 1926-1929), 1949, 1953

Subseries 2, Patents, 1913-1931

Series 8, Photographs, 1942-1967

Subseries 1, By Machine Number, -1966

Subseries 2, CAMS, 1950-1967

Subseries 3, Timers, Jigs, Transformers, and Electrodes, 1952-1960

Subseries 4, Welders, 1944-1952

Subseries 5, Welders, Tips, and Jigs and Fixtures, 1944-1952

Subseries 6, Miscellaneous, 1944-1957

Series 9, Scrapbooks, 1916-1959

Biographical / Historical:

Charles Eisler (1884-1973) was born in Hungary to Adolph and Helen Eisler. Charles was the second child of nine: George, Emil, Michael, Leopold, Rudi, Franz, Emma and Lajos. Eisler completed his engineering and mechanical studies by the age of 17 and began an apprenticeship with a local factory. He became a licensed steam engineer and fireman of high pressure boilers. In 1902, he left Hungary for Berlin, Germany, with the goal to immigrate to the United States. In Germany, Eisler worked in a factory in Eberswalde, north of Berlin. The factory manufactured cast-iron pipe and machinery, and Eisler operated a crane loading barges near the factory. Eisler left Eberswalde and returned to Berlin to work as a toolmaker at Allgemeine Electricitäts Gesellschaft' (AEG). He arrived in New York City on the SS Potsdam/Stockholm (I) in November 1904. Because Europeans dominated the field of skilled mechanics and tradesmen in the United States, Eisler easily found employment in East Pittsburgh at Pittsburgh Westinghouse. In 1907, Eisler worked for Studebaker Metzger Motor Company as a tool-designer and tool room foreman.

Eisler returned to Hungary in the spring of 1912 where he took a job as a tool designing engineer with an American owned electrical firm, Standard Electric Company, in Újpest. He married Frieda Schwartz Eisler (d.1962) on December 24, 1912, in Budapest. They had four children: Charles Eisler, Jr., Martha (Eisler) Leff; Ruth (Eisler) Forest; and Constance (Eisler) Smith. In 1914, Eisler, his wife Frieda, and their newborn son Charles, Jr., returned to the United States. Eisler worked at the Westinghouse Lamp Company in Bloomfield, New Jersey, designing machines for building incandescent lamps with tungsten wire. At Westinghouse, Eisler held the position of chief engineer of the equipment division, and he completed the International Correspondence Schools course in mechanical engineering (1918). Eisler left Westinghouse in 1919 to work for Save Electric Corporation of Brooklyn, New York (an independent lamp manufacture), formed by Max Ettiger. At Save Electric, Eisler was equipment engineer superintendent and responsible for designing machines for the production of incandescent lamps.

General Electric (GE), Westinghouse, and RCA had a monopoly on modern incandescent lamp making machinery. The manufacture of lamps and tubes had moved from a low-rate, highly skilled craft work of Edison's Menlo Park to a high-rate, semi-skilled process dominated by GE and others. It was difficult for independent lamp manufacturers, such as Save Electric, to compete. The control and licensing of machinery patents was one method GE used to maintain a virtual monopoly on lamp manufacture throughout the first half of the 20th century. GE purchased Save Electric in 1920 to remove it from the incandescent lamp market. That same year, Eisler lost his job and started his own company, Eisler Engineering Company, to consult and manufacture equipment for producing electric lamps, television tubes, radio tubes, glass products, neon tubes, welding equipment and laboratory equipment. He established a machine shop at 15 Kirk Alley, Newark, New Jersey, where he redesigned many of his machines and drawings and started patenting. By 1924, Eisler's plant doubled in physical size and labor supply, with the radio tube industry peaking in 1929.1 However, the stock market crash of 1929-1930 severely impacted production, and Eisler never again saw the same growth. In 1929, Eisler sold a 49% interest in the company to Frank Bonner.

