The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.
Scope and Contents note:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.
Biographical materials include resumes, personal forms, and certificates. Correspondence is with family, friends, and colleagues, including muralist Anton Refregier, songwriter Malvina Reynolds, and composer John Edmunds. There is one letter from Dorothea Lange. Also found is correspondence with various political and arts organizations, such as the American Civil Liberties Union and the Russian magazine Soviet Woman. Much of the correspondence discusses personal relationships and political and art-related activities. Additional correspondence with and concerning Diego Rivera and Frida Kahlo is arranged in Series 6.
Personal business records found within the papers include studio real estate and rent records, insurance records, price lists for artwork, consignment records, and miscellaneous receipts. There is one interview transcript of an interview with Packard for the Radical Elders Oral History Project. The papers include a series of notebooks/diaries, address lists, and other notes.
Packard's reference files and personal papers documenting her professional and close personal relationship with Diego Rivera and Frida Kahlo are arranged into a separate series. They include her research files for a planned book on the two artists, personal letters between Packard and the couple, as well as several interesting photographs. Also found in this series are notes, writings, and printed materials relating to Diego Rivera, Frida Kahlo, and other Mexican artists, such as Covarrubius, Juan O'Gorman, and Pablo O'Higgins.
The collection also includes typescripts and additional writings by Packard and others. Artwork consists of orginal drawings and prints by Packard and others not directly associated with projects. Exhibition and project files for many of Packard's commissioned projects are also found within the collection, including her files for the restoration of Anton Refregier's Rincon Annex Post Office mural in San Francisco and the Coit Tower murals in San Francisco. Many of the project files contain correspondence, reports, contracts, printed material, photographs, and artwork.
The papers also include photographs of Packard, her family, residences, artwork, friends, and colleagues, including Cesar Chavez, Juan O'Gorman, Malvina Reynolds, Charles Safford, Ralph Stackpole, and Tennessee Williams. Two scrapbooks are found, as well as additional printed materials such as clippings and exhibition announcements and catalogs. There are also two artifact items, a vinyl record of Malvina Reynolds and a political campaign button.
Arrangement note:
The collection is arranged into fifteen series.
Missing Title
Series 1: Biographical Material, 1942-1985 (Box 1; 1 folder)
Series 2: Correspondence, 1919-1990 (Box 1-3; 2.6 linear feet)
Series 3: Personal Business Records, 1945-1985 (Box 3; 21 folders)
Series 4: Interview Transcript, 1979 (Box 3; 1 folder)
Series 5: Notes, 1900-1985 (Box 3-4, 10; 1.1 linear feet)
Series 6: Reference Files on Diego Rivera and Frida Kahlo, 1929-1986 (Box 5, 10, OV 11; 0.9 linear feet)
Series 7: Writings by Packard, 1953-1984 (Box 6; 17 folders)
Series 8: Writings by Others, 1955-1984 (Box 6; 19 folders)
Series 9: Artwork, 1921-1976 (Box 6; 10 folders)
Series 10: Exhibition Files, 1950-1964 (Box 6, OV 11; 5 folders)
Series 11: Project Files, 1953-1985 (Box 6-7, 10, OV 11; 1.8 linear feet)
Series 12: Photographs, 1914-1982 (Box 8, 10; 0.8 linear feet)
Series 13: Scrapbooks, 1947-1950 (Box 8, 10; 0.2 linear feet)
Series 14: Printed Material, 1936-1988 (Box 8-9, 10; 1 linear foot)
Series 15: Artifacts, 1984 (Box 9-10, OV 11; 2 folders)
Biographical/Historical note:
Emmy Lou Packard was born in Imperial Valley, California on April 15, 1914, to Walter and Emma Leonard Packard. In the late 1920s she lived with her family in Mexico City where she became acquainted with Diego Rivera, from whom she received regular art criticism and encouragement. She graduated from the University of California, Berkeley and completed courses in fresco and sculpture at the California School of Fine Arts in 1940. That year and the next, Packard worked as a full-time painting assistant to Rivera on his 1,650 square-foot fresco at the World's Fair in San Francisco. During this project, Packard became very close to Rivera and Frida Kahlo and returned to Mexico with them and spent a year living with the couple.
