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Raymond E. Wilson Covered Bridge Collection

Collector:
Work and Industry, Division of, NMAH, SI  Search this
Mechanical and Civil Engineering, Division of [former name], NMAH, SI.  Search this
Wilson, Raymond E.  Search this
History of Technology, Division of, NMAH, SI  Search this
History of Technology, Division of, NMAH, SI  Search this
Mechanical and Civil Engineering, Division of [former name], NMAH, SI.  Search this
Work and Industry, Division of, NMAH, SI  Search this
Donor:
Millington, Ruth H.  Search this
Creator:
National Society for the Preservation of Covered Bridges.  Search this
Extent:
1.6 Cubic feet (5 boxes)
Type:
Collection descriptions
Archival materials
Slides (photographs)
Blueprints
Books
Clippings
Newsletters
Pamphlets
Photograph albums
Patents
Photographs
Date:
1958-1974.
Scope and Contents:
The collection relates to covered bridges in America and Europe. It includes hundreds of slides (with index) of photographs of covered bridges; an album of prints of photographs of covered bridges in Germany, Switzerland and Austria; books and pamphlets, both national and regional, about covered bridges; newsletters from covered bridge organizations, both national and regional, such as the National Society for the Preservation of Covered Bridges; drawings; notes; copies of patents, an album of photographs entitled TRUSSES; articles and clippings; correspondence about covered bridges; blueprints of plans for repair work on bridges.
Arrangement:
1 series.
Biographical / Historical:
Mechanical engineer and covered bridge enthusiast.
Provenance:
Donated by Wilson's daughter in 1983 to the Division of Mechanical and Civil Engineering, now called the Division of Work and Industry.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Bridges  Search this
Covered bridges  Search this
Covered bridges -- Austria  Search this
Covered bridges -- Germany  Search this
Covered bridges -- Switzerland  Search this
Covered bridges -- United States  Search this
Genre/Form:
Slides (photographs) -- 20th century
Blueprints
Books
Clippings
Newsletters
Pamphlets
Photograph albums -- 20th century
Patents
Photographs -- 1950-2000
Citation:
Raymond E. Wilson Covered Bridge Collection, 1958-1974, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0999
See more items in:
Raymond E. Wilson Covered Bridge Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0999

Richard H. Miller Bridge Collection of Postcards and Slides

Collector:
Engineering and Industry, Division of, NMAH, SI.  Search this
Miller, Richard H.  Search this
Work and Industry, Division of, NMAH, SI  Search this
History of Technology, Division of, NMAH, SI  Search this
Engineering and Industry, Division of, NMAH, SI.  Search this
History of Technology, Division of, NMAH, SI  Search this
Work and Industry, Division of, NMAH, SI  Search this
Extent:
3 Cubic feet (11 boxes, 1 map folder)
Type:
Collection descriptions
Archival materials
Postcards
Picture postcards
Photographs
Slides (photographs)
Date:
1900-1991
Summary:
This collection is made up of Richard H. Miller's collection of postcards and slides illustrating bridges from around the world.
Scope and Contents:
This collection is made up of postcards and photographic slides of bridges collected and organizedby Miller. Many of the postcards were sent by others before being purchased by Miller and include messages, postmarks and secondhand prices. A small number of postcards appear to have been sent to Miller by friends, while the remainder do not have any dates or notations. The slides are captioned.
Arrangement:
The collection is arranged into two series.

Series 1: Postcards, undated

Series 2: Slides, undated
Biographical / Historical:
Richard H. Miller (1913-2015) was an an industrial engineer and bridge enthusiast. A longtime resident of Cheshire, Connecticut, Miller collected postcards and slides of famous bridges as a lifelong hobby.
Provenance:
Donated by Richard H. Miller in 1991.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Bridges  Search this
Genre/Form:
Postcards
Picture postcards -- 20th century
Photographs -- Color transparencies -- 1950-2000
Slides (photographs)
Citation:
Richard H. Miller Bridge Collection of Postcards and Slides, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0950
See more items in:
Richard H. Miller Bridge Collection of Postcards and Slides
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0950

George W. Sims Papers

Collector:
Community Life, Div. of (NMAH, SI)  Search this
National Anthropological Archives  Search this
Community Life, Div. of (NMAH, SI)  Search this
National Anthropological Archives  Search this
Author:
Sims, George W.  Search this
Extent:
5 Cubic feet (22 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Manuscripts
Audiotapes
Scrapbooks
Slides (photographs)
Place:
Carmel (Calif.)
Panama Canal (Panama)
California
Date:
1896-1981.
Summary:
Collection documents Sims's activities as a traveler and his interest in historic restoration. It includes forty-one notebooks, 6,000 color slides, a smaller number of photographic prints, forty-one stereo view cards, and three boxes of personal papers and ephemera. While some images are personal, the majority form a documentary record of various subjects and places and provide biographical information on Sims.
Scope and Contents:
These papers document Sims's activities as a traveler and his interest in historic restoration. They consist of forty-one notebooks, Series 1-4; and three boxes, Series 5-9, of personal papers and ephemera. Series 5-7 are particularly valuable for biographical information. Series 10 includes 6,000 color slides, a smaller number of photographic prints, and forty-one stereo view cards. The total volume of the collection is approximately eleven linear feet.

The notebooks cover the years 1896, 1908-1913, 1918, and 1934-1976. The notebooks are written in a documentary styles that is enhanced by literary touches and perceptive details. The subjects include visits to several national parks, the Boronda adobe, and travel on most continents.

The 6,000 35mm slides that Sims took between 1944 and 1976 portray the use of the automobile in travel, national and international touring, and family travel. They are organized by either trip or location. They document his collecting, research, and restoration interests, and complement his written and artistic work. In technique, Sims's photographs are at least a cut above amateur photography. The slides remain in the order in which the Archives Center received them. In some cases they are organized, captioned, and numbered as a slide program. In other cases, while they are captioned they are not part of a specific slide program that Sims organized. Usually the identification in the Detailed Container List represents Sims' s own captions, which have been copied from the slide sleeves.

While some images are personal, the majority form a documentary record of various subjects and places. All the slides are dated and labeled or captioned, either on box inserts or on the slides themselves. The slides are generally organized by trip. Of particular interest is the documentation of Sims's restoration of the Boronda adobe. These slides are well captioned and show the step by step process.

The slides include many early Kodachromes from the 1940s in excellent condition. These represent the few examples of this type in the Museum. Although these slides are not extraordinarily rare, they are a very early example of the color process.

There are also black and white prints and a few color prints. Some of these document an automobile trip along the California coast in the 1930s. All the black-and-white prints portray the photographer for Sims's concern to document his travels adequately and in a meaningful way.