In June 1933, Eisler and others organized a group of independent manufacturers into the Incandescent Lamp Manufacturer's Association (ILMA). In response to the pressuring tactics of GE, Westinghouse and RCA, the group also documented every lamp maker who went out of business or that was bought by a monopoly member. The ILMA allowed members to pool their resources for patent litigation. "Eisler was the third leading outside supplier of lamp making machinery. It was not licensed by General Electric, and the unlicensed lamp manufacturers obtained most of their lamp making equipment from it. The Eisler equipment was less automatic and of considerably less speed than the machinery used by the General Electric group. However, it was considerably lower in price."2

Eisler Engineering Company was sued at least four times by GE between 1923 and 1928 for alleged patent infringement but won each case. The cases involved four United States patents owned by GE: Van Keuren #1,326,121; Mitchell and White #1,453,594; Mitchell and White #1,453,595; and Marshall #1,475,192. The last three patents address a process used in the manufacture of electric lamps known as "sealing in" of tip-less lamps. The plaintiff, GE, complained that Eisler, the defendant, was infringing. Several GE patents were declared invalid during the proceedings or were withdrawn, and Eisler's U.S. Patent #1,637,989 for tip-less lamps was upheld. See General Electric Company vs. Eisler Engineering Company, 20 F (2d.) 33 (C.C.A., 1927), 26 F (2d.) 12 (C.C.A., 1928), and 43 F (2d.) 319 (C.C.A., 1930). One of Eisler's strongest defenses was a 1916 article he published in Machinery on Tungsten Lamp Manufacture. Eisler defended his case not only for the interest of his own company but also for those who utilized his products as well as those who manufactured under a licensing agreement with Eisler Engineering Company.

In 1954, Charles Eisler, Jr., formerly vice president became president of Eisler Engineering Company, Inc., and Charles Eisler, Sr., became chairman of the board. In 1958, Eisler Senior officially stepped down. In the late 1970s, Eisler, Jr., sold the company to Kahle Engineering Company. Kahle, established in 1920 with its roots in the glass machinery business, provided equipment for the medical device, pharmaceutical, electrical and automotive industries. Today, Kahle focuses solely on the manufacture of assembly machines for medical devices.

Eisler was issued fifty-seven United States patents relating to the mass production of glass articles. His first patent was issued in 1916 (U.S. Patent # 1,209,650) for a turret attachment and his last was issued in 1958 (U.S. Design Patent # DES 182,796) for a spot welder/press type. Eisler received an honorary Doctor of Science degree from Bloomfield College in Bloomfield, New Jersey (1951) and was elected to life membership in the American Society of Mechanical Engineers (1952). He died on October 8, 1973 at the age of 89 in East Orange, New Jersey.

1 Eisler, Charles. The Million-Dollar Bend (New York: William-Frederick Press, 1960). 2 Bright, Arthur. The Electric Lamp Industry (New York: Macmillan Co., 1949).

Related Materials:

Materials in the Archives Center

Kahle Engineering Company Records, 1930-1980 (AC0735), the successor company to Eisler Engineering

Materials in Other Organizations

Rutgers University Special Collections and University Archives have some Eisler Engineering Company trade literature in the Sinclair New Jersey Collection: New Jersey Trade Literature and Manufacturers' Catalogs at http://www.libraries.rutgers.edu/rul/libs/scua/sinclair/sinclair_main.shtml.

Provenance:

The collection was donated by E.N. Logothetis of Kahle Engineering on June 15, 2000.

Restrictions:

Collection is open for research but the majority is stored off-site and special arrangements must be made to work with it. Series 3, Employee Records, personnel files are restrictedContact 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 intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

welding -- Equipment and supplies  Search this

Patents  Search this

Jigs and fixtures  Search this

Laboratory -- Furniture, equipment  Search this

Lamps  Search this

Litigation  Search this

Tubes  Search this

Tubes -- welding  Search this

Vacuum pumps  Search this

Electrodes  Search this

Furnaces  Search this

Electric lighting  Search this

Electric transformers  Search this

Vacuum-tubes  Search this

welding  Search this

Halogen incandescent lamps  Search this

Cams  Search this

Coils -- electric  Search this

Incandescent lamps  Search this

Electric lamps  Search this

Electric lamps, Arc  Search this

Electric lamp industry  Search this

Genre/Form:

Photographs -- 20th century

Scrapbooks

Blueprints

Correspondence -- 19th-20th century

Citation:

Eisler Engineering Company Records, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0734

See more items in:

Eisler Engineering Company records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8d545ecf6-200c-44df-8a5c-405e9ca1e3b6

EDAN-URL:

ead_collection:sova-nmah-ac-0734

Creator:

Revenue Camera Club  Search this

National Photographic Society  Search this

Donor:

Schroeder, Barbara  Search this

Names:

Greater Washington Council of Camera Clubs  Search this

National Museum of American History (U.S.). Division of Photographic History  Search this

Photographic Society of America  Search this

Extent:

3.5 Cubic feet (10 boxes)

Type:

Collection descriptions

Archival materials

Correspondence

Photographs

Newsletters

Clippings

Minutes

Date:

1942-1986

Summary:

Collection documents the National Photographic Society, an amateur camera club in Washington, D.C.

