The collection documents four scrapbooks containing photographs, programs, flyers, business cards, periodical illustrations, and letterheads of vaudeville and medicine shows from 1897-1902. Also included are two audiotapes containing comments by the donors about the scrapbooks.
Scope and Contents:
The four scrapbooks which make up the Billings Merriam Family Vaudeville collection cover the period from about 1890 to 1913. They were actually kept by the parents and grandparents of Billie Plunkett who contributed them to the Smithsonian in 1982.
The four scrapbooks each contain personal photographs, programs of minor plays and comedies, flyers for specialty acts, business cards, magazine photos, and letterheads advertising acts.
Presumably, as a way of advertising, each performer or act would have printed on letterhead a picture of themselves and occasionally a picture of them in performance, the name of the act, a description of what the act included, and sometimes a listing of references and places where they had performed.
The letterheads and flyers advertised persons who were aerialists, contortionists, comedians, did wire walking, had a dog and pony show, magicians, pantomimists, trick cyclists, dancers, jugglers, singers, impersonators, gun manipulators, hypnotists, mental telepathists, blackface comedians, and living statues.
Several agents and booking agencies used letterheads in the same way. Medicine shows were also advertised on the letterheads some naming the products they were hustling and the diseases that could be cured.
The items have been pasted in scrapbooks a couple of which were old hotel ledgers in which pages have been pasted together. The paper is deteriorating. Very few items have dates or locations.
There are also two audio tapes. One contains comments by two half sisters: Norma Christiani and Billie Plunckett on the scrapbooks in this collection. The other consists of reminiscences by Norma Christiani of her life in the vaudeville shows mentioned above (bad audio quality).
Biographical / Historical:
Gay and Essa Billings, the first generation represented in these scrapbooks, were managers of vaudeville acts. They also sold medicine occasionally which was called "Knox All Remedies". Gay was also a comedian. Essa was known for her "serpentine dance and poses plastique". Their daughters, Eva and Ethel, did singing and dancing soubrettes (i.e. were saucy, coquettish actresses and/or singers in comedies or comic operas).
Billy Merriam, married to Eva, was a trapeze artist and juggler. He also formed acts. Presumably, the collection of letterheads is a result of correspondence in which acts were secured and bookings were made.
From Billie Plunkett, a granddaughter, we learn that the Billings had Gay's Electric Company and Gay's One Horse Circus. Daughter, Ethel, married Fred A. Stock and together they had a medicine show and sold something called "NU Tone".
One of the letter heads of Gay Billings advertised startling novelties funny comedians and songs which opened September 29, 1904 and closed January 27, 1905. Another letter head advertised "The Three B's Esa Billings serpentine dance and poses plastic; Gay Billings picture operator and song illustrator; and Eva Billings song and dance artist and soubret and gave their permanent address as Bellevue, Iowa.
In December 1904, Gay's Electric Company presented Essa Billings and Billie Merriam. In January 26, 1912, Gay Billings presented Clark's Dog and Pony Circus. At an undated time, it was the Billings Trio Novelty Sketch Artists with Gay All Round Comedian; Ethel Singing and Dancing Soubrette and Essa versatile Performer.
In 1906 there is a newspaper write up of Gay's Players and Billy and Eva Meriam. In a small article it was said that the act was good, the customers got their money's worth, that it was a clever team on the vaudeville circuit and described Eva as being a ring contortionist and Billy as an acrobat and trapeze artist.
The Merriams were known as the "Flying Merriams" and also the "Merriam Merry Makers" with 7 people in the company. Another flyer advertised that Billy Merriam was the owner of the show and Gay Billings the Manager. Included was Gay, Essa and Ethel as singers, dancers and sketch artists; Billie and Emma as trapeze artists, jugglers and contortionist. Two reels of moving pictures were also presented.
Another flyer (undated) speaks of "Merriams Tent Show" with 12 people in the act. Another flyer referred to himself as "Juvenile Adonis of the flying rings and trapeze and marvelous upside down act...Walk the ceiling head down, without the protection of a net." Another flyer said that Billy and Eva Merriam had spent two years with the Ringling Brothers, and had worked 10 years in Iowa.