The three document boxes of supplemental material includes articles, correspondence (for example, a letter to Sims from the Henry Ford Museum thanking him for donating an oral history of a motoring trip he had taken), business cards, certificates of achievement, hotel ephemera, news clippings (Series 12), published travel accounts, printed travel brochures, and audio tapes (Series 11), in which Sims recounts many of his trips over the years. This material is valuable because it provides biographical information on Sims. It also may be useful for exhibits and research. Much of the material—the hotel ephemera and the printed travel brochures and accounts—is similar to ephemera in the Warshaw Collection.

Sims's photographs are similar in content to two other collections in the Archives Center. The Clyde W. Stauffer Family Photographic Album portrays family automobile trips across the United States between 1935 and 1940. The Donald Sultner Welles Collection of travel slides documents locations throughout the United States and around the world.
Arrangement:
The collection is divided into 12 series.

Series 1:Notebooks, 1896-1975

Series 2: Political Notes, 1964-1976

Series 3: Comments on Vietnam, 1954-1975

Series 4: Moon Landings, 1969-1976

Series 5: Scrapbooks, 1896-1981, undated

Series 6: Correspondence, 1920-1987

Series 7: Biography, 1911-1938

Series 8: Published Material, 1927-1966

Series 9: Artifacts, 1913-1937

Series 10: Photographs, circa 1936-1962

Series 11: Audio Materials

Series 12: Newsclippings, undated
Historical:
Boronda Adobe

In 1946 George W. Sims purchased the old Boronda adobe in the Carmel Valley of California, and over the next ten years he restored it.

The Boronda adobe was built above the Carmel River in 1832 by José Manuel Boronda on his 7,000 acre Rancho de Los Laureles land grant. José was the son of Don Manuel Boronda, the first schoolteacher in California. José was married to Juana Cota of Santa Barbara. The sixty-four foot long house has adobe walls twenty-seven inches thick and hand-hewn redwood beams. Senor and Senora Boronda lived there with their fifteen children. It was in this house that Senora Boronda reputedly made a new cheese much liked by her neighbors and today known as Monterey Jack cheese. She eventually produced enough to sell to the surrounding community.

The Boronda family sold the ranch and adobe to Nathan W. Spaulding in the late 1860s or early 1870s. He was a mayor of Oakland, California. The next owner was the Pacific Improvement Company in the early 1880s, the forerunner of Del Monte Properties Company. A small cheese factory was built to commercialize the product under the name "Monterey Jack." Nevertheless, the adobe eventually became abandoned as a house. Before Sims purchased it the adobe was used as a shelter for dairy cows.

Sims plastered the outside walls to protect the soft adobe bricks and whitewashed the interior walls. The original dirt floor was covered with a floor of two-inch clear, heart redwood, random planks. It slopes downhill as does the roof of the house. The entire house follows the topography of the site. Sims left several cables stretching across the crudely raftered ceiling to support the walls.

Sims reroofed the house with one hundred year old roof tiles from the old Vasquez adobe in Monterey, California. He also constructed a workshop on the cement foundation of the old cheese factory and milk barn, added a carport, and built a fence protected patio of the Mexican type, adjacent to a Spanish garden with gravel paths. The patio walls were made of adobe created from Carmel Valley soil.

The first floor of the adobe consists of a long living room, a kitchen, a bedroom, and a bath. An inside staircase was added and leads to the second floor living room, two bedrooms, and a bath. All of the rooms on the main floor are on a different level. The kitchen at one end of the house is thought to date to the 1790s when the land belonged to the Carmel Mission.
Biographical / Historical:
George W. Sims (1896-1986) was a tax lawyer, certified public accountant, world traveler, and collector of pre-Columbian objects. He spent his childhood in Fairfax County, Virginia. At age seventeen he began the study of law at the Washington College of Law (now American University), and worked at night as a telephone company traffic manager. He was employed as a clerk in the Panama Canal Zone by the Panama Railroad Company, Commissary Branch, from 1915-1916. Sims left Washington, DC, because he needed money for school and received a better salary in Latin America. "The pay was 25% higher there [Panama] than in the U.S.A., because the risks of Yellow Fever were great, and work and living conditions less satisfactory than at home." (Box 8, folder 6) This was the first of his many trips to other countries. He then returned to Washington and graduated from law school.

Between 1918-1919 he served as sergeant first class in the aviation section of the Signal Corps. He was stationed for a time at the Vichy (France) Hospital Center, a part of the United States Base Army Hospital, No. 115. After the war Sims did graduate work in accounting at Benjamin Franklin University in the District of Columbia, studying at night. During the day he worked in the Navy Department's communications section.

In 1919 Sims and a few friends traveled west on one of the early automobile trips across the United States. In July he visited Fresno, California. He returned that same year to Washington, DC, and "made plans for making the West (and Fresno) his permanent home." In January, 1924, Sims returned with his wife to fulfill those plans and thus began his long time love affair with the West and California." (Scrapbooks: Vol. 38, Box 8, folder 2)

After his first wife Katherine died in 1946, Sims spent much time on world cruises. His destinations included North, South, and Central America, Eastern and Western Europe, Africa, Asia, and the Pacific Islands. Between 1946 and 1956 he also purchased and restored the 1832 Boronda adobe in Carmel, California.

Sims married Emma Marenchin Sims on her birthday November 2, 1971 in Santa Barbara, California. Prior to her marriage Mrs. Sims (1914-? ) worked in the public health field after graduating from Western Reserve University in Cleveland. She remarked, "My world opened up when I married George." Sims died in 1986.
Provenance:
Collection donated by George W. Sims, January 10, 1985.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Travel photography  Search this
Adobe houses  Search this
Pre-Columbian objects  Search this
Vichy France  Search this
Audio tapes  Search this
Genre/Form:
Photographs -- 20th century
Manuscripts
Audiotapes
Scrapbooks -- 20th century
Slides (photographs) -- 1950-2000
Photographs -- Phototransparencies -- 20th century
Citation:
George W. Sims Papers, 1896-1981, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0127
See more items in:
George W. Sims Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0127
Online Media:

Joseph C. Farber Papers and Photographs

Creator:
Farber, Joan C., Dr.  Search this
Farber, Joseph C., 1903-1994  Search this
Names:
Independence Hall (Philadelphia, Pa.).  Search this
Raleigh's Tavern (Williamsburg, Va.).  Search this
Herodotus  Search this
Jefferson, Thomas, 1743-1826  Search this
Lincoln, Abraham, 1809-1865  Search this
Palladio, Andrea (architect)  Search this
Extent:
15 Cubic feet (90 boxes, 1 map-folder)
Type:
Collection descriptions
Archival materials
Photographs
Contact sheets
Proofs
Correspondence
Proof sheets
Slides (photographs)
Place:
Boston (Mass.) -- Architecture
Cambridge (Mass.) -- Architecture
Villa Rotunda (Vicenza, Italy)
Springfield (Ill.) -- Architecture
White House (Washington, D.C.)
Monticello Va. -- Photographs
Maison Carree (Nimes, France)
New York (N.Y.) -- Architecture
New England -- Architecture
Greece -- Classical architecture
Essex (Conn.)
Italy -- Architecture
Hannibal (Mo.) -- Architecture
Date:
circa 1930-1990
Summary:
The Farber collection documents images of celebrated American buildings by photographer Joseph C. Farber.
Scope and Contents note:
The Farber collection is filled with well-crafted and often very beautiful images of celebrated American buildings. Many of the images, which for the most part take the form of 11" x 14" black-and-white photoprints, explore the European Renaissance origins of American architecture. The collection is also very rich in color transparencies. Nearly all the images are directly related to published projects, specifically photo-essays in the shape of articles , many of which appeared in the magazine Antiques or newspapers. Farber probably would have wished for all of his photographs to have been published. Many were shown in exhibitions, as evidenced by the large proportion of the photoprints that are mounted and also the existence of correspondence files relating to such matters. There are also files related to the processes of conceiving, executing, and publishing his photographic work.

The images for the books are nearly all black-and-white, whereas magazine work, especially the commissions from Antiques, generated the most transparencies. In addition to the images in print and transparency form, and the associated proof sheets and negatives, there is also a great quantity of slides related to travel in the collection, which predate Farber's second career as a professional photographer. A tiny sampling of earlier photographs, mostly with artistic or family-and-personal themes, is also included.

Black-and-white negatives, black-and-white prints, and color transparencies, mostly created for specific book projects, articles in Antiques magazine, etc. Generally, color was used for magazine articles, while black-and-white images were intended for books. Collection also includes photographs of personal or family significance, and some early artistic efforts. Non-pictorial portion consists primarily of material related to Farber's publications: correspondence, galley proofs, reviews, etc.

Photographs include projects related to Thomas Jefferson (e.g., Monticello), classical architecture, Essex, Connecticut, etc. Buildings photographed include Raleigh's Tavern, Williamsburg, Va.; Independence Hall, Philadelphia; Maison Carree, Nimes, France; St. Paul's Chapel, Boston, Mass.; White House, Washington; New York City landmarks; sites in Springfield and New Salem, Ill., associated with Abraham Lincoln; historic buildings in Boston and Cambridge,Mass.; Hannibal, Mo.; Deerfield, Mass.; New England churches and meetinghouses; and buildings and objects from ancient Greece, which were published with excerpts from Herodotus' History of the Pelopponesian Wars (Farber called this group of images "Herodotus"); and Italian villas designed by Andrea Palladio, such as the Villa Rotunda. Some pictures relating to themes of democracy were inspired by the U.S. Bicentennial celebration.
Arrangement:
Divided into five series.

Series 1: Photographs

Series 2: Photonegatives and Contact Sheets

Series 3: Textual Materials

Series 4: Color Slides and Transparencies

Series 5: Books
Biographical/Historical note:
Born in Cleveland, Ohio in 1902, Joseph C. Farber he attended the New York Military Academy, and later Columbia College, where his formal studies included chemistry and art composition. While these were excellent preparation for subsequent employment in the family business, Friedman Blau Farber, Manufacturers of Knitted Outerwear, at Columbia he discovered the true love of his life, the art and craft of photography. He became involved in the New York Camera Club. For the rest of his life he would consider himself a protégé of the Club's resident guru, famed photographer Edward Steichen. Farber's work was first shown in the Fifth Annual Exhibition of Work by Cleveland Artists and Craftsmen at the Cleveland Museum of Art in late spring 1923, and he taught photography to summer campers. Later, throughout 39 years of employment in the garment business, he continued to enjoy and practice photography, especially in making portraits of good friends. He married Caroline Feiss, also a Cleveland native and a promising watercolor artist. In 1939 the Farber's moved to New York.

According to his daughter, Dr. Joan Farber, her father purchased a large format Linhof field camera during a 1958 visit with his son Thomas in Germany. The Linhof camera front can be shifted to provide corrections for architectural photography which are not possible with smaller cameras. After Joan headed to college the Farbers had time for increased travel. They were accompanied by their daughter on a trip to Greece in summer 1960 which included photographs of herself, an attractive, sophisticated college coed, stylishly dressed and coifed for the occasion, posed on the steps of the Parthenon. A trip to Spain the following year resulted in many dozens of 35mm color images, part of a large group of travel slides.

This was also the period in Farber's life that a whirlwind round-the-world trip was undertaken, with visits to Thailand, Japan, Hong Kong, Hawaii, and California. By the end of the next year, the Farbers were renting as a vacation home a converted button factory in Essex, Connecticut, a former shipbuilding town on the Connecticut River, as a vacation home. Within months Farber had retired from his design and executive responsibilities at the Campus Sweater and Sportswear Company in Manhattan to live for a year in Essex. There were also trips more abroad, particularly to Greece and Egypt, while the Farbers continued to maintain an apartment in New York. Climbing a mountain in Greece in summer 1967, Farber suffered a heart attack, from which he fully recovered.

In 1969 his new career was launched by the publication of Portrait of Essex by Barre Publishers. Local historian Marie Moore supplied the text to accompany Farber's evocative photographs of the ships, shops, shores, streets, and historic structures of this seafaring town. His brother-in-law Carl Feiss, F.A.I.A., furnished the Introduction.

In 1971, Farber and Wendell Garrett published his first Jefferson book, The Worlds of Thomas Jefferson followed by their second, Thomas Jefferson Redivivus Garrett, who edited the Adams Papers wrote the text, with the help of excerpts from the writings of Jefferson himself. The following summer one of Farber's Monticello views was featured on the cover of Antiques. In 1973 Farber was credited with three covers and a frontispiece for the magazine, as well as three photographic essays. The subjects ranged from Sculpture at the Boston Atheneum to The Villas of Andrea Palladio to The Architecture of Lavius Fillmore Garrett introduced Farber to Lincoln scholar Harold Holzer who hired Farber as photographer to help illustrate his Prints of Abraham Lincoln, which appeared in the annual presidents' birthday number of Antiques the next year, February 1974. Some Contemporary Paintings of Abraham Lincoln appeared twelve months later. Three more Lincoln-themed articles appeared in February issues of Antiques in 1978, 1979, and 1980: Sculptures of Abraham Lincoln From Life, George Washington and Abraham Lincoln, and Here Lincoln Lived: New Salem and Springfield, Illinois.

Two more books of Farber's photographs were published in 1975. Democracy's First Struggle was an account of the Peloponnesian Wars in the words of Herodotus, as edited from the Aubrey de Selincourt with translation by Farber. The photographic images dated back to the family trips to Greece in the early 1960s. Native Americans: 500 Years After was published by Thomas J. Crowell in 1975 with text by Michael Dorris. Following Native Americans came a series of exhibitions of photographs from the book including shows at the National Museum of Natural History (Smithsonian Institution), Dartmouth College, and the Cleveland Museum of Natural History .