From then on, except for in 1944-1945 working for a defense plant, Packard worked and grew in various aspects of her art. In addition to her work in fresco, Packard is known for her work in watercolor, oil, mosaic, laminated plastic, concrete, and printmaking, both in linocuts and woodblocks. She received numerous commissions that included installations for ships, hotels, and private homes for which she executed large woodcuts and mural panels. During the 1950s and 1960s, Packard was hired to restore several historic murals, most notably the Rincon Annex Post Office mural by Anton Refregier and the Coit Tower murals in San Francisco.
Between 1966 and 1967 she was commissioned by architects to design and execute a number of concrete and mosaic pieces, one of which went to the Mirabeau Restaurant in Kaiser Center, Oakland. She also designed and executed a mural for the Fresno Convention Center Theater during that same period. In 1973-1974, she designed and supervised a glazed brick mural for a public library in Pinole, California.
Packard had one-woman shows at the San Francisco Museum of Art, Raymond and Raymond Gallery (San Francisco), Addison Gallery of American Art (Andover, Mass.), Connecticut Academy of Fine Arts, Pushkin Museum (Moscow), and March Gallery (Chicago). Emmy Lou Packard died in 1998.
Related Archival Materials note:
Also found in the Archives of American Art is an oral history interview with Emmy Lou Packard conducted by Mary Fuller McChesney in 1964.
Provenance:
Emmy Lou Packard donated her papers to the Archives of American Art from 1984-1988.
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 -- California -- San Francisco Search this
Sculptors -- California -- San Francisco Search this
Muralists -- California -- San Francisco Search this
Topic:
Printmakers -- California -- San Francisco Search this
Mural painting and decoration, American Search this
Mural painting and decoration, Mexican Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection 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.
Collection Citation:
Emmy Lou Packard papers, 1900-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
107 Welcome Welcome Emigrante / Broadside Singers (Musical group), Buffy Sainte-Marie, Patrick Sky. Guitar.
108 Migrant's Song / Agustin Lira, Danny Valdez. Guitar.
109 The Faucets are Dripping / Malvina Reynolds. Guitar.
110 The Willing Conscript / Pete Seeger. Banjo.
111 Inez / Human Condition (Musical group), Beverly Grant. Guitar,Violin.
Local Numbers:
SF-COMM-CD-40129
Smithsonian Folkways.40129
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Smithsonian Folkways 2000
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101. Ballad of the E.R.A. / Kristin Lems. Guitar. Illinois-Urbana.
102. As the Sun / Pete Seeger. Banjo. New York.
103. Don't Shoot the Shadow / Doris Ellzey. Guitar. District of Columbia.
104. Boxes of Bobbins and Time to Organize / Si Kahn and Charlotte Brody. Guitar. Brody, Charlotte North Carolina-Roanoke Rapids.
105. Sisters, Spring of Vietnam / Lucha. Guitar.
106. Going to Kentucky to Stop the Flow of Coal / Roger Bryant. Guitar. West Virginia.
107. Free Palestine / Ruthie Gorton. Palestine.
201. No Nukes (Hangin' Tree) / Pat De Cou and Tex LaMountain. Guitar. New Hampshire.
202. The Judge Said / Malvina Reynolds. California.
203. Cinco Hermanos Presos (Five Jailed Brothers) / Noel Hernandez. Spanish. Puerto Rico.
204. Ballad of Joe Coors / Kathy Kahn. California.
205. Gone, Gone, Gone / Red Shadow.
206. Buffalo Holler / Cindy Mapes.
207. Who's Crazy / Country Diction and Tim Patterson. Massachusetts.
Local Numbers:
Paredon.2003
Publication, Distribution, Etc. (Imprint):
New York, Paredon
General:
Performed by various artists.
Restrictions:
Restrictions on access.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
What month was Jesus born in? / Odetta --Money crop / Malvina Reynolds --Legend of a girl child Linda / Joan Baez, Judy Collins, and Mimi Farina --Universal soldier / Buffy Sainte-Marie --La Colombe / Judy Collins --To my countrymen / Viveca Lindfors --Vido, vido / The Pennywhistlers --Masters of war / Barbara Dane --Janey's blues / Janis Ian --Pans of biscuits / Hedy West --Oh, had I a golden thread / Joan Baez and Judy Collins.