Evidently moving pictures were often shown at these shows, usually with two reels. The companies had their own electric light plant and picture machine.
One letter head read: "The Merriams: Billy Eva Zoe Novelty Aerial Artists: and continued: "Not Best, But Two of the Good Ones." The act was a comedy acrobatic and contortion act on a vaudeville program which alos included motion pictures. Generally the titles of the motion pictures were given but no other information was. One time Billy fell and injured himself when chairs and tables collapsed. Another time in Phoenix, the threatre burned and they lost their trunks and new rigging. Once in Seattle there was fire but not loss of their belongings. In Iowa the State prohibited fight films to be shown. "The general public does not believe in instilling in the minds of the youth the instincts of pugilism", a newspaper article stated.
Eva and Billy Merriam had their own vaudeville show which eventually turned into a medicine show. Eva dressed as an Indian Princess and called herself Princess Iola (which was her middle name). During the winter months they played in halls and threatres and in the summer they used a large platform stage with a "runway" on outdoor lots. Billy and his daughter, Billie, did aerial numbers and Billy did juggling acts, escape acts, black face numbers and song and dance. The show included hired acts. Lots of Princess Iola's remedies was sold. Then Eva tried selling cosmetics and the show's name was changed to "Vanity Fair Company". The product was packaged in their hotel rooms.
Provenance:
This collection was donated by Mrs. Billie Plunkett and Mrs. Norman Christiani to Richard W. Flint, Division of Performing Arts (now the Division of Culture and the Arts) in August, 1982.
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.
Photograph album and scrapbooks compiled by Blanch Anderson Kitteredge on Winton Company employees and actvities, as well the Winton and Anderson families of Cleveland, Ohio.
Scope and Contents:
This collection consists of a photograph album and two scrapbooks compiled by Blanch Anderson Kitteredge, wife of Harold B. Anderson, and Lewis Harris Kitteredge. The photographs depict Alexander Winton; employees of the Winton Co. and their families; the Winton touring car; the Winton Bullet No. 2 (including being shipped in 1903 to Ireland for fourth Gordon Bennett Race, views of the car in Ireland, and during the race); other racing cars; family travels; steam yachts; homes; friends and relatives; and leisure activities. The scrapbooks contain programs, ribbons, news clippings, and other ephemera related to leisure activities and life of the Winton and Anderson families in Cleveland from the 1890s to the 1920s.
Biographical / Historical:
Alexander Winton was a builder and driver of early racing cars. His third racing car, called the "Bullet No. 2", was one of the first automobiles to use an 8-cylinder, in-line engine. Winton and Harold B. Anderson, chief engineer of Winton Motor Carriage Company, built this automobile for the fourth Gordon Bennett road race, held in Ireland in 1903. The car was forced
out of the race due to mechanical problems. A good account of the automobile, which is in the Smithsonian's transportation collections, can be seen in Donald H. Berkebile and Smith Hempstone Oliver's book, The Smithsonian Collection of Automobiles and Motorcycles, City of Washington: Smithsonian Institution Press, 1968.
Provenance:
Collection donated by Gretchen Nyland, 1984, October 12, 1984 November 6.
Restrictions:
Collection is open for research. The leather photograph album is in poor and fragile condition. The leather is deteriorated and some of the black paper pages are loose.
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.