Also in the mid -1970s a cover story in Antiques entitled "The Architectural Heritage of New York City" led to an exhibition at the Abigail Adams Smith House. In the late '70s two more exhibitions were staged, featuring scenes of local color at the dedication of the East Haddam (Connecticut) Historical Society in the summer of 1979 and showing buildings by Palladio at the Cooper-Hewitt Museum (New York City.)

In 1980 Farber's interior view of a basilica, Palladio's Redentore church in Venice, was featured on the cover of Antiques. The photographs became the subject of a book, Palladio's Architecture and Its Influence authored by architectural historian, Henry Hope Reed.

Harold Holzer organized many joint photographic trips revolving around Holzer's career in the public relations department of Channel 13, New York's public television station. Each summer for four years in succession they set off to diverse spots to make publicity shoots for upcoming special programming. First was Missouri to photograph Mark Twain sites for a dramatization of "Life Along the Mississippi". The next summer they headed to the Berkshires to document The Mount, the home of Edith Wharton in Lenox, Massachusetts, around whose life and work a mini-series in three parts was planned. The summer trip of 1982 was a return visit to Massachusetts to photograph The Street, Deerfield's historic thoroughfare, combined with a side trip across the border to the Robert Todd Lincoln home, Hildene, in Manchester, Vermont.

In 1982 Farber was commissioned by Architectural Digest magazine to photograph the Mark Twain residence in Hartford. Farber and Holzer succeeded in the early to mid-1980s in getting Farber's out-takes from their Channel 13 trips published together with his carefully worded scripts in such periodicals as American History Illustrated and in Antiques & The Arts Weekly. Many of Farber's pictures were printed in articles in Antique Trader, to which Holzer was a regular contributor. In 1983, when Farber turned 80, his color images of the interior spaces of the Metropolitan Club of New York were published in a book by the same name, written by Paul Porzelt. In his travels in the last decade of his life he was often accompanied by family friend Ethel Phillips, including a tour of Great Britain in the summer of 1987. With Mrs. Phillips he at one time had contemplated publishing a book on the historic mansions of the Hudson River. Two other unrealized projects, upon his death in 1994 at the age of 91, were books on the classical architecture of New York City and on the history and daily lives of Hispanic Americans in the United States.
Biographical Time Line:
Biographical Time Line for Joseph C. Farber

Biographical Time Line

1903 -- Born Cleveland, Ohio

1910s -- At New York Military Academy

1920s -- At Columbia College, studying chemistry, art composition; studies photography with Edward Steichen in Camera Club; teaches photography as camp counselor

1923 -- Participates in Fifth Annual Exhibition of Work by Cleveland Artists and Craftsmen at Cleveland Museum of Art (May 1-June 3)

1926 -- Takes job as "salesman and experimental worker" at Friedman Blau Farber, Mfg. Knitted Outerwear," Cleveland; Marriage to Caroline Feiss, Cleveland native and watercolor artist

1933 -- Son Thomas Feiss born at Cleveland

1936 -- Daughter Joan born

1930s -- Family moves to New York

1958 -- Visit to son in Germany; purchase of Linhof camera; daughter off to college

1960 -- Trip to Greece, daughter along

1961 -- To Spain

1963 -- Death of son in mountaineering accident; to Thailand, Japan, Hong Kong, Hawaii, California

1964 -- Rents former button factory in Essex, Connecticut as vacation home

1965 -- Retirement from Campus Sweater & Sportswear Company; Living in Essex

1966 -- To Greece

1967 -- To Egypt and Greece; heart attack ; Essex (summer?)

1969 -- Portrait of Essex published, text by Marie Moore; into by Carl Feiss, AIA (Barre)

1970 -- Trip to Bermuda

1971 -- Thomas Jefferson Redivus published, text by Wendell Garrett, Editor of The Magazine Antiques (Barre); Farber introduced to "Jefferson circle"; Vacations in Essex and Florida

1972 -- Monticello images published in Antiques

1973 -- Photographs of sculpture at the Boston Atheneum, the Maison Carree at Nimes (France): the villas of Andrea Palladio in Vicenza and environs (Italy) and the architecture of Lavius Fillmore (Connecticut and Vermont) published in Antiques

1974 -- Images of Abraham Lincoln prints published in Antiques: accompanying article is by Lincoln scholar Harold Holzer; beginning of ten-year collaboration

1975 -- Photographs of Lincoln portraits in Antiques, Holzer text Democracy's First Struggle published, based on Herodotus' Histories of Greece (Crown); Native Americans: 500 Years Afterpublished (Thomas Crowell)

1976 -- Exhibitions of photographs of Native Americans at National Museum of Natural History, Dartmouth College, and Cleveland Museum of Natural History; Images of historic New York City buildings in Antiques, text by Elizabeth Donaghty Garrett; Exhibition of photographs of New York City landmarks at Abigail Adams House, New York City.

1978 -- Photographs of Lincoln sculptures, with Holzer, in Antiques

1979 -- Images of Lincoln and George Washington, sculpture of John Rogers, and sculpture of U.S. Capitol published in Antiques, with Holzer; Exhibition of photographs at East Haddam Historical Society; Exhibition of Palladio photographs at Cooper Hewitt Museum, New York City.

1980 -- Palladio's Architecture and Its Influence published, with Henry Hope Reed (Dover) ; Venice image (church interior) published on Antiques cover; Death of wife; "Caroline Fund" established at Cooper Union; Teaches photography in local high school; To Missouri with Holzer to photograph Mark Twain sites for Channel 13

1981 -- Images of Lincoln sites published in black and white in Antiques with Holzer (should have been in color); Summer trip to Berkshires with Holzer to photograph Edith Wharton home

1982 -- Commissioned to photograph Mark Twain house in Hartford for Architectural Digest; Images of The Mount, Edith Wharton's home in Lenox, Mass., published in American History Illustrated with Holzer; Summer trip to Massachusetts and Vermont with Holzer to photograph "The Street," Deerfield (Channel 13) and Hildene, Robert Todd Lincoln home in Manchester

1983 -- Images of Mark Twain sites in Hannibal, Missouri published in American History Illustrated with Holzer; Summer trip to Harpers Ferry, West Virginia with Holzer (Channel 13); Harper's Ferry images published in Antique Trader with Holzer Deerfield, Massachusetts images published in Antiques & The Arts Weekly with Holzer; The Metropolitan Club of New York published, with Paul Porzelt (Rizzoli)

1984 -- Images of Hildene published in Antique Traderwith Holzer

1985 -- Images of Rebecca Nurse Homestead, Old Salem, Massachusetts published in Antique Traderwith Holzer

1987 -- Tour of Great Britain with Ethel Phillips (summer?)