Scope and Contents:

The Executive Records, 1944-1978, consist of copies and drafts of the constitution, by-laws, correspondence, and the Board of Trustee Meeting Minutes. The Treasurer Records, 1956-1973, include bank account information that deals with authorization to open an organizational bank account, correspondence about monies collected and expenses incurred and the treasurer's annual reports that document receipts, disbursements, and special activities. The Membership Records, 1945-1984, contain directories (with mailing addresses and telephone numbers), officer information detailing which members served as trustees and/or on what committee. The club had several committees—slide, projector, portrait, special activities, publicity, finance, reception, dinner, membership, salon, audit, print, nominating, program, library and by-laws. The membership applications were maintained on 3" x 5 and 5" x 8" index cards. The annual awards information contains certificates awarded to Barbara Schroeder for a variety of honors, but the majority of documentation deals primarily with annual awards given for color slides. The Henry B. Shaw Memorial Trophy was a specific award and honor that was presented to the NPS member who made the greatest contribution to the well being of NPS. The award was named for Henry B. Shaw, former president of NPS.

The club published a monthly bulletin titled The Finder, 1942-1986, which was distributed to club members and photographic dealers. The Finder was a one-page newsletter from 1942 to April 1945, but in May of 1945 enlarged to four pages, in some instances with inserts. The Photographs and Negatives, 1959-1960, provide documentation of the club's annual banquet and presentation of awards in 1959 and a holiday outing to Petersburg, West Virginia. The photographs and negatives are approximately 4" x 5". The Salons, 1944-1959, includes schedules and other printed materials about salons that club members participated in or attended in the Washington, D.C. area. Camera Clubs, 1949-1967, documents the Greater Washington Council of Camera Clubs, an organization with which NPS was affiliated, and the Metropolitan Camera Club Council, Inc. of New York, New York. The newspaper clippings, 1948-1955, contain information on two columns, "Camera Angles," a weekly written by Alexander J. Wedderburn, Curator of Photography at the Smithsonian Institution and the "Monthly Print Clinic" featuring a photograph with narrative description.

Includes documents concerning the National Photographic Society's affiliations with the Greater Washington Council of Camera Clubs and the Photographic Society of America.

Arrangement:

The collection is divided into six series

Series 1: Executive Records

Series 2: Treasurer Records

Series 3: Membership Records

Series 4: The Finder Newsletter

Series 5: Photographs and Negatives

Series 6: Salons

Series 7: Camera Clubs

Series 8: Newspaper Clippings

Biographical / Historical:

The Revenue Camera Club was organized in Washington, D.C. on March 14, 1938. It changed its name to The National Photographic Society (NPS) on April 1, 1943. It became affiliated with the Greater Washington Council of Camera Clubs and the Photographic Society of America. The NPS was incorporated in 1944 with a constitution and by-laws as a "non-profit organization under the provisions of Chapter 5 of the Code of the District of Columbia for the promotion of art and science of photography in all its various branches, through individual memberships, associated camera clubs and other photographic organizations, research and the dissemination of photographic knowledge and the promotion of photographic salons and exhibitions." The management of the society was vested in a board of trustees that was made up of nine members. The club held meetings in each other's homes, church basements or at the Mt. Pleasant or Georgia Avenue libraries where they showed member's prints and eventually held meetings at the Arts Club of Washington. The club dissolved in 1986.

Provenance:

Collection donated by Ms. Barbara Schroeder, February 12, 1999.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Clubs -- Photography -- 1940-1990 -- Washington (D.C.)  Search this

Exhibitions -- 1940-1990 -- Washington (D.C.)  Search this

Camera clubs -- 1940-1990 -- Washington (D.C.)  Search this

Genre/Form:

Correspondence -- 1940-2000

Photographs -- Black-and-white negatives -- Acetate film -- 1900-2000

Newsletters -- 20th century

Clippings -- 1940-1990 -- Washington (D.C.)

Minutes

Citation:

National Photographic Society Records, 1942-1986, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0681

See more items in:

National Photographic Society Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8cbfb397c-5584-47a8-9d62-112bcc45bfaf

EDAN-URL:

ead_collection:sova-nmah-ac-0681