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Robert Guillaume papers

Creator:
Guillaume, Robert  Search this
Names:
Guillaume, Robert  Search this
Extent:
14 Boxes
Type:
Collection descriptions
Archival materials
Postcards
Posters
Certificates
Periodicals
Clippings
Audiotapes
Scripts (documents)
Illustrations
Photographs
Sound recordings
Videotapes
Compact discs
Correspondence
Date:
circa 1960-2000
Summary:
This collection, which dates from circa 1960-2000, documents the career of actor Robert Guillaume. Materials include scripts from various television shows (including Benson, Soap and Sports Night), postcards, promotional material, VHS and Beta tapes, audiocassettes and compact discs, reel-to-reel recordings, certificates, photographs, correspondence, clippings, magazines, illustrations and posters.
Biographical/Historical note:
Robert Guillaume (b. 1927) is an American television and stage actor best known for his Emmy-winning portrayal of Benson Du Bois on the television series Soap and its spin-off Benson. In 1985 he became the first African American to win an Emmy for Outstanding Lead Comedy Actor. Guillaume has also had a distinguished stage career, with roles in Guys and Dolls, Porgy and Bess and the Phantom of the Opera. From 1998-2000, Guillaume also appeared in the short-lived but critically acclaimed TV series Sports Night.
Restrictions:
This collection is located at an off-site storage facility. To access the materials, please contact the archivist at acmarchives@si.edu.
Rights:
Copyright restrictions may apply. Please contact the archivist for further information.
Topic:
African American actors  Search this
Musical performances  Search this
Television programs  Search this
Genre/Form:
Postcards
Posters
Certificates
Periodicals
Clippings
Audiotapes
Scripts (documents)
Illustrations
Photographs
Sound recordings
Videotapes
Compact discs
Correspondence
Citation:
Robert Guillaume papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Robert Guillaume.
Identifier:
ACMA.06-048
See more items in:
Robert Guillaume papers
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_collection:sova-acma-06-048

Go West - Grand Central Terminal Sequence, [script]

Collector:
Marx, Groucho (Julius Henry), 1890-1977 (comedian)  Search this
Names:
Metro-Goldwyn-Mayer Pictures  Search this
Collection Artist:
Benton, Thomas Hart, 1889-1975  Search this
Collection Collector:
Marx, Groucho (Julius Henry), 1890-1977 (comedian)  Search this
Extent:
1 Item (ink on paper., 11.1" x 8.6")
Container:
Box 6, Folder 2
Type:
Archival materials
Scripts (documents)
Date:
May 20, 1940
Scope and Contents:
Property of Loew's Incorporated - Metro-Goldwyn-Mayer Pictures.
Local Numbers:
AC0269-0000009 (AC scan)
Collection Restrictions:
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Reference copies of audiovisual materials must be used. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Topic:
Fan mail  Search this
Motion picture industry  Search this
Comedy  Search this
Genre/Form:
Scripts (documents)
Collection Citation:
Groucho Marx Collection, 1911-1978, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Groucho Marx Collection
Groucho Marx Collection / Series 3: Scripts and Sketches / Go West (Grand Central Terminal sequence)
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0269-ref938

Business Records

Collection Collector:
History of Technology, Division of, NMAH, SI  Search this
Mechanical and Civil Engineering, Division of [former name], NMAH, SI.  Search this
Collection Author:
Garrett, John W. (John Work), 1820-1884  Search this
Latrobe, Benj. H. (Benjamin Henry), 1807-1878  Search this
Collection Creator:
Baltimore and Ohio Railroad Company  Search this
Type:
Archival materials
Date:
1894-1914, undated
Scope and Contents:
Series 5, Business Records, 1894-1914, undated, consists primarily of correspondence, receipts, orders, statements, sketches, and handwritten and typed script documents detailing a variety of topics (legal, construction and financial) associated with the B&O Railroad. The documents are arranged chronologically by year, and many were tri-folded.
Collection Restrictions:
The collection is open for research use. Researchers must handle unprotected photographs and glass plate negatives 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:
Baltimore and Ohio Railroad Records, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1086, Series 5
See more items in:
Baltimore and Ohio Railroad Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1086-ref179

Maryette Charlton papers

Creator:
Charlton, Maryette  Search this
Names:
American University of Beirut -- Faculty  Search this
Art Institute of Chicago -- Faculty  Search this
Chicago Public School Art Society  Search this
Container Corporation of America  Search this
University of Iowa, Museum of Art  Search this
Andres, Jo  Search this
Bishop, Elizabeth, 1911-1979  Search this
Cage, Xenia  Search this
Calder, Alexander, 1898-1976  Search this
Court, Paula  Search this
Elliott, Leone  Search this
Elliott, Owen  Search this
Fujitomi, Yasuo, 1928-  Search this
Habachy, Nimet  Search this
Hadzi, Dimitri, 1921-2006  Search this
Haskins, Sylvia Shaw Judson, 1897-  Search this
Hoff, Margo  Search this
Kiesler, Frederick  Search this
Kiesler, Lillian, 1910?-2001  Search this
Lubar, Cindy  Search this
MacIver, Loren, 1909-  Search this
Matisse, Pierre, 1900-1989  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Nevelson, Louise, 1899-1988  Search this
Purdy, James  Search this
Reynal, Jeanne, 1903-  Search this
Smith, Kiki, 1954-  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Von Brockdorff, Louise Medbery  Search this
Extent:
80.6 Linear feet
0.34 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Date:
circa 1890-2013
Summary:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.
Scope and Contents:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and 0.34 gigabytes and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and video recordings, motion picture film, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

Biographical materials consist of material on Maryette Charlton and her family. The subseries on Maryette Charlton includes a biographical chronology, passports, records of her marriage to Hall Winslow, information on studio spaces, school transcripts, and other material. Family files include genealogical charts and files of family members containing correspondence, writings, printed material, sound and video recordings, and photographs. The bulk of the family files are for Charlton's parents, Etna and Shannon, and her husband and son, Hall and Kirk Winslow.

Extensive correspondence is with family, friends, artists, and colleagues. Family correspondence is with her husband and son, parents, and extended family. Personal correspondence is with friends and colleagues, many of whom were famous artists. Named correspondence files and chonological correspondence files contain exchanges with Jo Andres, Elizabeth Bishop, Xenia Cage, Paula Court, Yasuo Fujitomi, Dimitri Hadzi, Margo Hoff, Sylvia Shaw Judson, Lillian Kiesler, Cindy Lubar, Loren MacIver, Pierre Matisse, Nimet (Saba Habachy), Henri Seyrig, Robert Wilson, and many others. There is also correspondence with colleges, museums, and universities.

Writings include academic papers and college class notes, titled essays, a notebook with sketches, and miscellaneous notes. Thirty diaries cover the period 1943 - 2001 and document a wide variety of topics, from film projects to travels to the art world in New York City. Some diaries are illustrated, including one illustrated by Alexander Calder at a party with Maryette, Ellsworth Kelly, and actress Delphine Seyrig. Journals from 1978-1979 tell of Charlton's experiences while appearing in films made by avant-garde director Richard Foreman. There is also one diary of Maryette's mother Etna Barr Charlton.

Teaching files document Charlton's career as an instructor at the Art Institute of Chicago and as the founder of and instructor at the American University of Beirut's art department. Files include appointment calendars, schedules, notes, lectures, news releases, printed material, and photographs.

Professional and project files consist of material related to Maryette Charlton's professional work at the University of Iowa Museum of Art, as a lecturer at the Chicago Public School Art Society, color analyst at the Container Corporation of America, executor of the estate of artist Louise Medbery von Brockdorff, fellowships, conferences, organizations, and the filming industry in general. There are files for the screening of Zen in Ryoko-In. The University of Iowa Museum of Art subseries consists of correspondence with fellow co-founders Leone and Owen Elliott, files on art donations, museum administration, annual reports, printed material, photographs, and sound and video recordings.

Artist research files consist of books, articles, and clippings collected by Charlton for research. Notable artists chronicled include Alexander Calder, James Purdy, Louise Nevelson, Kiki Smith, and Toshiko Takaezu.

Major film project files document Maryette Charlton's films about or with artists Frederick Kiesler (Trienniale, The Universal Theater and Kiesler on Kieseler), Lenore Tawney, Dorothy Miller, Loren MacIver, and Jeanne Reynal. The files for Frederick Kiesler also contain materials about his wife Lillian Kiesler, with whom Charlton had a long relationship and collaborated with on film projects. Individual film project files contain a wide variety of research and production documentation, including correspondence, writings, printed material, research files, exhibition catalogs, photographic materials, sound recordings of interviews and lectures, and Charlton's documentation about the creation and producation of each film, such as contracts, scripts, and distribution information. The film project files for Kiesler and Dorothy Miller are particularly rich, containing substantial amounts of primary source materials not found elsewhere. Sound and video recordings are found throughout the series, as well as 4 film reels.

Files documenting Maryette Charlton's group and solo exhibitions include catalogs and announcements, publicity, printed material, mailing lists, art inventory, sales lists, correspondence, and other material.

Printed materials include other exhibition catalogs, books, posters, magazines, and clippings. There are many books on color theory from Maryette Charlton's job as a color analyst and substanial printed material on Frederick Kiesler. Scrapbooks document Maryette Charlton's personal life from high school, college, and summer camp, as well as exhibitions of her own work, and miscellaneous subjects.

Artwork includes sketches and drawings by Maryette Charlton, some drawings by Lillian Kiesler and others, and mail art created by various artists. There are also 22 sketchbooks filled with pencil, ink, and crayon drawings and sketches, with occasional annotations.

Photographic materials include photographs, slides, negatives, and photograph albums. There are photographs of Maryette Charlton, her travels, family, friends, and artists. Photographs are also found throughout other series.

Sound and video recordings which could not be merged with other series were arranged in an audiovisual series. There are recordings of radio programs and performances Maryette Charlton attended or participated in as well as miscellaneous recordings of artists and events.

The 2014 addition to the Maryette Charlton papers consists of biographical materials, journals, correspondence, subject files, printed materials, and a small number of photographs.
Arrangement:
This collection is arranged as 16 series.