1994 -- Died, New York City, New York
Related Archival Materials:
Other Materials at the Smithsonian Institution

National Anthropological Archives, National Museum of Natural History, Smithsonian Institution

Joseph C. Farber photographs of American Indian life, circa 1970-1975

Photographs made as part of Joseph C. Farber's project to document modern American Indian everyday life. Represented tribes include the Acoma, Apache, Blackfoot, Chehalis, Cherokee, Cheyenne, Chippewa, Cocopa, Dakota, Eskimo, Haida, Kiowa, Kutenai, Lummi, Mohave, Mohawk, Navaho, Northern Athabascan, Onandaga, Pima, Pueblo, Quinalt, Seminole, Taos, Tlingit, and Zuni. Subject coverage is broad and varies from tribe to tribe. Included are portraits, as well as totem poles, carving, weaving, pottery, painitng, landscapes, boats and canoes, ceremonial regalia, camps, classes and vocational training, homes and traditional dwellings, construction projects, rodeos and powwows, dances, industries (including lumber), herding and ranching, agriculture, stores and storefronts, cliff dwellings, parades, crab cleaning, fishing, games, health care, legal processes, music, office work, sewing, vending, and a funeral. There are also photographs of R. C. Gorman (and a letter from Gorman to Farber) and Fritz Shoulder (some in color).
Provenance:
Collection donated by Dr. Joan Farber, 1994.
Restrictions:
Collection is open for research.
Rights:
Photographs published in Joseph C. Farber's books are still under copyright. Reproduction permission from the Joseph C. Farber's estate is required. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Architecture -- Greece  Search this
Architecture, Renaissance  Search this
Architecture -- United States  Search this
Churches -- New England  Search this
Churches -- Quaker  Search this
Ruins -- Greece  Search this
Architecture, Classical  Search this
Architecture, Italian  Search this
American Revolution Bicentennial, 1776-1976  Search this
Architecture, Ancient -- Photographs  Search this
Genre/Form:
Photographs -- Black-and-white negatives -- 1950-2000
Contact sheets -- 1960-1990
Proofs -- 1960-1990
Correspondence -- 1960-1990
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1950-2000
Proof sheets
Photographs -- Phototransparencies -- 1960-1990
Slides (photographs) -- 1950-2000
Citation:
Joseph Farber Papers and Photographs, Archives Center, National Museum of American History. Gift of Dr. Joan C. Farber.
Identifier:
NMAH.AC.0520
See more items in:
Joseph C. Farber Papers and Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0520

Norcross Greeting Card Collection

Collector:
Norcross, Arthur Dickinson, d. 1968  Search this
Extractive Industries, Division of.  Search this
Rust, Fred Winslow, 1877?-1949  Search this
Rust Craft Greeting Card Company (Dedham (Mass.))  Search this
Extractive Industries, Division of.  Search this
Designer:
Tuck, Raphael, fl. 1880s  Search this
Prang, Louis, fl. 1880-1900  Search this
Chase, Ernest Dudley, fl. 1920s  Search this
Manufacturer:
Norcross Greeting Card Company (New York (N.Y.))  Search this
Rust Craft Publishers (Boston, Mass.)  Search this
Extent:
202 Cubic feet (179 boxes, 362 volumes)
Type:
Collection descriptions
Archival materials
Lithographs
Business records
Chromolithographs
Color slides
Greeting cards
Valentines
Trade cards
Postcards
Motion pictures (visual works)
Advertisements
Scrapbooks
Slides (photographs)
Place:
New York (N.Y.) -- 20th century
Boston (Mass.) -- 1910-1950
Date:
1800-1981
bulk 1880-1881
Summary:
Collections consists of the records of both the Norcross Greeting Card Company founded in New York City in the 1920s and The Rust Craft Greeting Card Company, founded in Kansas City, Missouri, 1906. Both the Norcross and Rust Craft companies collected antique greeting cards. Also includes a small number of modern cards by other manufacturers, circa 1930-1980. Collection represents development of the greeting card industry, social trends in the United States and technology of the printing industry from 1924 through 1978.
Scope and Contents:
The Norcross Greeting Card Collection consists of cards and a few records of both the Norcross Greeting Card Company and the Rust Craft Greeting Card Company, circa 1911 1981; antique greeting cards, circa 1800 1930 (bulk 1880 1900) collected by both these companies and their executives; and a small number of modern cards by other manufacturers, circa 1939 1960. According to Norcross Company officials in 1978, this collection represents "not only a history of the development of the greeting card industry but also a history of social trends in the United States" and gives "an indication of the quality and technology of the [printing] industry from 1924 through 1978."
Arrangement:
The collection is divided into six series.

Series 1: Norcross Company Records, 1920-1981

Series 2: Antique Greeting Card Collection, circa 1800-1930 (bulk 1880-1990)

Series 3: Rust Craft Company Records, circa 1920-1980

Series 4: Greeting Cards by Other Manufacturers, 1939-1960

Series 5: Norcross Company Permanent Files, 1911-1981

Series 6: Rust Craft Company Permanent Files, 1927-1981
Biographical / Historical:
Arthur D. Norcross founded the Norcross Greeting Card Company in New York City in the nineteen twenties. From the start Norcross cards had a "look" which contributed to their selling success although, through the years, the company commanded only a small share of the greeting card market. In 1974 the company relocated to West Chester and Exton, Pennsylvania, where in 1981 Norcross and the Rust Craft Greeting Card Company merged to form divisions of a parent company.

At some point, Norcross executives realized the value of collecting and preserving antique greeting cards. The company built a large collection of antique cards, a number of which traveled in shows around the country bringing attention not only to the cards themselves but also to the Norcross Company.

Arthur Norcross died in 1968, and the company had four owners from then until 1982. One of the owners, the Ziff Corporation, a New York publisher, picked up the Norcross Company to augment the floundering Rust Craft Greeting Card Company that it had purchased primarily for its television holdings. Finally the Norcross and Rust Craft combination was acquired by Windsor Communications, Inc., a privately held company. In August 1981 Windsor entered into Chapter 11 proceedings under the Federal bankruptcy law and ceased producing greeting cards. Factors leading to bankruptcy included the expensive consolidation of Norcross and Rust Craft, a doubtful marketing strategy, and unsuccessful efforts to continue producing two distinct lines of greeting cards.