National Museum of American History (U.S.). Division of Information, Technology and Society Search this
Container:
Box 17, Folder 1-5
Type:
Archival materials
Collection Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
General Electric Nela Park Collection, dates, Archives Center, National Museum of American History, Smithsonian Institution
National Museum of American History (U.S.). Division of Information, Technology and Society Search this
Container:
Box 17, Folder 6-13
Type:
Archival materials
Collection Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
General Electric Nela Park Collection, dates, Archives Center, National Museum of American History, Smithsonian Institution
National Museum of American History (U.S.). Division of Information, Technology and Society Search this
Container:
Box 18, Folder 1-8
Type:
Archival materials
Collection Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
General Electric Nela Park Collection, dates, Archives Center, National Museum of American History, Smithsonian Institution
National Museum of American History (U.S.). Division of Information, Technology and Society Search this
Container:
Box 19
Type:
Archival materials
Collection Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
General Electric Nela Park Collection, dates, Archives Center, National Museum of American History, Smithsonian Institution
The papers of artist Dixie Selden measure 4.3 linear feet and date from 1837-1936 and 1993-2001. The collection documents the life, world travels, and professional career of the Impressionist painter from Cincinnati, Ohio, through biographical material, correspondence, writings, diaries, printed material, a scrapbook, photographs, artwork, sketchbooks, and artifacts.
Scope and Contents:
The papers of artist Dixie Selden measure 4.3 linear feet and date from 1837-1936 and 1993-2001. The collection documents the life, world travels, and professional career of the Impressionist painter from Cincinnati, Ohio, through biographical material, correspondence, writings, diaries, printed material, a scrapbook, photographs, artwork, sketchbooks, and artifacts.
Correspondence makes up a significant part of the collection and includes frequent letters sent to her parents while traveling abroad. Selden's travels are also documented in seven diaries, with daily descriptions of events and sights, and nine sketchbooks containing pencil and pastel sketches. Printed material makes up another large part of the collection and primarily includes items that document Selden's career and exhibitions, in addition to her frequent travels. Extensive photographs also document her travel, as well as her artwork, friends and family, and portraits of Selden. Artwork includes pencil sketches and prints by Selden and others. The remainder of the collection includes biographical material, writings, a scrapbook, and artifacts.
Arrangement:
The collection is arranged as 10 series
Missing Title
Series 1: Biographical Material, circa 1890s-1930s (0.1 linear foot; Box 1)
Series 2: Correspondence, 1837-1935, 1998 (0.6 linear feet; Box 1)
Series 3: Writings, circa 1890s-1930s (0.1 linear foot; Box 1)
Series 4: Diaries, 1878-circa 1934 (0.2 linear feet; Box 1)
Series 5: Printed Material, circa 1850-1926, 1993-2001 (1.7 linear feet; Box 2, 4, OV 5, OV 7)
Series 6: Scrapbook, circa 1889 (0.1 linear foot; Box 2)
Series 7: Photographs, circa 1860s-1935, 1995 (0.6 linear feet; Box 2-3)
Series 8: Artwork, circa 1900s-1920s (0.3 linear feet; Box 3, OV 6)
Series 9: Sketchbooks, circa 1900s-1931 (0.3 linear feet; Box 3)
Series 10: Artifacts, circa 1890s-1930s (0.3 linear feet; Box 3)
Biographical / Historical:
Dixie Selden (1868-1935) was an American Impressionist painter working in Kentucky and Ohio. Born to wealthy parents in Cincinnati, Ohio, Selden moved with her family to Covington, Kentucky when she was two years old. Her parents, John Roger Selden and Martha Peyton McMillon Selden were active in Cincinnati and Covington social circles and societies. Dixie's parents nurtured her artistic abilities early on, building her a studio, and taking her on two tours of Europe.
Selden studied art at the Art Academy of Cincinnati off and on from 1884, when it was called the McMicken School of Design, until 1912. While there she was a student of Fernand H. Lungren and Frank Duveneck. In 1913, Selden traveled to Venice to study painting with William Merritt Chase. She exhibited regularly in the Midwest, and created a professional career as a portrait and landscape painter.
Selden traveled extensively throughout her life, frequently with her close friend and fellow artist Emma Mendenhall. Her travels to Europe, Mexico, China, Japan, the Middle East, as well as sights across the United States served as inspiration for her art, as she took many photographs, collected postcards, and created sketches and paintings.
Provenance:
The Dixie Selden papers were donated to the Archives of American Art by Marcia Goldman Widenor in 2014. Marcia Widenor's grandfather was married to Minnie Schaffer Goldman, Dixie Selden's first cousin.
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.