Series 1: Biographical Material, 1896-2005 (3.4 linear feet; Boxes 1-4, 80)

Series 2: Correspondence, 1930-2010 (23.3 linear feet; Boxes 4-27, 80)

Series 3: Writings, 1942-1999 (1 linear feet; Boxes 27-28)

Series 4: Diaries, 1943-2001 (2.1 linear feet; Boxes 28-30)

Series 5: Teaching Files, 1946-1997 (3.6 linear feet; Boxes 30-33, 80)

Series 6: Professional and Project Files, 1923-1998 (7.6 linear feet; Boxes 34-41, 81, OV 87)

Series 7: Artist Research Files, 1949-circa 2000 (1.8 linear feet; Boxes 41-43, FCs 88-89)

Series 8: Major Film Projects, 1904-2007 (18.8 linear feet, 0.34 GB; Boxes 43-61, 81-82, OV 87, FC 90-91, ER01)

Series 9: Exhibition Files, 1950-2000 (0.8 linear feet; Boxes 61-62)

Series 10: Printed Material, 1924-2000 (3.2 linear feet; Boxes 62-65, 82, OV 87)

Series 11: Scrapbooks, 1939-2010 (0.8 linear feet; Box 65, 82-83)

Series 12: Artwork, 1950-1998 (0.9 linear feet; Boxes 65-66, 84)

Series 13: Sketchbooks, 1949-1996 (0.5 linear feet; Box 66)

Series 14: Photographic Materials, circa 1890-circa 2010 (7.8 linear feet; Boxes 67-74, 84-86)

Series 15: Sound and Video Recordings, circa 1953-2008 (1.2 linear feet; Boxes 74-75, 86)

Series 16: Addition to Maryette Charlton papers, 1951-2013 (3.7 linear feet; Boxes 75-79, 86)
Biographical / Historical:
Maryette Charlton (1924-2013) was a painter, printmaker, photographer, filmmaker and arts advocate based in Chicago, Illinois, and New York, New York.

Maryette Charlton was born in Manchester, Iowa on May 18, 1924. Her parents were Shannon and Etna Charlton and she had 2 siblings. Charlton pursued her undergraduate studies at Monticello College and Northwestern University in Illinois, Antioch College in Ohio, and the University of Colorado before receiving a B.F.A. from Pratt Institute in Brooklyn, New York in 1947. She continued her studies in Chicago, Illinois with Laszlo Moholy-Nagy and Hugo Weber at the Institute of Design and Art Institute of Chicago. From 1948 to 1952, she was a Department of Education lecturer at the Art Institute of Chicago museum galleries and also gave talks at schools for the Chicago Public School Art Society.

Between 1942-1951, Maryette Charlton worked as a color analyst for the Container Corporation of America. In 1952, Charlton founded the Art Department of the American University of Beirut and taught there as an assistant professor until 1956. While in Beirut, Charlton married photographer Hall Winslow in 1953 and their only child Kirk Winslow was born in 1955. Winslow and Charlton later divorced in 1973.

Charlton moved to New York City in 1955. She began a master's program at Columbia University and graduated with a M.F.A in film and printmaking in 1958.

Charlton made numerous documentary films, mostly about American artists including Alexander Calder, e. e. cummings, Jeanne Reynal, Dorothy Miller, Pierre Matisse, Lenore Tawney, and Loren MacIver. She also worked tirelessly to promote the work of sculptor, architect, and set designer Frederick Kiesler. She was the camera woman for Kiesler's Kiesler's Universal Theater which aired on CBS in 1962. She became close friends with Kiesler's widow, Lillian, and they collaborated on the film Kiesler on Kiesler and numerous other film and art projects, supporting the work of young artists. Charlton also worked on commissioned films, including The Mosaics of Jeanne Reynal and Zen in Ryoko-in. Charlton befriended many artists in the visual, literary, and film worlds, including Elizabeth Bishop, Dimitri Hadzi, Margo Hoff, James Purdy, and Delphine Seyrig.

A performer in her own right, Charlton appeared in the works of Richard Foreman, Jo Andres, and others. She also played the part of Helen Keller in the film Ghostlight (2003).

An Iowa native, Charlton founded the University of Iowa Museum of Art together with Leone and Owen Elliott. She maintained a close relationship with the Iowa Museum over many years as a donor and chronicler.

Charlton died in New York City on November 25, 2013.
Related Materials:
The Houghton Library at Harvard University and the University of Iowa Museum of Art also hold papers and artwork by Maryette Charlton. The Museum of Modern Art, New York, houses the film Kiesler on Kiesler, created by Maryette Charlton.

The Archives of American Art also has the papers of Frederick and Lillian Kiesler, a portion of which was donated by Charlton.
Provenance:
The Maryette Charlton papers were donated in multiple accretions from 1998-2011 by Maryette Charlton, and in 2013-2014 by the Maryette Charlton estate via Jo Andres, executor.
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.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Filmmakers -- Illinois -- Chicago  Search this
Photographers -- Illinois -- Chicago  Search this
Art teachers -- New York (State) -- New York  Search this
Art teachers -- Illinois -- Chicago  Search this
Topic:
Filmmakers -- New York (State) -- New York  Search this
Painters -- Illinois -- Chicago  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Printmakers -- Illinois -- Chicago  Search this
Printmakers -- New York (State) -- New York  Search this
Museums -- Administration  Search this
Color  Search this
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Citation:
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.charmary
See more items in:
Maryette Charlton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-charmary
Online Media:

Ruth Bowman papers

Creator:
Bowman, Ruth, 1923-  Search this
Names:
American Association of Museums  Search this
American Federation of Arts  Search this
Brooklyn Museum  Search this
Canadian Museums Association  Search this
Craft and Folk Art Museum  Search this
KUSC (Radio station : Los Angeles, Calif.)  Search this
Long Beach Museum of Art  Search this
Los Angeles County Museum of Art  Search this
Massachusetts Institute of Technology  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New York University  Search this
Newark Museum  Search this
WNYC (Radio station : New York, N.Y.)  Search this
Albers, Josef  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Bengelsdorf, Rosalind, 1916-1979  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Burkhardt, Hans Gustav, 1904-1994  Search this
Cézanne, Paul, 1839-1906  Search this
Diller, Burgoyne, 1906-1965  Search this
Eakins, Thomas, 1844-1916  Search this
Ferren, John, 1905-1970  Search this
Holty, Carl, 1900-1973  Search this
Holtzman, Harry  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, Les, 1935-  Search this
Lipchitz, Jacques, 1891-1973  Search this
MacDonald, Duncan (Broadcaster)  Search this
Mason, Alice Trumbull, 1904-1971  Search this
McNeil, George, 1908-1995  Search this
Morris, George L. K., 1905-1975  Search this
Noguchi, Isamu, 1904-1988  Search this
Picasso, Pablo, 1881-1973  Search this
Reinhardt, Ad, 1913-1967  Search this
Sloan, Helen Farr, 1911-2005  Search this
Wilfred, Thomas, 1889-1968  Search this
Extent:
26.7 Linear feet
21.99 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Sound recordings
Scripts (documents)
Date:
1936-2006
bulk 1963-1999
Summary:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writings and related research materials include her thesis,"Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.
Scope and Contents:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writing and related research materials include her thesis, "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.

Biographical materials consist of certificates, resumes, and a few photographs of Ruth Bowman. Correspondence concerns Bowman's professional activities and interests. Among the most frequent correspondents are: American Association of Museums, Craft and Folk Art Museum (Los Angeles), Massachusetts Institute of Technology, The Metropolitan Museum of Art, and The Museum of Modern Art.

Writings by Ruth Bowman, published and unpublished, include a thesis and articles about Thomas Pollock Anshutz, catalogs for American Federation of Arts and The Newark Museum exhibitions, lectures, as well as articles about museum education and visual arts programs. Research relates to her writings about Anshutz, and to unrealized projects concerning Anshutz, Cézanne, Eakins, Picasso, and other subjects. Also found are two brief writings about Bowman.

Subject files--general subjects, artists' files, Ruth Bowman activities, and "Sunrise Semester"--contain the majority of Bowman's professional correspondence along with printed material, writings, photographs, and sound recordings. Among the most thoroughly documented general subjects are: The Brooklyn Museum's Trustees Retreat, Canadian Museums Association, a 1981 Craft Symposium, International Network for the Arts, Long Beach Museum of Art, Los Angeles County Museum of Art, "Museum Directors' Forum", New York University Art Collection, and Massachusetts Institute of Technology Council for the Arts. Artists' files are comprised mainly of printed material with a small amount of correspondence and some photographs. The Les Levine file consists of the first issue of Art-Rite featuring a brief article about Levine on its cover; Thomas Wilfred's file includes information about Lumia. Ruth Bowman activities include lectures, radio and television appearances, and participation in professional events. "Sunrise Semester," a collaboration between CBS television and New York University, offered early morning courses for college credit. Ruth Bowman was the instructor for "20th Century American Art," which is documented by general information, scripts, and sound recordings of all 46 classes.

Interviews conducted by Bowman are with English museum administrators and educators; people knowledgeable about a controversial proposal for an Annenberg Fine Arts Center at The Metropolitan Museum of Art; guests on KUSC radio shows "Sounds of Seeing" and "Live from Trump's"; and guests on the WNYC radio program "Views on Art." Interviews with miscellaneous individuals include Josef Albers, Hans Burkhardt, Carl Holty, Isamu Noguchi, and Helen Farr Sloan. Bowman interviewed a dozen American abstract artists, including Ilya Bolotowsky, Rosalind Bengelsdorf Browne, Burgoyne Diller, John Ferren, Carl Holty, Harry Holtzman, Ibram Lassaw, Jacques Lipchitz, Alice Mason, George McNeil, George L. K. Morris, and Ad Reinhardt for a thesis on the subject, but eventually wrote on a different topic. Two interviews with Bowman were conducted by Duncan MacDonald and an unidentified interviewer.
Arrangement:
This collection is arranged as 5 series:

Series 1: Biographical Materials, 1964-1984 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1963-1996 (Box 1; 0.7 linear feet)

Series 3: Writings and Related Research, 1942-1999 (Boxes 1-3; 1.5 linear feet)

Series 4: Subject Files, 1936-2006 (Boxes 3-12, 26; 9.6 linear feet)

Series 5: Interviews, 1963-1989 (Boxes 12-25; 9.2 linear feet, ER01-ER70; 21.99 GB)
Biographical / Historical:
Ruth Bowman (b. 1923) is an art historian and museum educator who worked in New York City and Los Angeles. She is known for her interest in using new communications technology for museum education, discovering Arshile Gorky's long forgotten murals at Newark Airport, and expertise in the work of Thomas Anshutz.

A graduate of Bryn Mawr College (B.A. 1944), where she had studied art history and classical archaeology, Ruth Bowman began a museum career in New York as an assistant curator at the Jewish Museum in the early 1960s. From 1963-1974 Ruth Bowman served as curator of the York University Art Collection and was involved in its transition to the Grey Art Gallery and Study Center. Bowman wrote her master's thesis on Philadelphia artist Thomas Pollock Anshutz and received a degree from the Institute of Fine Arts, New York University in 1971. During this same period, she was a staff lecturer at The Museum of Modern Art and taught art history in divisions of New York University. She was the instructor for a "Sunrise Semester" 20th century American art course broadcast nationally on CBS.