The Rust Craft Greeting Card Company, some of whose records are contained in this collection, was begun as a little bookshop by Fred Rust, (1877? 1949) in Kansas City in 1906. Later that year he created a plain Christmas folder which he called a "letter," perhaps a forerunner of the greeting card. These "letters" proved successful sellers prompting Rust to increase his publications over the years and expand his line to include post cards, greeting cards with envelopes, calendars, and blotters, in addition to lines of cards for New Year's and birthdays. Donald Rust, his brother, soon joined him to take over manufacturing, and in 1908, Fred Rust, seeking to increase distribution, carried his line to Boston while Donald carried his to California. The original bookshop was retained until 1910 when all retailing was discontinued. After building a considerable volume of business, the firm was consolidated in Boston in 1914 and became known as Rust Craft Publishers.

Sales mounted as the company issued cards for various seasons. Many of the sentiments were written by Fred Rust himself. Around 1927 Ernest Dudley Chase joined the firm as an associate in charge of creation and advertising. In the 1950s the company relocated to Dedham, Massachusetts and finally in 1981 merged with the Norcross Company in West Chester and Exton, Pennsylvania.

A popular innovation of the Rust Craft Company was a card bearing the sentiment printed on the card itself with four or five extra sentiments tucked in as part of the message and design. This card was so popular that it was patented with the name Tukkin. The Rust Craft Company also collected some antique greeting cards.
Related Materials:
Materials in the Archives Center

AC0109 Division of Domestic Life Greeting Card Collection, circa 1854-1975

AC0126 Burris and Byrd Family Card Sample Case, circa 1920

AC0263 Susie Paige Afro-American Greeting Card Collection, 1900-1984

AC0376 Olive Leavister 19th Century Handmade Valentine Collection, 1830-1880

AC0404 Archives Center Business Americana Collection, circa 1900-present

AC0530 Beatrice Litzinger Postcard Collection, 1900-1990

AC0468Archives Center Scrapbook Collection, circa 1880-circa 1960

AC0579 Greeting Card Collection, 1920s-1970s

AC0886 Ernest Dudley Chase Papers, 1930s-1940s

AC1198 Beatrice Morgan Steyskal Collection of Greeting Cards, 1958-1970

AC0060 Warshaw Collection of Business Americana

AC1251 L.F. Pease Greeting Card Company Collection, circa 1908-1913

AC 1252 Sandford Greeting Card Company and Family Papers, circa 1840-1990

AC 0062 Hoffmania (or Hoffman Collection

AC0295 Rocky Herosian Collection, 1910-1943

AC0674 Jean Clairmook Radio Scrapbook, 1930-1932

AC0136 Celia K. Erskine Scrapbook of Valentines, Advertising Cards, and Postcards, circa 1882-1884

The Valentine & Expressions of Love [videocassette], 2000 within the Archives Center Miscellaneous Film and Videotape Collection, (AC0358)
Provenance:
Norcross Greeting Card Company, West Chester, Pennsylvania, 1982-1985.
Restrictions:
Collection is open for research. Viewing the film portion of the collection without reference copies requires special appointment, please inquire.
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.
Genre/Form:
Lithographs
Business records -- 20th century
Chromolithographs -- 1880-1900
Color slides
Greeting cards -- ca. 1800-1980
Valentines
Trade cards
Postcards
Motion pictures (visual works) -- 1960-1980
Advertisements
Scrapbooks
Slides (photographs) -- 1950-2000
Citation:
Norcross Greeting Card Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0058
See more items in:
Norcross Greeting Card Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0058
Online Media:

Eleanor Munro papers

Creator:
Munro, Eleanor, 1928-  Search this
Names:
Antin, Eleanor  Search this
Blaine, Nell, 1922-1996  Search this
Bontecou, Lee, 1931-  Search this
Chase-Riboud, Barbara  Search this
Frank, Mary, 1933-  Search this
Lin, Maya Ying  Search this
Mitchell, Joan, 1926-1992  Search this
Pepper, Beverly  Search this
Stone, Sylvia, 1928-  Search this
Thomas, Alma  Search this
Extent:
36.7 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Diaries
Sound recordings
Photographs
Transcripts
Date:
circa 1880-2011
bulk 1950-2011
Summary:
The papers of writer and art critic Eleanor Munro measure 36.7 linear feet and 0.001 GB and date from circa 1880-2011, bulk 1950-2011. The collection documents Munro's life, career, and research on women artists, through biographical and family material, correspondence, writing projects, diaries, dream journals and notebooks, subject and research files, printed and digital material, and photographic material.
Scope and Contents:
The papers of writer and art critic Eleanor Munro measure 36.7 linear feet and 0.001 GB and date from circa 1880-2011, bulk 1950-2011. The collection documents Munro's life, career, and research on women artists, through biographical and family material, correspondence, writing projects, diaries, dream journals and notebooks, subject and research files, printed and digital material, and photographic material.

Correspondence is both personal and professional in nature and is with family, friends, colleagues, agents, editors, and others regarding speaking engagements, writings, and other professional projects.

Writing projects make up a significant portion of the collection (10 linear feet) and include non-fiction works as well as fiction and poetry. Files contain drafts, notes, manuscripts, research, correspondence, contracts and agreements, royalty statements, and other business records for articles, books, reviews, talks, lectures, and other writing projects.

Diaries comprise twenty-six volumes of frequent entries that chronicle thoughts and feelings relating to Munro's personal and professional life. Dream journals and notebooks total 210 volumes plus additional loose pages and capture thoughts, reflections, and fragments of remembered dreams.

Subject and research files compiled and organized by Eleanor Munro make up the most substantial portion of the collection (20.6 linear feet) and reflect a wide variety of research interests, work projects, activities, and topics of interest. Types of material in this series are varied and include notes, drafts, printed and digital material, correspondence, proposals, interview transcripts, bibliographies, annotated articles, slides, photographs, original artworks, manuscripts by others, and four sound recordings. Many files relate to Munro's interest in women artists and serve as research for Originals: American Women Artists (1979). Interview transcripts are with women artists Eleanor Antin, Nell Blaine, Lee Bontecou, Barbara Chase-Riboud, Mary Frank, Maya Lin, Joan Mitchell, Beverly Pepper, Sylvia Stone, Alma Thomas, and others.

The remainder of the collection is comprised of biographical and family material, printed material, and photographic material.
Arrangement:
The collection is arranged as 7 series

Series 1: Biographical and Family Material, circa 1880s-2008 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1959-circa 2000s (0.7 linear feet; Box 1-2)

Series 3: Writings Projects, 1921-circa 2000s (10 linear feet; Box 2-12)

Series 4: Diaries, Dream Journals, and Notebooks, circa 1939-2011 (3.8 linear feet; Box 12-15)

Series 5: Subject and Research Files, circa 1950s-2000s (20.6 linear feet; Box 15-36, OV 38-40, 0.001 GB; ER01)

Series 6: Printed Material, circa 1959-circa 2000s (0.6 linear feet; Box 36)

Series 7: Photographic Material, circa 1980s-1990s (0.6 linear feet; Box 36-37)
Biographical / Historical:
Eleanor Munro (1928- ) is a writer and art critic working in New York City and Truro, Massachusetts. She is best known for her groundbreaking work Originals: American Women Artists (1979), one of the first books to argue for the importance of women artists who were generally ignored by the art world. Munro was active in feminist art circles in New York.