Track Information:
101 What Month Was Jesus Born In? / Odetta. English language.
102 Money Crop / Malvina Reynolds. Guitar. English language.
103 Legend of a Girl Child Linda / Joan Baez, Judy Collins, Mimi Fariña. Guitar. English language.
104 Universal Soldier / Buffy Sainte-Marie. Guitar. English language.
105 La Colombe / Judy Collins. Guitar. Spanish language.
201 To My Countrymen / Viveca Lindfors. English language.
202 Vido, Vido / Pennywhistlers (Musical group). Bulgarian language.
203 Masters of War / Barbara Dane. Guitar. English language.
204 Janey's Blues / Janis Ian. Guitar. English language.
205 Pans of Biscuits / Hedy West. Guitar. English language.
206 Oh, Had I a Golden Thread / Joan Baez, Judy Collins. Guitar. English language.
Local Numbers:
FW-ASCH-LP-3026
Women Strike for Peace.001
Publication, Distribution, Etc. (Imprint):
Women Strike 1967
General:
Judy Collins and Ethel Raim Dunson, producers for Women Strike for Peace; production, Ed Berger and Mary Clarke.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Bury me in my overalls--Birthday hallelujah--No house--The bankers and the diplomats--Sing-a-long--This land is your land
Track Information:
101 Bury Me in My Overalls
102 Birthday Hallelujah (Nancy is 14)
103 No House
106 Sing A-Long
105 The Bankers and the Diplomats
107 This Land is Your Land
Local Numbers:
FW-ASCH-10RR-1349
Date/Time and Place of an Event Note:
Recorded in: New York, United States, September 29, 1958.
General:
CDR copy- Disc 417/8
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Magical food--Take me back to Sandy Hook--Morning rde--Everbody says--Jenny fell down--Black horse
Track Information:
101 Magical Food / Guitar.
102 Take Me to Sandy Hook / Guitar.
103 Morning Ride / Guitar.
104 Everybody Says / Guitar.
105 Jenny Fell Down / Guitar.
106 Black Horse / Guitar.
Local Numbers:
FW-ASCH-10RR-2842
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Money blues--I live in a city--Let it be--Pied piper
Track Information:
101 Money Blues / Guitar.
103 I Live in a City / Guitar.
104 Let it Be / Guitar.
106 The Pied Piper / Guitar.
Local Numbers:
FW-ASCH-10RR-2843
General:
Folkways 2524
CDR copy; track from "Another Country Heard From"
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Puttin' on the style --Fair maid (a-rovin') --Monaco --Sally don't you grieve --Bury me in my overalls --Run, come see Jerusalem --Rock Island line --Midnight special --Come to the dance --True love --Tumbalalaika --I was born about 10,000 years ago --Ezekiel saw the wheel
Local Numbers:
FW-ASCH-LP-2628
Decca.8413
Publication, Distribution, Etc. (Imprint):
New York Decca
General:
Vocal backgrounds scored and conducted by Jud Conlon. Notes by Malvina Reynolds on container. Performer(s): Loulie Jean Norman, soprano ; Red Callender, string bass ; Jack Marshall, guitar ; Alvin Stoller, drums ; Carlos Vidal, congas.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Malvina Reynolds--Billy boy--The RAND hymn; Pete Seeger--Michael, row the boat ashore--How can I keep from singing; credits
Local Numbers:
FW-ASCH-7RR-3782
Date/Time and Place of an Event Note:
recorded 1961
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Mommy's girl--Let it be--We hate to see them go--Miracle--Little land--Pied piper--Don't talk to me of love--Sing along--Money blues--O doctor--Day the freeway froze--Faucets are dripping--Somewhere between--I live in a city--Delinquent
Track Information:
101 Mommy's Girl / Guitar.
102 Let it Be / Guitar.
103 We Hate to See Them Go / Guitar.
104 The Miracle / Guitar.
105 The Little Land / Guitar.
106 The Pied Piper / Guitar.
107 Don't Talk to Me of Love / Guitar.
108 Sing Along / Guitar.
109 Money Blues / Guitar.
110 Oh, Doctor / Guitar.
111 The Day the Freeway Froze / Guitar.
112 The Faucets are Dripping / Guitar.
113 Somewhere Between / Guitar.
114 I Live in a City / Guitar.
115 The Delinquent / Guitar.
Local Numbers:
FW-ASCH-7RR-4920
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
1. ACT-1625-102 Dick Blakeslee "Sad Sack" 2. unknown in Russian 3. ACT-1622 women singers with Pete Seeger "Jim Crow" 4. ACT-1802 ? Johnson "A Vote for Wallace" 5. ACT-1771-101 Malvina Reynolds "Turn Me Loose" 6. ACT-1771-102 Bill Oliver "We Can Win with Wallace", Joseph Warfield "Sir de Marquis" 7. ACT-1771-103 Malvina Reynolds "No House" 8. ACT-1771-104 Malvina Reynolds "Work with Wallace" 9. ACT-146 Josh White "Freedom Road" 10. ACT-147 Tom Glazer, Josh White and group "Citizen CIO" 11. ACT-808 Pete Seeger "Harry Simms Intro" 12. ACT-486 Pete Seeger "The Ballad of Harry Simms" 14. ACT-2072-101 Tom Glazer "Money in the Pocket" 15. ACT-2072-102 Tom Glazer "70 Cent Butter, 40 Cent Meat" 16. ACT-2072-103 Tom Glazer "Kearney Sweat Shop" 17. ACT-2072-104 Tom Glazer "Our Fight is Yours" 18. ACT-2075 Tom Glazer "We Pity the Bosses Five" 19. ACT-2076 Pete Seeger "OPA Shout" 20. ACT-2566 Lord Invader "Jackie Robinson" 21. ACT-228-101 Les Paul "Steppin' Out" 22. ACT-228-102 Les Paul "Steppin' Out" 23. ACT-228-103 Les Paul "Deep Purple" 25.ACT-333-101 Les Paul and Mary Ford "Until Someday" 25. ACT-333-102 Les Paul and Mary Ford "Have I Told You Lately That I Love You" 27.ACT-333-103 Les Paul and Mary Ford "Until Someday" (frag) 28. ACT-1092-101 Lord Invader "Me One Alone" 29. ACT-1092-102 Lord Invader "Oh Mama"
Track Information:
104 Vote for Wallace..., A (ACT-1802) / Johnson.
105 Turn Me Loose (ACT-1771) / Malvina Reynolds.
106 We Can Win with Wallace (ACT-1771) / Bill Oliver.
104 Sir de Marquis (ACT-1771) / Joseph Warfield.
107 No House (ACT-1771) / Malvina Reynolds.
108 Work with Wallace (ACT-1771) / Malvina Reynolds.
111 Harry Simms Intro (ACT-808) / Pete Seeger. Banjo.
112 Ballad of Harry Simms, The (ACT-486) / Pete Seeger. Banjo.
114 Money in the Pocket (ACT-2072) / Tom Glazer.
115 Seven Cent Butter and Forty Cent Meat (ACT-2072) / Tom Glazer.
116 Kearney Sweat Shop (ACT-2072) / Tom Glazer.
117 Our Fight is Yours (ACT-2072) / Tom Glazer.
118 We Pity the Bosses Five (ACT-2075) / Tom Glazer.
119 OPA Shout (ACT-2076) / Pete Seeger, Bob Claiborne. Banjo.
120 Jackie Robinson (ACT-2566) / Lord Invader. Piano.
121 Steppin' Out (ACT-228) / Les Paul. Guitar.
123 Deep Purple (ACT-228) / Les Paul. Guitar.
125 Until Someday (ACT-333) / Les Paul, Mary Ford. Guitar.
126 Have I Told You Lately That I Love You (ACT-333) / Les Paul, Mary Ford. Guitar.
127 Until Someday (ACT-333) / Les Paul, Mary Ford. Guitar.
101 Sad Sack (ACT-1625) / Dick Blakeslee. Guitar.
102 Jim Crow (ACT-1622) / Pete Seeger. Banjo.
128 Me One Alone (ACT-1092) / Lord Invader.
129 Oh Mama (ACT-1092) / Lord Invader.
Local Numbers:
FP--CDR-0017
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
File consists of correspondence, promotional material, legal documents, photographs, negatives, handwritten notes, record requests, artist agreement, copyright license agreement, and royalty records.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Correspondence, 1958-1960; miscellaneous notes; Malvina Reynolds song book, "Song in my Pocket!," 1954
Musical notations and lyrics rehoused to OS01-11
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