In 1974 Bowman and her family moved to California and she began an association with the Los Angeles County Museum of Art as Director of Education. She attended summer courses in arts administration at Harvard University (1975) and similar training provided by the British Arts Council (1976). She taught at University of California Santa Barbara, as well as at California State University at Fullerton and Long Beach. Bowman was active in the Council of the American Association of Museums (vice president), the Craft and Folk Art Museum in Los Angeles (vice president), and has served as a consultant to several museums and a corporate collection.

Ruth Bowman with her friend Harry Kahn (1916-1999) developed a collection of self-portraits by 20th century American artists, which she donated to the National Portrait Gallery in 2002. Mrs. Bowman is the widow of R. Wallace Bowman and currently resides in New York City.
Provenance:
Donated by Ruth Bowman in 2004.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. Contact Reference Services for more information.
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:
Art historians -- California -- Los Angeles  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Art, American -- 20th century  Search this
Genre/Form:
Photographs
Interviews
Sound recordings
Scripts (documents)
Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bowmruth2
See more items in:
Ruth Bowman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bowmruth2
Online Media:

Roger Shimomura papers

Creator:
Shimomura, Roger, 1939-  Search this
Names:
Chin, Frank, 1940-  Search this
Day, Akiko  Search this
Hughes, Jonathan R. T.  Search this
Miller, Wayne  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Scripts (documents)
Date:
1965-1990
Summary:
The papers of painter, printmaker, performance artist, and teacher Roger Shimomura measure 2.6 linear feet and date from 1965 to 1990. Found within the papers are biographical materials, correspondence, writings, notes, printed material, one scrapbook, and photographs.
Scope and Content Note:
The papers of painter, printmaker, performance artist, and teacher Roger Shimomura measure 2.6 linear feet and date from 1965 to 1990. Found within the papers are biographical materials, correspondence, writings, notes, printed material, one scrapbook, and photographs.

Biographical materials include a photograph of Shimomura and a resume. The bulk of the papers consist of correspondence files about exhibitions, grants, performances, lectures, and the Japanese-American redress movement. Correspondence is with friends, colleagues, galleries, and with universities and colleges. Correspondents include Frank Chin, Akiko Day, Jonathan R. T. Hughes, and Wayne Miller. Writings and notes include Shimomura's artist's statement, scripts to four plays, and one folder of miscellaneous notes. The papers also include clippings, exhibition announcements, catalogs and miscellaneous printed material. A scrapbook contains clippings of articles that document Shimomura's career. Photographs are of artwork by other artists.
Arrangement:
The collection is arranged as 6 series:

Series 1: Biographical Material, 1989-1990 (Box 1; 1 folder)

Series 2: Correspondence, 1969-1990 (Boxes 1-3; 2.3 linear feet)

Series 3: Writings and Notes, 1984, 1987-1989 (Box 3; 5 folders)

Series 4: Printed Material, 1975-1990 (Box 4; 0.2 linear feet)

Series 5: Scrapbook, 1975-1989 (Box 4; 1 folder)

Series 6: Photographs, circa 1970s (Box 4; 1 folder)
Biographical Note:
Roger Shimomura (b. 1939) is a Japanese American painter, printmaker, performance artist, and teacher who has worked primarily in Kansas since 1969.

Roger Shimomura was born in 1939 in Seattle, Washington. He was a third generation Japanese-American and received his B.A. in Graphic Design from the University of Washington in 1961, and a M.F.A. in Painting from Syracuse University in 1969. Shimomura spent two childhood years in one of 10 concentration camps for Japanese-Americans during WWII, and later served as an officer in the United States Army from 1962 to 1965. He was active in the Japanese-American redress movement in the 1970s. Since the 1970s, Shimomura's work has combined American popular imagery with the Japanese ukiyo-e tradition.

He has had over 125 solo exhibitions of paintings and prints, as well as presented his experimental theater pieces at such venues as the Franklin Furnace, New York City, Walker Art Center, Minneapolis, and The Smithsonian Institution, Washington, DC. Shimomura has been a visiting artist and lectured on his work at more than 200 universities, art schools, and museums across the country. Shimomura began teaching at the University of Kansas' Department of Art in 1969 and worked there until his retirement in 2004. At that time he started the Shimomura Faculty Research Support Fund, an endowment to foster faculty research in the Department of Art. Throughout his career, Shimomura has had numerous exhibitions and experimental theater pieces on a national level. In 1999, the Seattle Urban League designated a scholarship in his name that has been awarded annually to a Seattle resident pursuing a career in art. In 2002, the College Art Association presented him with the "Artist Award for Most Distinguished Body of Work," for his 4 year, 12-museum national tour of the painting exhibition, "An American Diary." Shimomura continues to live and work in Kansas.
Provenance:
Roger Shimomura donated his papers in 1990, as part of the Archives of American Art's Northwest Asian-American project in Seattle.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painting, Modern -- 20th century -- United States  Search this
Japanese American painting  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945  Search this
Asian American painters  Search this
Asian American printmakers  Search this
Asian American performance artists  Search this
Genre/Form:
Photographs
Scrapbooks
Scripts (documents)
Citation:
Roger Shimomura papers, 1965-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shimroge
See more items in:
Roger Shimomura papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shimroge

Lillian and Frederick Kiesler papers

Creator:
Kiesler, Lillian, 1910?-2001  Search this
Names:
Anthology Film Archives  Search this
Hans Hofmann School of Fine Arts  Search this
John Simon Guggenheim Memorial Foundation  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
University of Iowa, Museum of Art  Search this
Whitney Museum of American Art  Search this
Adnan, Etel  Search this
Andres, Jo  Search this
Arnaud, Leopold, 1895-  Search this
Bartos, Armand P., 1910-  Search this
Bultman, Fritz, 1919-1985  Search this
Buscemi, Steve, 1958-  Search this
Castelli, Leo  Search this
Copley, Alfred L.  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Hawkins, Erick  Search this
Hodges, Alice  Search this
Hofmann, Hans, 1880-1966  Search this
Holtzman, Harry  Search this
Howe, George, 1886-1955  Search this
Kamler, Richard  Search this
Kiesler, Frederick  Search this
MacIver, Loren, 1909-  Search this
Meredith, Burgess, 1907-1997  Search this
Milius, Tom  Search this
Miller, Henry, 1891-  Search this
Mondrian, Piet, 1872-1944  Search this
Montgomery, Chandler  Search this
Owen, Jane Blaffer, 1915-2010  Search this
Purdy, James  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
49.1 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Date:
circa 1910s-2003
bulk 1958-2000
Summary:
The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.
Scope and Content Note:
The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound and video recordings.

Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.

Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.

Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).

Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Massachusetts, as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.

The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Drier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.

Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork.

Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.
Arrangement:
The collection is arranged into two series. Each series is divided into several subseries, with the arrangement described in detail in the series descriptions.

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-55; 41.1 linear feet, ER01; 0.001 GB)

Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)
Biographical Note:
Frederick Kiesler (1890-1965) was a sculptor, architect, set designer, educator, and writer active in New York and Connecticutt. Lillian Kiesler (1911-2001) was a performer, arts educator, and painter married to Frederick Kiesler. She was also active in the administration of the Hans Hofmann School of Fine Arts.

Frederick Kiesler was born in Romania in 1890, although he gave various other dates for his birth and regularly cited Vienna as his birthplace. He arrived in the United States with his wife Steffi in 1926 for the International Theatre Exposition at Steinway Hall in New York City. They stayed in the United States and were granted citizenship in 1936.

Kiesler secured a teaching position at Columbia University's School of Architecture in 1930, and from 1934 through 1957 he was the scenic design director at The Juilliard School of Music. He also lectured at Yale University from 1950-1952. Often labeled a Surrealist, Kiesler's work was experimental and frequently described as ahead of its time. He published, lectured, and participated in numerous exhibitions throughout his career. He is known for his theory of "coreallism;" "The Space House" (1933), a full-scale model of a single family home; an installation designed for Peggy Guggenheim's Art of This Century gallery in 1942; "The Endless House" drawings and model (1950); "The Universal Theatre" (1961) model; and the Shrine of the Book (1965), a building to exhibit the Dead Sea Scrolls in Jerusalem. He died in New York City in December 1965.

Lillian Olinsey met architect and sculptor Frederick Kiesler in 1934. After years of friendship, they were married in 1964, a year and a half before Frederick's death in 1965.

Lillian Kiesler studied art at the Art Students League, Cooper Union, and the Hans Hofmann School of Fine Arts, where she also assisted Hofmann and the school administration. She taught art to children and young adults for twenty years in New York City. From 1945 to 1955, she taught at the Greenwich House Art workshops and the Woodward School, followed by the Brooklyn Museum (1948-1958), Barnard School (1953-1963), New York University School of Education (1955-1966), and Juilliard School of Visual Arts (1963-1965). Lillian was involved in the performing arts and between the late 1970s through the 1990s she performed in New York City with numerous directors, notably Jo Andres, Steve Buscemi, Richard Foreman, John Jesurun, Cindy Lubar, and Tim Miller. She frequently performed with her close friend, painter Maryette Charlton, who was the executor of the Lillian Kiesler estate.

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.
Related Material:
The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.
Separated Material:
Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.
Provenance:
The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculptors -- New York (State) -- New York  Search this
Set Designers -- New York (State) -- New York  Search this
Women artists  Search this
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Exhibition designers  Search this
Art schools -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art schools -- Massachusetts -- Provincetown  Search this
Art patrons -- New York (State) -- New York  Search this
Architects -- New York (State) -- New York  Search this
Actors -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Citation:
Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kieslill
See more items in:
Lillian and Frederick Kiesler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kieslill
Online Media:

Milton Wolf Brown papers

Creator:
Brown, Milton Wolf (Milton Wolf), 1911-1998  Search this
Names:
Archives of American Art  Search this
Armory Show 50th anniversary exhibition (1963 : New York, N.Y.)  Search this
Brooklyn College -- Faculty  Search this
Century Association (New York, N.Y.)  Search this
City University of New York -- Faculty  Search this
Whitney Museum of American Art  Search this
Brown, Blanche  Search this
Lawrence, Jacob, 1917-2000  Search this
Lozowick, Louis, 1892-1973  Search this
Lynes, Russell, 1910-1991  Search this
Meltzoff, Stanley  Search this
Panofsky, Erwin, 1892-1968  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Extent:
26 Linear feet
0.225 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Travel diaries
Articles
Interviews
Essays
Drafts (documents)
Transcripts
Photographs
Notebooks
Lectures
Scripts (documents)
Date:
1908-1998
Summary:
The papers of art historian and educator Milton Wolf Brown date from 1908 to 1998 and measure 26.0 linear feet and 0.225 GB. The collection documents Brown's career through scattered biographical material, correspondence with friends, publishers, colleagues, artists, museums, and art organizations, travel journals, files for the Prendergast Catalogue Raisonne Project, exhibition, research, teaching, and organization files, printed and digital material, and scattered photographs. A large portion of this collection consists of writings by Brown including notebooks, draft writings for books and other publications, lectures, and his writings as a student.
Scope and Content Note:
The papers of art historian and educator Milton Wolf Brown date from 1908 to 1998 and measure 25.8 linear feet and 0.225 GB. The collection documents Brown's career through scattered biographical material, correspondence with friends, publishers, colleagues, artists, museums, and art organizations, travel journals, files for the Prendergast Catalogue Raisonne Project, exhibition, research, teaching, and organization files, printed and digital material, and scattered photographs. A large portion of this collection consists of writings by Brown including notebooks, draft writings for books and other publications, lectures, and his writings as a student.