Munro's father, Thomas Munro, was an art educator and modernist intellectual. Her mother, Lucile Nadler, was a pianist. She grew up in Cleveland, Ohio, after her father accepted a joint appointment at the Cleveland Museum of Art and Western Reserve University. Munro graduated from Smith College majoring in art history and earned a master's degree in comparative literature from Columbia. She was married to Alfred Frankfurter, editor of ArtNews, from 1955 until his death in 1965. Munro remarried to the writer E. J. Kahn until his death in 1994.

While working on Originals, Munro interviewed forty women artists including Georgia O'Keeffe, Louise Bourgeois, Jennifer Bartlett, Helen Frankenthaler, and Louise Nevelson. Her thesis sought to highlight the relationship between biography and the content of an artist's work. The book serves as an illustration of Munro's idea that the "narrative memory" these artists had constructed for themselves was an important "generative source" of their creativity. Women artists continued to be a prominent interest of Munro's throughout her life.

Munro is also the author of On Glory Roads: a Pilgrim's Book about Pilgrimage (1987), Memoir of a Modernist's Daughter (1988), and other books. In 1988, Munro received the Cleveland Arts Prize for Literature.
Provenance:
Donated by Eleanor Munro's son, David T. M. Frankfurter, in 2015.
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:
Art critics -- Ohio  Search this
Authors -- Ohio  Search this
Topic:
Dreams  Search this
Women artists  Search this
Genre/Form:
Interviews
Diaries
Sound recordings
Photographs
Transcripts
Citation:
Eleanor Munro papers, circa 1880-2011, bulk 1950-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.munrelea
See more items in:
Eleanor Munro papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-munrelea
Online Media:

Lester Shanks Collection of Covered Bridge Photographs and Ephemera

Collector:
Shanks, Lester  Search this
Extent:
3 Cubic feet (16 boxes)
Type:
Collection descriptions
Archival materials
Maps
Slides (photographs)
Photograph albums
Books
Picture postcards
Photographs
Ephemera
Travel brochures
Pamphlets
Newsletters
Postcards
Place:
Switzerland
Baltimore (Md.) -- 19th century
Date:
1876-2010
bulk 1973-2008
Summary:
The collection is comprised of the results of Shanks's research on covered bridges, mostly in America but also covered bridges in Canada and Switzerland. Included are albums containing color photographs of covered bridges, slides of covered bridges, postcards depicting covered bridges; maps, and guidebooks; newsletters, magazines, and newspaper clippings on the subject of covered bridges.
Scope and Contents:
The collection is comprised of the results of Shanks's research on covered bridges, mostly in America but also covered bridges in Canada and Switzerland. Included are albums containing color photographs of covered bridges, slides of covered bridges, postcards depicting covered bridges; maps, and guidebooks; newsletters, magazines, and newspaper clippings on the subject of covered bridges.

Series 1, Photograph Albums, 1963-2006, consists of bound albums of black-and-white and color photographs by Shanks documenting covered bridges in the United States and other countries. The series is arranged geographically and then alphabetically. Some of the states have documentation preceding the photographs which lists the counties where the covered bridges he photographed were located. Shanks assigned a number to each state and each county for organization purposes. The number 35-04-03 means Ohio-Ashtabula County-third photograph in the group. The majority of photographs are identified.

In some instances, correspondence, brochures, fliers for covered bridge activities, invitations to covered bridge events, and copies or portions of Covered Bridge Topics, a quarterly journal published by the National Society for the Preservation of Covered Bridges, containing articles and information relating to covered bridges, are also included. Wooden Covered Spans, the newsletter for the Theodore Burr Covered Bridge Society of Pennsylvania is also present. The covered bridge photographs from Switzerland were taken by Leonard Reich.

Series 2, Slides, 1971-1997, consists of color slides taken by Shanks documenting covered bridges in Alabama, Georgia, Illinois, Indiana, Iowa, Kentucky, Maine, Maryland, Massachusetts, Michigan, Minnesota, Missouri, New Hampshire, New York, North Carolina, Ohio, Oregon, Pennsylvania, South Carolina, Tennessee, Vermont, Washington, West Virginia, British Columbia, New Brunswick, Ontario, and Quebec, Canada, and Switzerland. The slides depict bridge interiors, side elevations, landscape views surrounding the bridge, river views, views of the road leading up to the bridge, and restoration work. Each slide is labeled with the name of the state/country/province, county and/or township, date, name of bridge and in some instances, the name of the river the bridge spans. Other numbers such as 38-63-22 are also present on the slides and represent a numbering system Shanks applied to his slides, which are keyed to states and counties. Shanks assigned a Roman numeral and Arabic numeral system to some of the slides (e.g. I-1 to I-100) and (13-1 to 13-100). This arrangement has been retained and while there is no key to it, the slides are arranged chronologically.

Series 3, Guide Books, 1876-2009, consists of bound guide books about covered bridges. The most significant of the guide books is theThe Stranger's Guide in Baltimore and its Environs, 1876. This small pocket guide book contains sketches of public buildings, monuments, notable localities, resorts, and suburban drives. The guide book is intended to show strangers where to go and what to see when in Baltimore.

Series 4, Maps, 1850, 1982, contains two maps for the city of Baltimore and Baltimore County, Maryland.

Series 5, National Society for the Preservation of Covered Bridges, Inc, 2005-2010, consists of copies of the Covered Bridges Topics, the official magazine for the National Society for the Preservation of Covered Bridges, Inc. (N.S.P.C.B.) and the newsletter for the N.S.P.C.B.

Series 6, Newsclippings, 2006, 2008, consists of two articles fromThe Post Standard, New York about covered bridges.

Series 7, Postcards, 1963-1985, consists of color postcards of covered bridges from a variety of locations in the United States. The postcards are arranged alphabetically by state. Some bear cancelled postmarks, but the majority are blank.
Arrangement:
The collection is divided into seven series.