Biographical material includes academic records, travel documents, financial documents, Brown's military records, and a transcript of a 1997 interview. Correspondence is with students, museums, universities, publishers, art organizations, and others. The bulk of these letters document Brown's professional activities, but also found are scattered letters from friends, artists, and colleagues such as Russell Lynes, Stanley Meltzoff, Louis Lozowick, Erwin Panofsky, and Paul Sachs.

This collection also contains 33 detailed travel journals written primarily by Milton Brown's wife, Blanche, documenting their travels in Europe, the United States, and other parts of the world. Within the writings series are notebooks from the period that Brown was a student and while traveling in Europe in 1959 and 1960; book project files, which include draft writings as well as related correspondence, research material, notes, photographs and other material. Files are found for American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography (1979), American Painting, From the Armory Show to the Depression (1955), The Story of the Armory Show (1963, 1988 2nd ed.), and other books. Among the writings are files for lectures written by Brown; essays, articles, and scripts written for various publications; general research notes and student writings; and writings by others sent to Brown for review and feedback.

Brown maintained a set of files documenting his work on the Prendergast Catalogue Raisonne Project, which consist of correspondence, drafts, reports, and research materials, including notes on twenty meetings with Mrs. Prendergast. Exhibition files document Brown's work as curator on several major exhibitions, including a Jacob Lawrence exhibition at the Whitney Museum, and his contributions to others. Also found here are three interviews of Milton Brown and Marcel Duchamp concerning the 50th Anniversary of the Armory Show and anniversary exhibition. Research files include notes, research material, and printed material on various art-related subjects that were maintained by Milton and Blanche Brown for regular use for lectures, teaching, and writing projects. Brown's teaching files contain scattered lecture notes, syllabi, correspondence, faculty records, and other materials from his time at CUNY, Brooklyn College, and other visiting professorships. Organization Files contain correspondence, reports, planning documents, and event materials. These records document his membership or advisory role in various organizations such as the Archives of American Art and Century Association.

This collection also contains printed material, such as exhibition announcements, newsletters, brochures, journals, event programs, and magazine and newspapers clippings compiled by Brown. Scattered photographs include nine photographs of Milton Brown, a few photographs of friends, and photographs of artwork.
Arrangement:
The collection is arranged as 11 series:

Series 1: Biographical Material, circa 1932-1998 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1908, 1934-1998 (Boxes 1-3; 1.8 linear feet)

Series 3: Travel Journals, 1941-1996 (Boxes 3-4; 1.6 linear feet)

Series 4: Writings, circa 1929-1990s (Boxes 4-13, 25; 8.7 linear feet)

Series 5: Prendergast Catalogue Raisonne Project, circa 1952-1990 (Boxes 13-14, 25; 1.8 linear feet)

Series 6: Exhibition Files, 1962-circa 1997 (Boxes 14-16, 28; 2.0 linear feet, ER01; 0.225 GB)

Series 7: Research Files, circa 1930s-1986 (Boxes 16-19; 3.0 linear feet)

Series 8: Teaching Files, circa 1946-1993 (Boxes 19-21; 2.0 linear feet)

Series 9: Organization Files, 1959-1995 (Boxes 21-22; 1.3 linear feet)

Series 10: Printed Material, 1925-1990s (Boxes 22-24, 26, 27; 3.2 linear feet)

Series 11: Photographs, circa 1956-1990s (Boxes 25, 27; 0.2 linear feet)
Biographical Note:
Milton Wolf Brown (1911-1998) was an art historian and educator in New York City.

Known to his friends as "Mainey," Brown was born in Brooklyn, New York, in 1911. At a young age he intended to be a painter and studied with Louis Lozowick. However, instead of attending art school, he entered New York University to study education and eventually received his master's and doctorate in art history from the Institute of Fine Arts. While there he took courses with Walter Friedlander, Erwin Panofsky, and Mayer Schapiro. He also received fellowships to the Courtauld Institute of Art in 1934 and Brussels in 1937, and studied from 1938-1939 at the Fogg Art Museum at Harvard University. In 1938 he married fellow student Blanche Levine. After serving in World War II, he began teaching in the art department at Brooklyn College in 1946. There he developed a specialization in American art history and his doctoral dissertation, American Painting from the Armory Show to the Depression, was published in 1955. In 1963 he participated in the fiftieth anniversary exhibition of the 1913 Armory Show. The publication of his book Story of the Armory Show coincided with this event.

In 1971 Brown established the graduate program in Art History at the City University of New York, which became preeminent in the areas of modern art and American art history. During the 1980s he remained a resident professor at CUNY, though he retired in 1979, and he held visiting professorships at Hebrew University in Jerusalem and the Center for Advanced Study in the Visual Arts at the National Gallery of Art. From 1983 to 1987 he had a senior fellowship at Williams College for the Prendergast Catalogue Raisonne Project.

Over the course of his career Brown curated exhibitions, including an exhibition on the works of Jacob Lawrence and The Modern Spirit: American Painting and Photography, 1908-1935, and wrote for numerous publications. He also served as an active member of several professional societies. Brown was close friends with art scholars and artists, such as Jack Levine, Moses and Raphael Soyer, Ad Reinhardt, and Paul Strand. In 1991 he returned to painting landscape watercolors, and had the opportunity to exhibit his work before his death in 1998.
Related Material:
Also at the Archives of American Art is an oral history interview with Milton Wolf Brown, conducted in 1976 by Paul Cummings.
Provenance:
The Milton Wolf Brown papers were donated in 2000 and 2001 by Blanche R. Brown, Brown's widow. Three reel-to reel sound recordings were lent for duplication to cassette and transcript in 1986 by Milton Brown. A cassette copy of the Martha Deane interview was donated in 2006 by Milton Brown's estate, via Naomi Rosenblum. Additional material was donated in 2002 and 2004 by Naomi Rosenblum, executor for the estate of Blanche R. Brown, who died in 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Art, American History Sources  Search this
Genre/Form:
Travel diaries
Articles
Interviews
Essays
Drafts (documents)
Transcripts
Photographs
Notebooks
Lectures
Scripts (documents)
Citation:
Milton Wolf Brown papers, 1908-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.browmilt
See more items in:
Milton Wolf Brown papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-browmilt

Thomas Currier Vaudeville Collection

Creator:
Currier, Thomas, 1906-1986  Search this
Currier, Terrence P.  Search this
Granville, Bonita  Search this
Warner, H.B.  Search this
Names:
Ryan, Irene  Search this
Zides, Max  Search this
Extent:
0.5 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Programs
Motion pictures (visual works)
Correspondence
Clippings
Scrapbooks
Scripts (documents)
Date:
1928-1986.
Summary:
Thomas Currier (1906-1986) and his partner Max Zides (1904-1975) formed the radio, vaudeville, night club and television song and patter duo known as Hum (Zides) and Strum (Currier). The collection documents the career of Currier and Zides as Hum and Strum.
Scope and Contents note:
This collection of memorabilia documents the career of Thomas C. Currier, known as Strum in the radio duo Hum and Strum. The collection is arranged chronologically and is comprised predominately of publicity photographs, news clippings, radio programs, and minimal correspondence (three items). There are autographed photographs of vaudeville performers including one of a young Irene Noblette Ryan who in her later career appeared as Granny on the CBS television program, The Beverly Hillbillies. There is an autographed photograph of former Speaker of the House of Representatives, United States Congress, Tip O'Neill. A scrapbook documenting Currier's career, started and kept by his wife Helen, includes news clippings, ticket stubs, and one photograph. There is a script of the radio drama Hitler's Children (1943); it is autographed by Bonita Granville and H.B. Warner on the reverse of page twenty-two. A theatre program from the Maine Civic Theatre is autographed by actor Michael Whalen. There are two magazines: Radio and Television Mirror, and TV Radio Mirror. There is one reel of 16mm film featuring Hum and Strum. There are a few news articles featuring Thomas's sons, Tommy and Terrance.
Arrangement:
The collection is aranged into one series.

Series 1: Memorabilia, 1928-1986
Biographical/Historical note:
Thomas C. Currier was born July 27, 1906, in Boston, Massachusetts. He attended the High School of Commerce in Boston. Currier reportedly met Max Zides in a music publisher's office. They formed their act, Hum and Strum, in 1924 singing standards and comedy songs while playing ukulele and piano. They performed on the radio, initially WGI in Medford Hillside, Massachusetts, and later WBZ in Boston. By 1928 they were one of the acts featured in the catalogue of the White Entertainment Bureau billed as The Hum and Strum Boys. In a 1929 listeners' poll they were rated third behind radio personalities Rudy Vallee and Amos 'n Andy. They were featured with Guy Lombardo and the Royal Canadians, Glenn Miller's Orchestra and others.

Currier and Zides moved into vaudeville performing on the bill at the Boston Lowe's State Theater, The Orpheum and eventually the famed Palace Theater on Time's Square in New York City. In 1928 they toured the RKO vaudeville circuit through the United States and Canada with Mildred Hunt, star of Roxie's Gang. The act continued working in radio, both in Boston and nationally, over the National Broadcasting Company (NBC) network. They were credited as the first team to use a public address system. They are cited as having mentored George Burns and Gracie Allen and comedian Phil Silvers and they have been credited as the inventors of the "jingle" or singing commercial. They performed radio commercials for such varied products as Marshmallow Fluff and Sieberling Tires. The duo occasionally appeared as the Oxiton Twins, Oxi and Ton, twin clowns promoting Oxiton, a patent medicine for sore gums and mouth.

Currier and Zides moved to Cleveland, Ohio in 1933-1934 and continued their radio career on station WATM. During World War II, they entertained troops overseas with the United Service Organization (USO). They performed many benefits and charity functions during their career. In 1947, the duo began their work in television with the DuMont network in New York City. They also appeared on WBZ-TV in Boston. By 1955 they were doing eight television shows a week on WJAR-TV in Providence, Rhode Island. They had their own music show and appeared on Breakfast at the Sheraton, Tip Top Circus, and Weekend in New England. The act lasted thirty-five years until 1958. They reunited briefly in 1959 in Ft. Lauderdale, Florida, where both had moved their families to retire. Zides then returned to Brookline, Massachusetts, ending their career for good. Currier continued performing as a solo act.

Currier was Roman Catholic and Max Zides was Jewish, and when asked about their pairing in 1955, Currier replied, "We believe that racial and religious hatreds are the dark glasses of the soul that blot a man's vision and make him unable to see character and vision in others."

Currier married Helen Mary Egan and had two children: Thomas C. Currier and Terrence P. Currier. His son Terrence became a professional actor. Currier lived in both the Hough's Neck and Merrymount areas of Quincy and later in Braintree, Massachusetts. The elder Currier moved to Ft. Lauderdale during his retirement and later moved to Reston, Virginia to be near family. Max Zides died in Boston in February 1975. Thomas Currier died on July 2, 1986 in Fairfax, Virginia, and was buried in Braintree, Massachusetts.
Provenance:
Collection donated in 2007 by Thomas Currier's son, Terrence P. Currier.
Restrictions:
Collection is open for research but one film is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Vaudeville  Search this
Genre/Form:
Programs
Motion pictures (visual works) -- 20th century
Correspondence -- 20th century
Clippings
Scrapbooks -- 20th century
Scripts (documents)
Citation:
Thomas Currier Vaudeville Collection, 1928-1986, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1120
See more items in:
Thomas Currier Vaudeville Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1120
Online Media:

Luther Davis Papers

Creator:
Davis, Luther  Search this
Davis, Joan Bassie  Search this
Extent:
14 Cubic feet (40 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Videotapes
Audiotapes
Awards
Programs
Screenplays
Scripts (documents)
Theater programs
Date:
1916-2007, undated
bulk 1936-2007
Summary:
Luther Davis (1916-2008) was an awarding winning writer, playwright and screenwriter. He won a Antoinette Perry (Tony) Award in 1954 for the musical Kismet. He was the playwright for Lady in a Cage, and Grand Hotel and many other productions.
Scope and Contents:
This collection contains scripts, screenplays, and teleplays written by Luther Davis for the stage, screen, and television with related documents. Also included are writings for publications, business papers, and personal papers and photographs.

Series 1, Articles and Fiction, 1936-1946, 2003. This series consists of articles and stories written for magazines, published and unpublished. This series is divided into two subseries:

Subseries 1, Articles and Non-Fiction, 1936-1946 and 2003. Articles published in magazines or other publications and unpublished manuscripts.

Subseries 2, Fiction, 1936-1940s and undated. Stories published in magazines and unpublished manuscripts.

Series 2, Works for Film, 1946-2003. This series consists of treatments, scripts and screenplays for films, produced and unproduced. This series is divided into two subseries:

Subseries 1, Screenplays, Produced, 1946-1972. Drafts and scripts for films produced and materials relating to their production such as advertising and reviews. Photographs for several films are also included and copies of novels used as sources.

Subseries 2, Screenplays, Unproduced, 1940s-2003. Drafts and scripts developed but unproduced and research materials for these projects.

Series 3, Works for the Theater, 1944-2007. This series consists of scripts for stage plays and musicals, produced and unproduced. This series is divided into two subseries:

Subseries 1, Theatrical Productions, 1944-2004. Scripts and other materials related to those productions. These include documents relating to adapting, financing, and promotion of the productions, as well as source materials, photographs, and reviews. Some materials relate to productions in foreign countries.

Subseries 2, Theatrical Works, Unproduced, 1937-2007. Scripts and partial scripts, ideas, outlines and research materials for these projects.

Series 4, Works for Television, 1956-1997. This series consists of scripts for television programs, produced and unproduced. This series is divided into two subseries:

Subseries 1, Television Productions, 1960-1971. Scripts and other materials related to these productions. Subseries 2, Works for Television, Unproduced, 1956-1997. Scripts and partial scripts, ideas, outlines and research materials.

Series 5, Business and Personal Records, 1916-2007. This series consists of two subseries:

Subseries 1, Business Records, 1941-2006. Correspondence, news clippings, awards, general casting research and story research materials.

Subseries 2, Personal Records, 1916-2007. Documents, scrapbook pages, military records, news clippings, photographs, correspondence, miscellaneous personal items.

Series 6, Works by Others, 1939-1979. This series consists of stories and scripts written by others.

Series 7, Audio-Visual Materials, 1976-1991, undated. This series consists of two subseries:

Subseries 1, Audio Materials, 1976-1991, undated. Audio cassettes for Timbuktu! and Grand Hotel stage productions. Radio interviews with Davis and others.

Subseries 2, Video Materials, 1979-1990, undated. Video cassettes for Timbuktu!, 1990 Tony Awards, and film Daughter of the Mind.
Arrangement:
The collection is arranged into seven series.

Series 1, Articles and Fiction, 1936-2003, undated

Subseries 1.1, Articles and Non-Fiction, 1936-2003

Subseries 1.2, Fiction, 1936-1940s, undated

Series 2, Works for Film, 1946-2003

Subseries 2.1, Screenplays, Produced, 1946-1972

Subseries 2.2, Screenplays, Unproduced, 1940s-2003

Series 3, Works for the Theater, 1944-2007

Subseries 3.1, Theatrical Productions, 1944-2004

Subseries 3.2, Theatrical Works, Unproduced, 1937-2007

Series 4, Works for Television, 1956-1997

Subseries 4.1, Television Productions, 1960-1971

Subseries 4.2, Works for Television, Unproduced, 1956-1997

Series 5, Business and Personal Records, 1916-2007

Subseries 5.1, Business Records, 1941-2006

Subseries 5.2, Personal Records, 1916-2007

Series 6, Works by Others, 1939-1979

Series 7, Audio-Visual Materials, 1976-1991, undated

Subseries 7.1, Audio Materials, 1976-1991, undated

Subseries 7.2, Video Materials, 1979-1990, undated
Biographical / Historical:
Luther Berryhill Davis was born in Brooklyn, New York on August 29, 1916. He attended Culver Military Academy, graduating in 1934. At Yale University he was a member of the Yale Literary Society and contributed stories and essays to the Yale Literary Magazine. While at Yale, he began writing plays and musicals and his work in these fields would define his long and successful career. Following his graduation he wrote articles on entertainment figures for Colliers and other publications until his enlistment as captain in the Army Air Corps. While serving, he wrote a breezy column for the service publication C.B.I. Roundup and covered aviation subjects for Air Force magazine for the duration of the war. He was promoted to the rank of major before his demobilization in 1945.

Returning to civilian life, Davis embarked upon a career as a writer for the stage, screen, and television that would continue for more than six decades. In the autumn of 1945, Davis's play Kiss Them for Me, adapted from a Frederic Wakeman novel, opened on Broadway and was adapted for film in 1955. In 1947 he wrote the screenplay for The Hucksters (also by Wakeman), starring Clark Gable. He worked as a screenwriter well into the 1980s.

Davis collaborated with Charles Lederer, Robert Wright, and George Forrest on the book and libretto for Kismet, an adaptation of Edward Knoblock's 1911 play. Kismet featured music based on the works of Alexander Borodin and won the Tony award for Best Musical in 1954. It was made into a film directed by Vincente Minnelli in 1955. In 1978, Davis produced a further adaptation titled Timbuktu! that was notable for its use of African themes and locales. Its cast included Eartha Kitt and Melba Moore, and it was choreographed by Geoffrey Holder. Timbuktu! was nominated for six Tonys, including one for Davis's script.

In 1956, Davis and partners Wright and Forrest purchased the rights to Vicki Baum's novel Menschhen in Hotel. The novel had been the source for Metro-Goldwyn-Mayer's (MGM) 1931 film, Grand Hotel. In 1958, Davis adapted the story for At the Grand, a production of the Los Angeles Civic Light Opera. Thirty-one years, and numerous revisions, later it opened on Broadway in 1989 as Grand Hotel, the Musical. Directed by Tommy Tune, it ran until 1992. In 1990, the show was nominated for twelve Tony awards and won six.

As a producer, Davis and partners brought the World War I drama Not About Heroes to Broadway with stars Edward Hermann and Dylan Baker in 1981. He also co-produced Eden Court off-Broadway with Ellen Barkin and Melanie Griffith in 1985.

Davis continued his work in film as writer and producer, most notably with his controversial film Lady in a Cage, a 1964 study of modern violence starring Olivia de Havilland. Other film scripts, such as A Lion is in the Streets (1953) and Across 110th Street (1972), also explored gritty, contemporary themes. These were a marked contrast to the wry comedy of some of his earlier screenplays.

As a writer for television, Davis's work earned him recognition from the Writer's Guild of America and Mystery Writers of America. Most of his television work was produced in the 1960s, including episodes for the series "Run for Your Life" and "Kraft Suspense Theater." He authored several movies for television, including Arsenic and Old Lace in 1968. His other works for television included comedies, dramas, mysteries and thrillers.

In his lengthy career, Luther Davis earned success because of both his talent and his extraordinary determination and energy. His papers include not only his works produced for film, stage, and television but an equal, if not greater number, of works never seen by audiences.

His tireless efforts with these projects, as well as the many that reached fruition, indicate a willingness to persevere that is essential to success; in 2007, when he was ninety-one years old, he wrote a treatment for a stage musical based on Princess of Mars by Edgar Rice Burroughs. Luther Davis died in 2008.
Provenance:
Donated to the Archives Center in 2009 by Davis's widow, Joan Bassie Davis.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Dramatists  Search this
Topic:
Motion pictures  Search this
Screenwriters  Search this
Television  Search this
Television writers  Search this
Genre/Form:
Videotapes
Audiotapes
Awards
Programs
Screenplays
Scripts (documents)
Theater programs
Citation:
Luther Davis Papers, 1916-2007, undated, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1148
See more items in:
Luther Davis Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1148
Online Media:

Lee Ya-Ching Papers

Creator:
Ya-Ching, Lee  Search this
Extent:
11.9 Cubic feet (22 boxes)
Type:
Collection descriptions
Archival materials
Scripts (documents)
Photographs
Maps
Scrapbooks
Date:
1938-1970
Summary:
This collection consists of 11.9 cubic feet of material chronicling Lee Ya-Ching's role as a pilot trying to raise funds for China during World War II. The collection contains the following types of material: correspondence, both official and personal; maps; publications; newspapers; invitation; programs from events; lecture notes; scripts from radio shows; photographs, both official and snapshots; trip schedules and agendas; address books; scrapbooks; and official paperwork and licenses.
Scope and Content note:
This collection consists of 11.9 cubic feet of material chronicling Lee Ya-Ching's role as a pilot trying to raise funds for China during World War II. The collection contains the following types of material: correspondence, both official and personal; maps; publications; newspapers; invitations; programs from events; lecture notes; scripts from radio shows; photographs, both official and snapshots; trip schedules and agendas; address books; scrapbooks; and official paperwork and licenses.

Note: The digital images shown for this collection were repurposed from scans made by an outside contractor for a commercial product which did not reproduce all materials found in this collection; some items have not been scanned. In addition, some materials have been excluded from display due to copyright, trademark, or patent restrictions.
Arrangement:
This collection of materials listed in the finding aid is arranged into two series, Ms Lee's personal papers and her professional papers. Within each series, items are arranged by material type then chronologically. No attempt was made to translate foreign language material in the collection.
Biographical/Historical note:
Lee Ya-Ching was born in Canton, China in 1912. As an only child who lost her mother at a young age, Ya-Ching was raised by her father and grandmother. Under her father's guidance she learned many skills, including martial arts, some previously restricted to male children. Ya-Ching attended English schools in Hong Kong and Shanghai and at the age of 16 was sent to London to attend finishing school.

In 1929 at the age of 17, Ya-Ching went to Geneva, Switzerland. It is there that she took her first ride in an airplane and vowed to learn how to fly. She enrolled in Ecole Aero Club de Suisse and, in 1934, became the first woman to receive a pilot's license from the school. Determined to continue her education, Ya-Ching went to the United States and attended the Boeing School of Aeronautics in Oakland, California in 1935. In November of that year she became the first woman licensed through the Boeing School. Upon completion of her training at the Boeing school Ya-Ching returned to China and began campaigning for a Chinese pilot's license, eventually obtaining the license in 1936. Seeing a need to train new pilots, Ya-Ching and some fellow pilots opened a civilian flying school in Shanghai in 1936.

When Japan invaded China in 1937, Ya-Ching volunteered to fly for her country, but was refused. Undeterred, she served her country by establishing hospitals. Leaving Shanghai for Hong Kong just before the city fell, she was finally given the opportunity to fly for China by piloting Red Cross planes ferrying supplies from Hong Kong to Canton. Realizing that China needed aid and supplies, Ya-Ching embarked on a Goodwill Tour of the United States and Canada in 1938. When the war prevented her return to China, Ya-Ching continued the tour expanding her appearances into South America.

Not much is known of Ya-Ching's life after the war. She returned to Hong Kong for a number of years. In the 1960's she returned to California, where she died in 1998 at the age of 86.

Time Line of Lee Ya-Ching

xxxx -- The following timeline covers key events in Ya-Ching's life, as well world events. Events involving Ya-Ching are shown in normal type world events are shown in italics.

1909 -- M. Vallon flies first plane in China

1911 -- China ousts the 2000 year old Imperial System for a Republic

April 16, 1912 -- Lee Ya-Ching is born in Canton, China

1916 -- Ya-Ching's mother dies of tuberculosis

1917 -- China enters World War 1 on the side of the Allies

1926 -- Begins career as a movie actress

1928 -- Leaves the film industry and goes to school in England

1929 -- The CCP (Chinese Communist Party) is ousted from China Goes to Switzerland

September 1931 -- Japan seizes control of Manchuria

November 1931 -- CCP resurfaces in China and forms the Chinese Soviet Republic in Jiangxi Province

May 1932 -- Amelia Earhart becomes first woman to solo across the Atlantic

1933 -- Begins flying lessons at Geneva's Cointrin-Ecole d'Aviation

1934 -- Receives her pilot's license from Ecole Aéro Club de Suisse

1935 -- Attends and receives license from the Boeing School of Aeronautics in Oakland, California

1935 -- Falls out of an aerobatic plane, earning her membership in the Caterpillar Club

1936 -- Receives her pilot's license from the Chinese Government First domestic airline established in China Opens a civilian flying school in Shanghai

1937 -- Flies for the Red Cross ferrying supplies from Hong Kong to Canton Japan invades China Earns Hong Kong commercial pilot's license Helps establish hospitals in Shanghai

1938 -- Begins goodwill tour of United States and Canada

1939 -- Appears in US film Disputed Passage with Dorothy Lamour

1940 -- Flies "Estrella China" to Caribbean, Central and South America Aids Ruth Nichols in raising money for Relief Wings

1941 -- Begins working for United China Relief

December 7, 1941 -- Bombing of Pearl Harbor forces American entry into World War II

1944 -- Begins Goodwill and Fund Raising tour of South America and Caribbean

August 1945 -- Atom bombs dropped on Hiroshima and Nagasaki, followed by Japanese surrender and end of World War II

1946 -- Returns to China and retires

1946 -- Fighting between CCP and KMT (Nationalist party) resumes

October 1949 -- KMT retreats to Taiwan Mao Zedong establishes the People's Republic of China

1950 -- Receives Hong Kong private pilot's license

1963 -- Receives Hong Kong Special Purpose Pilot's license

1971 -- Permanently moves to the United States

1997 -- British rule ends in Hong Kong

January 28, 1998 -- Dies at the age of 86
Provenance:
Pax Cheng and Mary Wolfson, Gift, 2007, NASM.2008.0009.
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Topic:
World War, 1939-1945 -- Civilian relief  Search this
Aeronautics  Search this
World War, 1939-1945 -- China  Search this
Aeronautics -- Exhibitions  Search this
Women air pilots  Search this
World War, 1939-1945  Search this
Genre/Form:
Scripts (documents)
Photographs
Maps
Scrapbooks
Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2008.0009
See more items in:
Lee Ya-Ching Papers
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2008-0009
Online Media:

Growing Up With Rockets Collection

Creator:
Vanguard Productions  Search this
Yasecko, Nancy  Search this
Names:
John F. Kennedy Space Center  Search this
Extent:
13 Cubic feet (6 boxes)
86 Sound tape reels (5" Open Reels)
2 videodiscs (dvd) (Total runtime of 1:13:21)
43 Video recordings (Total runtime of 33:14:55)
1 electronic discs (cd)
25 Sound cassettes
145 Film reels (143 16mm film reels - runtime of 40:24:65 2 35mm film reels - runtime of 58:23)
Type:
Collection descriptions
Archival materials
Sound tape reels
Videodiscs (dvd)
Video recordings
Electronic discs (cd)
Sound cassettes
Film reels
Motion pictures (visual works)
Movie scripts
Transcripts
Audiotapes
Videotapes
Clippings
Scripts (documents)
Date:
1957-2011
bulk 1980-1990
Summary:
The documentary film Growing Up With Rockets, produced by Vanguard Productions and Nancy Yasecko and released in 1984, is the story and personal reminiscences of the children, now grown, of those who worked at Cape Canaveral. The film discusses the Bumper Project (using captured V-2 missiles after World War II); Sputnik; the Cuban Missile Crisis; the Mercury, Gemini, and Apollo programs; and ends with the first flight of Space Shuttle Columbia (OV-102) in 1981. Nancy Yasecko offers first person commentary with rare archival film, newsreels, excerpts from NASA promotional films, home movies and contemporary footage.

In 1990, under the auspices of Citizen Exchange Council (CEC), a NY-based Soviet-American exchange organization, Growing Up With Rockets was included in the American Documentary Showcase. The Showcase was the first uncensored collection of American documentary films ever to reach general audiences across the USSR.
Scope and Contents:
This collection consists of approximately thirteen cubic feet of material related to the production and marketing of the documentary film Growing Up With Rockets including audio tapes; motion picture film and video recordings, scripts, post-production notes, reference material, correspondence, financial information, interview transcripts, news clippings, information regarding distribution contracts, event programs, photographs, and project descriptions and flowcharts.

The researcher should note that the collection also contains 16mm film and rollettes, U-Matic cassettes, VHS tapes, 1 inch videotape, 3/4 inch videotape, and DVD. There are 191 motion picture items totaling 75:51:35. Audio tape formats include compact disc; 1/4 inch reel to reel; audio cassettes; and records in various sizes. There are 128 audio items in total. These items are not included in the container list but a NASM Archives staff person can assist you regarding access.
Arrangement:
Organized into 6 series:

Series 1: Production

Series 2: Events

Series 3: Publicity

Series 4: Reference

Series 5: Other

Series 6: Oversize

This collection was arranged at the time of processing to better reflect its main areas of subject matter. Within series, file units were placed in chronological order with undated material placed at the end of the series. Original folder titles were kept. Archivist's description appears below folder titles.
Biographical / Historical:
Nancy Yasecko is a media artist and educator who grew up and is still living on the Space Coast of Florida. She graduated from Cocoa Beach High School in 1972,and received her B.A. from the University of South Florida in 1975, and her M.A. in Instructional Technology from the University of Central Florida 1997.

Nancy Yasecko is also the proprietor of Vanguard Productions, located on Merritt Island, FL, a producer of film and video for PBS broadcast and non-profit and governmental organizations.

Her film Growing Up with Rockets was included with the first group of US documentaries to be screened in the former Soviet Union in the American Documentary Showcase, Glastnost Tour 1990.
Provenance:
Nancy Yasecko, Vanguard Productions, gift, 2012
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Topic:
Photographs  Search this
Astronautics  Search this
Rocketry  Search this
Documentary films  Search this
Space vehicles  Search this
Manned space flight  Search this
Genre/Form:
Motion pictures (visual works)
Movie scripts
Transcripts
Audiotapes
Videotapes
Clippings
Scripts (documents)
Citation:
Growing Up With Rockets Collection, Acc. 2012-0024, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2012.0024
See more items in:
Growing Up With Rockets Collection
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2012-0024
Online Media:

Exhibition Records

Creator::
National Museum of American History. Division of Electricity and Modern Physics  Search this
Extent:
2 cu. ft. (2 record storage boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Clippings
Floor plans
Black-and-white photographs
Date:
circa 1981-1982
Descriptive Entry:
Materials include correspondence and memoranda between Molella and historical societies, museums, and NMAH departments and divisions pertaining to the development of the exhibition. Also included are exhibition scripts documenting the early political years of Roosevelt and his presidency, especially emphasizing his skillful use of radio and the fireside chats during the 1930s and 1940s; exhibition blueprints and floor plans; research notes, particularly about the history of radio technology; exhibit proposals; minutes of meetings; photocopies of articles on Roosevelt radio programs and New Deal-era murals; symposium literature; photographs; and newspaper clippings concerning exhibition reviews.
Historical Note:
On January 30, 1982, the National Museum of American History (NMAH) mounted FDR: The Intimate Presidency, a major exhibition recounting Roosevelt's relationship with the American people through mass media, particularly radio broadcasting. The exhibition was created to commemorate the one-hundredth anniversary of Roosevelt's birth. Arthur P. Molella, Curator of the Division of Electricity and Modern Physics, oversaw organization of the exhibition and was involved with research, catalog publication, and symposia. When the exhibition closed on August 1, 1982, it toured under the auspices of the Smithsonian Institution Traveling Exhibition Service.
Topic:
Museum exhibits  Search this
Anniversaries  Search this
New Deal, 1933-1939  Search this
Electricity -- History  Search this
Physics -- History  Search this
Genre/Form:
Manuscripts
Clippings
Floor plans
Black-and-white photographs
Citation:
Smithsonian Institution Archives, Record Unit 376, National Museum of American History. Division of Electricity and Modern Physics, Exhibition Records
Identifier:
Record Unit 376
See more items in:
Exhibition Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0376

Through their eyes: the art of Lou and Di Stovall exhibition records

Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Anacostia Neighborhood Museum  Search this
Fralin, Frances  Search this
Gilliam, Sam, 1933-  Search this
Livingston, Jane  Search this
Stovall, Di Bagley  Search this
Stovall, Di Bagley  Search this
Stovall, Lou  Search this
Stovall, Lou  Search this
Extent:
1.42 Linear feet (2 boxes)
Culture:
African American  Search this
Type:
Collection descriptions
Archival materials
Sound recordings
Scripts (documents)
Brochures
Correspondence
Contact sheets
Video recordings
Exhibition records
Photographic prints
Exhibit scripts
Place:
Washington (D.C.)
Washington (D.C.)
Date:
1983-09-18 - 1983-12-18
Summary:
An exhibition featuring the works of artists Lou and Di Stovall organized by the Anacostia Neighborhood Museum and held there from September 18 --December 18, 1983. These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, research files, exhibit scripts, administrative records, brochures, press coverage, education packets, loan agreements, floor plans, and catalogues.
Related Archival Materials note:
Audiovisual materials created for the exhibition by Anacostia Community Museum.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Occupation:
Artists  Search this
Artists  Search this
Topic:
Printmakers  Search this
Printmakers  Search this
Museum exhibits  Search this
Museum exhibits  Search this
Art -- Exhibitions  Search this
Genre/Form:
Sound recordings
Scripts (documents)
Brochures
Correspondence
Contact sheets
Video recordings
Exhibition records -- 1967-1989
Photographic prints
Exhibit scripts
Citation:
Through their eyes: the art of Lou and Di Stovall exhibition records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-001
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_collection:sova-acma-03-001

Joel Banow Collection

Creator:
Banow, Joel  Search this
Names:
CBS  Search this
National Aeronautics and Space Administration  Search this
Project Apollo (U.S.)  Search this
Project Apollo (U.S.). Apollo 11  Search this
Banow, Joel  Search this
Extent:
1.92 Cubic feet ((1 records center box) (1 flatbox))
Type:
Collection descriptions
Archival materials
Correspondence
Photographs
Press releases
Motion pictures (visual works)
Scripts (documents)
Drawings
Manuals
Date:
[ca. 1960s-1970s]
Scope and Contents:
This collection consists of the following materials collected by Joel Banow during his tenure with CBS News covering the United States manned space program: press releases; press kits, correspondence, memorandums, show rundowns, technical specifications, director notes, scripts, storyboards, photographs, drawings, guide books and manuals, transparencies, posters, a videotape, and 16 mm films. There are also three animation cells relating to the coverage of Apollo 11. The material was generated by NASA, CBS and the following NASA contractors -- Grumman, North American Rockwell, and RCA.
Biographical / Historical:
Joel Banow is a retired television director. During his sixteen years with CBS News, he worked on all the Mercury, Gemini, Apollo, and Skylab space shots. As the director, he was responsible for creating a great many of the special effects and simulations needed to tell the story. In 1969, Banow received a Directors Guild of America (DGA) award for his coverage of Apollo 11.
General:
NASMrev
Provenance:
Joel Banow, gift, 1999, 2000-0027, Public Domain and CBS
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Television broadcasting -- Special effects  Search this
Genre/Form:
Correspondence
Photographs
Press releases
Motion pictures (visual works)
Scripts (documents)
Drawings
Manuals
Identifier:
NASM.2000.0027
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2000-0027

Kendall Productions Records

Topic:
Dance Party: the Teenarama Story (television program)
Teenarama (television program)
Creator:
Kendall Productions  Search this
Extent:
4.6 Cubic feet (3 cartons, 2 oversized boxes)
Type:
Collection descriptions
Archival materials
Photographic prints
Scripts (documents)
Notes
Audiocassettes
Compact discs
Research
Photographs
Questionnaires
Letters (correspondence)
Interviews
Federal government records
Clippings
Videocassettes
Place:
Washington (D.C.)
Date:
1952-2006
bulk 1997-2004
Summary:
The Kendall Productions records date from 1952-2006 with the bulk of material dating from 1997-2004 and measure 4.42 cubic feet. The records consist of material documenting the Kendall Productions documentary Dance Party: The Teenarama Story which first aired on Howard University's PBS affiliate WHUT in 2006. The records are comprised of research and production notes, government records, newspaper articles, questionnaires, photographs, letters, and scripts, accompanied by a significant amount of original media in the following formats: VHS and Beta videocassettes, audiocassettes, and audio compact discs.
Scope and Contents:
The records of Kendall Productions measure 4.6 cubic feet and date from 1952 to 2006, with the bulk of material dating from 1997-2004. The records contain the administrative files, research, project files, photographs, and audiovisual material produced during the creation of the documentary Dance Party: The Teenarama Story.

Administrative records include committee records, project assessments, budget files, promotional material, correspondence, and material related to individuals working on the documentary. Material within the series directly relate to the production processes of Dance Party: The Teenarama Story. Restricted files within the series have been indicated at the folder level. The administrative records were previously scattered throughout the collection.

Research files include biographical information, the history of television broadcasting in Washington D.C., community history, background on Teenarama, and race relations from 1940 through the 1960s. The research file subjects were originally labeled by the creators, and their subject designations have been maintained where relevant. Material includes newsclippings, informational booklets, notes, pamphlets, unpublished essays or write-ups, and prints of website pages.

Project files include interview transcripts and copies of questions for interviewees, documentary scripts, event fliers, equipment request forms, and realia. Event material relates to the production of Dance Party: The Teenarama Story, and not events related to the release or showings of the finished documentary.

Photographs document people who were a part of the Teenarama show, cast reunion events, and the documentary filming or recording processes. Folder titles were given by the creators and have been maintained. They are organized alphabetically by folder title.

Audiovisual material contains 63 items, a majority of which are VHS tapes. Material includes clips and edits of Dance Party: The Teenarama Story. Objects are listed alphabetically by their labels. Playback equipment is available.
Arrangement:
Kendall Productions Records is arranged in five series:

Series 1: Administrative Records

Series 2: Research Files

Series 3: Project Files

Series 4: Photographs

Series 5: Audiovisual Material
Historical Note:
The documentary film Dance Party: The Teenarama Story first broadcast in 2006 on the Howard University public television station WHUT in Washington D.C. The film traced the history and development of the television show Teenarama that aired from March 7, 1963 to November 20, 1970.

Teenarama originated as the Teenarama Dance Party radio program broadcast on WOOK Radio in Washington D.C. and became a television program after WOOK Radio received a license to operate a television station. The program premiered as a teen dance show for Black teenagers in the Washington D.C. and surrounding metropolitan area, featuring popular songs. The show's programming was first created by Cal Hackett and Al Jefferson. Bob King hosted the show from 1963-1965. Following King's departure, the show rotated hosts such as Leon Isaac Kennedy, Moon Man, and Daniel "Hollywood Breeze" Clayton. Guest performers on the show included James Brown, Smokey Robinson and The Miracles, Major Lance, Mary Wells, Aretha Franklin, Lou Rawls, Billy Stewart, Martha and The Vandellas, the Supremes, and the Four Seasons, among others. The program broadcasted live six days a week, the first of its kind in the country catering specifically to a Black audience.

The documentary about Teenarama was created by Beverly Lindsay-Johnson, Herb Grimes, and the National Hand Dance Association, and was funded in part by grants through the Humanities Council of Washington D.C.,The DC Commission on the Arts and Humanities, The Dudley Foundation and private donations. The film uses Teenarama to tell the story of teen dance television shows, youth and pop culture, race, and television history. The documentary is narrated by Martha Reeves of Martha and The Vandellas.
Provenance:
Donated by Beverly Lindsey-Johnson in 2006.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American radio stations  Search this
Television stations  Search this
Teen television programs  Search this
African Americans -- Social life and customs  Search this
African Americans on television  Search this
Dance in motion pictures, television, etc.  Search this
Genre/Form:
Photographic prints
Scripts (documents)
Notes
Audiocassettes
Compact discs
Research
Photographs
Questionnaires
Letters (correspondence) -- 20th century.
Interviews
Federal government records
Clippings
Videocassettes
Citation:
Kendall Productions records, Anacostia Community Museum Archives, Smithsonian Institution, gift of Beverly Lindsey-Johnson.
Identifier:
ACMA.06-055
See more items in:
Kendall Productions Records
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_collection:sova-acma-06-055

Curatorial Records

Creator::
National Museum of Natural History. Division of Birds  Search this
Extent:
0.5 cu. ft. (1 document box)
Type:
Collection descriptions
Archival materials
Manuscripts
Clippings
Black-and-white photographs
Black-and-white negatives
Color photographs
Color transparencies
Date:
1887-1996 and undated
Descriptive Entry:
This accession consists of exhibition scripts and photographs maintained by the Division of Birds. The scripts document the content of the Bird Hall at the National Museum of Natural History. The photographs consist primarily of staff in the Division of Birds as well as other ornithologists. Materials also include notes, negatives, transparencies, slides, contact sheets, and clippings.
Topic:
Museum exhibits  Search this
Museum curators  Search this
Ornithology  Search this
Ornithologists  Search this
Natural history museums  Search this
Genre/Form:
Manuscripts
Clippings
Black-and-white photographs
Black-and-white negatives
Color photographs
Color transparencies
Citation:
Smithsonian Institution Archives, Accession 18-061, National Museum of Natural History. Division of Birds, Curatorial Records
Identifier:
Accession 18-061
See more items in:
Curatorial Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa18-061

United States Air Force Training and Documentary Film Collection

Creator:
United States. Air Force  Search this
Extent:
366.64 Cubic feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Videotapes
Magnetic tapes
Scripts (documents)
Date:
bulk 1930-1966
Scope and Contents:
his collection consists of 2,295 rolls 35mm film, 1,914 rolls of 16mm film, 17 rolls of 17.5mm magnetic sound track, and 12 U-Matic video tapes. The collection contains training films and documentary footage. Typically, the training film sets contain all of the preprint material such as the A and B rolls, the separate sound track, and an answer or composite print. In a few cases there are additional Spanish and Vietnamese narration tracks. The documentary footage typically includes camera original negative and a print or a cameral original reversal only. Most of the documentary footage is silent. This collection also contains six record center boxes of documents relating to the production of the films including contracts, scripts, shipping lists, and other documents. The paper files also contain one copy of the index cards used to catalogue the film.
Biographical / Historical:
Norton Air Force Base, California housed the Department of Defense Motion Media Depository until the 1980s when a new facility was planned at March Air Force Base, California. As part of the move to the new facility, many of the items in the depository were to be disposed of by offering them first to the originating agency and then to the National Archives and Record Administration (NARA). Items deemed obsolete and not wanted by either the originating agency or NARA were offered to the National Air and Space Museum (NASM). NASM selected a number of the films based on collection criteria in place at the time of the donation
Provenance:
Department of Defense Motion Media Depository, Gift, 1986
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Aeronautics, Military  Search this
Flight in motion pictures  Search this
Aeronautics  Search this
Genre/Form:
Motion pictures (visual works)
Videotapes
Magnetic tapes
Scripts (documents)
Citation:
United States Air Force Training and Documentary Film Collection , Accession 1986-0164, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.1986.0164
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-1986-0164

Lee Hays papers

Creator:
Hays, Lee, 1914-1981  Search this
Names:
Almanac Singers  Search this
Baby Sitters (Musical group)  Search this
United States. Congress  Search this
Weavers (Musical group)  Search this
Gilbert, Ronnie  Search this
Guthrie, Woody, 1912-1967  Search this
Hays, Lee, 1914-1981  Search this
Houston, Cisco  Search this
Lampell, Millard, 1919-1997  Search this
Leventhal, Harold  Search this
Seeger, Pete, 1919-2014  Search this
Extent:
6.95 Cubic feet (Papers)
0.9 Cubic feet (Audiorecordings)
Type:
Collection descriptions
Archival materials
Interviews
Sheet music
Notes
Photographic prints
Business records
Audiotapes
Correspondence
Scripts (documents)
Date:
1923-1981
Summary:
The Lee Hays papers measures 7.85 cubic feet and dates from 1923 to 1981. The collection includes original writings, correspondence, and miscellaneous projects by Lee Hays; business records, interviews and features related to Lee Hays, including photographs; clippings saved by Lee Hays; and audiorecordings made by Lee Hays.
Scope and Contents:
The Lee Hays papers, which date from 1923-1981, contain personal and business correspondence; typescripts of Lee Hays' fiction, non-fiction, scripts and poetry; miscellaneous project and idea materials; business documents; and audiorecordings made by Lee Hays. The collection measures 7.85 cubic feet.
Arrangement:
The Lee Hays papers, are divided into seven series: 1) Correspondence, 2) Business, 3) Projects and Writings, 4) Collected Texts, 5) Interviews, 6) Features on Lee Hays and 7) Audio Recordings.

The Correspondence Series is divided into two subseries: 1) Personal, and 2) Business. The Projects and Writings series is divided into six subseries: 1) Songs, 2) Non-Fiction, 3) Fiction, 4) Musical Productions, 5) Radio Scripts, and 6) Cisco Houston Project.

When possible, folders are arranged within series and subseries in alphabetical order by file title, and within folders in chronological order with undated items at the top.
Biographical / Historical:
Lee Hays (1914-1981) was an influential American singer, songwriter, author, and activist. His legacy, both literary and musical, emphasizes the dynamic relationship between traditional culture and contemporary events and issues. As is clear from his essay "The Folk Song Bridge", Hays conceived of "folk music" as a living, breathing "process". Born in Arkansas in 1914 to a Methodist preacher, Hays' first experiences with music revolved around the church. His political awakening came later, when he returned to Arkansas from Ohio in 1934. Under the wing of mentors such as Claude Williams and Zilphia Horton (maiden name: Zilphia Johnson), Hays began to fight for the cause of sharecroppers and union workers. His musical ability and passion for social justice came together as he used music to represent the voice of labor, replacing the religious motifs of traditional and gospel songs with pro-union themes.

Upon moving to the North in 1940, Hays met Pete Seeger, another musician of the Folk Revival. Hays and Seeger shared the common goal of spreading political topical songs, and their collaborations with Woody Guthrie and Millard Lampell led to the creation of the Almanac Singers the same year. Later, the four band members, along with other musicians such as Burl Ives and Sis Cunningham, established the People's Songs organization and publication to create and distribute labor songs. However, interpersonal conflicts with members, including Pete Seeger, led to Hays' pressured resignation from both of these endeavors. He moved in with his mentor, Walter Lowenfels, and began to focus more on his writing. Though Hays was a prolific writer whose work spanned articles, essays, short stories, poetry, and songs, he is rarely recognized for his literary achievement. His writing often centered on the social and political themes for which he is best known—labor rights, racism, poverty and inequality—and used vernacular culture and narrative to address those problems.

Seeger and Hays eventually made amends, and in 1948 they formed The Weavers with Fred Hellerman and Ronnie Gilbert, bringing music of the Folk Revival to a national audience. However, as the Red Scare impacted the American political climate into the 1950s, the Weavers were blacklisted and ultimately had to disband. Though he was under investigation by the House Un-American Activities Committee (HUAC) and had no steady income, Hays continued to write both fiction and non-fiction during the three year blacklisting. In 1955, the Weavers finally reunited for a highly successful revival under manager Harold C. Leventhal, but as years passed, the group split up again, and Hays began to focus on other projects. It was at this time that he produced the bulk of his memoirs, began a project on Cisco Houston, and recorded folk music for children with his group The Baby Sitters. In 1980, the Weavers reunited for a concert in Carnegie Hall and Hays' last performance with them was in 1981. Hays died in 1981 as a result of diabetic cardiovascular disease.
Provenance:
The Ralph Rinzler Folklife Archives and Collections at the Center for Folklife and Cultural Heritage acquired the "Lee Hays Archives" in 1992 as a donation from Harold C. Leventhal and Doris Kaplan, who acquired the collection upon Lee Hays' death in 1981. The donation included materials produced by Lee Hays, as well as materials of interest to him that were found in his possession.
Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at (202) 633-7322 or rinzlerarchives@si.edu for additional information.

This collection has been digitized and a majority of its content has been made available online for research and educational purposes. Online access to select materials is not available due to privacy or rights concerns.
Rights:
Copyright restrictions apply. Contact archives staff for additional information.

Restrictions may apply concerning the use, duplication, or publication of items in these collections. Consult the archivists for additional information.
Topic:
Political ballads and songs -- United States  Search this
Folk music -- United States  Search this
Topical songs -- United States  Search this
Popular music -- 20th century -- United States  Search this
Genre/Form:
Interviews
Sheet music
Notes
Photographic prints
Business records
Audiotapes
Correspondence
Scripts (documents)
Citation:
Lee Hays papers, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.HAYS
See more items in:
Lee Hays papers
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_collection:sova-cfch-hays
Online Media:

Linda Klug Papers

Creator:
Klug, Linda M. (Linda Marie), 1940-  Search this
Extent:
7.3 Linear feet (15 boxes)
Culture:
Filipinos  Search this
Zapotec  Search this
Type:
Collection descriptions
Archival materials
Dissertations
Maps
Scripts (documents)
Photographs
Field notes
Place:
Oaxaca (Mexico : State)
Philippines -- Fishing
Samal Island (Phillipines)
Philippines -- Ethnology
Philippines -- ethnomuiscology
Philippines -- Children
Philippines -- Ethnobotany
Philippines -- Linguistics
Date:
1965-1986
Summary:
These papers relate to the professional and personal life of Linda M. Klug. The bulk of this collection relates to Klug's work in the Philippines with the Samal culture. The collection mainly reflects Klug's interests in linguistics and childhood behavior. The collection also pertains to Klug's interests in a wide variety of topics including, but not limited to: ethnomusicology, marriage and religious practices, kinship units, economic and ecological factors, and gastronomy. Included in the collection are field notes, linguistic materials, research notes, her PhD dissertation, compositions, correspondence, card files, maps, photographs, slides, a journal, expense accounts, grant applications, scripts and other documents that cover a period from the mid -1960's to the mid-1980's.
Scope and Contents:
These papers relate to the professional and personal life of Linda M. Klug. The bulk of this collection relates to Klug's work in the Philippines with the Samal culture. The collection mainly reflects Klug's interests in linguistics and childhood behavior. The collection also pertains to Klug's interests in a wide variety of topics including, but not limited to: ethnomusicology, marriage and religious practices, kinship units, economic and ecological factors, and gastronomy.

Included in the collection are field notes, linguistic materials, research notes, her PhD dissertation, compositions, correspondence, card files, maps, photographs, slides, a journal, expense accounts, grant applications, scripts and other documents that cover a period from the mid -1960's to the mid-1980's.
Arrangement:
The Linda Klug papers are arranged in 6 series: (1) Field Notes, 1968-circa 1970; (2) Writings and Drafts, 1965-1986; (3) Films, circa 1971-circa 1976; (4) Research, circa 1968-circa 1986; (5) Personal, 1968-1984; (6) Visual Material, circa 1968 - circa 1971.
Biographical / Historical:
Linda M. Klug (1940- ) was an anthropologist and professor emeritus at Central Washington University, Ellensburg, Washington. Klug's research interests include the Zapotec Culture of Mexico and Samal Culture in the Philippines. She conducted field work in the Philippines beginning in September of 1968 and remained there until November of 1969. While in the Philippines, Klug focused on studying the Zamboanga area and the island of Malanlipa (Lahat Ano). Klug later returned to the Philippines during the summer of 1971 in order to shoot footage for her documentary films: Life on Samal Island (published 1976) and Patterns of Samal Childhood. Much of Klug's work in the Philippines influenced her later career.

Klug received her BA at the University of California at Santa Barbara. She completed her MA thesis on Acculturation and Marketing in Eight Oaxacan Villages (1969) for San Franciso State University. She received her PhD from the University of Pittsburgh after submitting a dissertation entitled Kinship and Alliance on Lahat Ano (1972).
Related Materials:
The audiotapes (21), audiocassettes (3), and reels of film (64) from this collection were transferred to the Human Studies Film Archives. Also, one artifact was sent to the Smithsonian's Department of Anthropology Collections.
Provenance:
The Linda Klug papers were donated to the National Anthropological Archives in 2002 by Professor Linda Klug.
Restrictions:
The Linda Klug papers are open for research.

Access to the Linda Klug papers requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation  Search this
Genre/Form:
Dissertations
Maps
Scripts (documents)
Photographs
Field notes
Citation:
Linda Klug papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2002-31
See more items in:
Linda Klug Papers
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-2002-31

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