Series 1, Photograph Albums, 1963-2006

Series 2, Slides, 1971-1977

Series 3, Guide Books, 1876-2009

Series 4, Maps, 1850, 1982

Series 5, National Society for the Preservation of Covered Bridges, Inc., 2005-2010

Series 6, News clippings, 2006, 2008

Series 7, Postcards, 1963-1985
Biographical / Historical:
Shanks, an employee of Baltimore Gas and Electric for over 40 years, was a covered bridge enthusiast and collector. He set a goal of photographing every covered bridge in America. Lester Shanks died October 10, 2010.
Related Materials:
Materials in the Archives Center, National Museum of American History

Warshaw Collection of Business Americana, Bridges (series), circa 1818-1940 (AC0060)

Warshaw Collection of Business Americana, Bridges: stereographs, circa 1868-1902 (mostly circa 1875-1880) (AC0060)

Beata Drake Covered Bridge Collection, 1954-1981 (AC0998)

Raymond E. Wilson Covered Bridge Collection, 1958-1974 (AC0999)

Samuel E. Reed Bridge Collection, 1947-1964 (AC1001)

Lucinda Rudell Covered Bridge Collection, 1942-1979 (AC1028)

Robert Bagby Stereographs and Lantern Slides, 1919; circa 1940-1960 (AC1185)
Provenance:
Donated by Eunice C. Shanks on August 11, 2011.
Restrictions:
The collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Bridges -- Switzerland  Search this
Covered bridges -- Switzerland  Search this
Covered bridges -- United States  Search this
Bridges -- United States  Search this
Genre/Form:
Maps -- 20th century
Slides (photographs) -- 1950-2000
Photograph albums -- 20th century
Books
Picture postcards -- 20th century
Photographs -- 20th century
Ephemera -- 19th century
Travel brochures
Photographs -- Color transparencies -- Acetate film -- 20th century
Ephemera -- 20th century
Pamphlets -- 1950-2000
Newsletters -- 2000-2010
Postcards
Citation:
Lester Shanks Collection of Covered Bridge Photographs and Ephemera, 1876-2010 (bulk 1973-2008), Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1244
See more items in:
Lester Shanks Collection of Covered Bridge Photographs and Ephemera
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1244

James C. Jones collection from Boliva

Creator:
Jones, James C. (James Clyde), 1944-  Search this
Extent:
910 Slides (photographs) (color, 35mm)
2 Sound cassettes
Culture:
Moxo (Mojo)  Search this
Type:
Collection descriptions
Archival materials
Slides (photographs)
Sound cassettes
Sound cassette
Place:
Bolivia
Date:
1977-1979
1988
Summary:
This collection includes slides (photographic) and audio-cassettes created by James Jones during research trips to San Ingnacio de Moxos, Beni, Bolivia in 1977-1979 and 1988. Jones was conducting research to complete his dissertation in anthropology and photographed many indigenous Moxo (Mojo) community members he interviewed during the course of his research, as well as local festivals and agricultural activities.
Scope and Contents:
The James C. Jones collection includes photographic slides (35mm) and two audio-cassettes made by Jones in San Ignacios de Moxis, Beni, Bolivia in 1977-1979 and in 1988. The majority of the photographic slides in this collection were taken by Jones during his 1977-1979 research trip for his PhD dissertation. There are a small number of slides that were shot in 1988 on a return trip to Beni, Bolivia. The slides from 1977-1979 were shot in 25 rolls with 36 slides per roll. The majority of the photographs were shot in and near San Ignacio de Moxos in Beni, Bolivia an indigenous village in Norther Bolivia, though additional locations in Bolivia visited include Trinidad and La Paz. Jones interviewed around 70 local Moxo (Mojo) men and women in and near San Ignacio. During and in between interviews Jones shot photographs that documented daily life for his interviewees with a particular focus on agricultural activities such as farming and cooking. Many of the photographs include images of the Rivero family (Ignacito and Yolanda) with whom Jones stayed for extended periods of time. Jones also took a special interest in the many celebrations and festivals that occurred during his stay in Bolivia and took photographs of dancers, musicians and processions. He also shot many landscape views of the village, farms, "pampas," as well as aerial views of roads and rivers and close up images of the local flora and fauna.

The two audio-cassettes, recorded by Jones in 1977-1978, includes music played by local Moxo musicians during special occasions, such as Christmas, Independence Day as well as music played in the local church. There are also interviews with Juan Bautista Savala and Chaco war veteran Horacio Semani.
Arrangement:
Arranged chronologically and by slide roll or sound-cassette.
Biographical / Historical:
James C. Jones was born in Harlan, Kentucky in 1944. He graduated from University of Kentucky in 1966 with a B.A. in Science in Mathematics. Jones spent two years teaching math in Columbia (1969-1970) and developed an interest in Latin American studies while traveling around South America. Due to this interest, he pursued and received a Master's degree and later PhD in anthropology at the University of Florida. Jones first visited San Ignacio/Beni in 1976 for three months to define his topic for his PhD thesis with funding from the University of Florida's Tropical South American Program. He returned to Bolivia with funding from the Inter-American Foundation in 1977 (September) and stayed through the first quarter of 1979. Returning to Florida, Jones finished his dissertation in 1980 titled "Conflict between Whites and Indians on the Llanos de Moxos, Beni Department" (PhD diss., University of Florida, 1980).

After completing his degree, Jones left the field of anthropology and received a Master's degree in agricultural economics, entering the world of development for the next 15 years. During this time Jones worked on development and security issues across the globe. Jones resumed research on Bolivia in the late 1980's and 1990s and published an essay, "Development: Reflections from Bolivia" in the Society for Applied Anthropology's Human Organization, Vol. 56, No. 1 (Spring 1997), pp.111-120. Since then, Jones has worked as an independent contractor.
Separated Materials:
Jones took copious notes that describe that photographic and audio materials but these are still in the possession of Jones himself. The Archive Center has copies of these notes for reference purposes only.
Provenance:
Gift of James Jones, 2017.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Indians of South America -- Bolivia  Search this
Photographs  Search this
Applied anthropology  Search this
Genre/Form:
Slides (photographs) -- 1950-2000
Sound cassette
Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
Identifier:
NMAI.AC.110
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-110

Art Thieme Folk Music Slides

Creator:
Thieme, Art, 1941-2015  Search this
Extent:
459 Slides
0.3 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Slides
Photographs
Chromogenic processes
Slides (photographs)
Date:
circa 1960s-1990
Summary:
Art Thieme was a noted folk singer who recorded many traditional ballads and folk songs from midwestern states. This collection is a series of 459 color slides documenting folk musicians and folk music, in both concert settings and informal portraiture, all taken by the donor.
Scope and Contents:
459 35mm color slides documenting folk musicians and folk music, in both concert settings and informal portraiture, all taken by the donor, Art Thieme, a noted folksinger. Subjects include such well-known performers as Stephen Wade, the New Lost City Ramblers, Mike Seeger, Pete Seeger, Peggy Seeger, Jack Elliott, Ike Everly, B.B. King, Dave Edmonson, Ray Harris, Kenny Baker, Tom Paxton, John Hammond, Bill Monroe, Justin Bishop, Steve Goodman, Cathy Fink, Wes Asbury, Ron F. Kirkpatrick, Doc Watson, Jim Kweskin, and Lightnin' Hopkins, and other notables such as oral historian Studs Terkel. The collection also contains a CD with Thieme's recordings and a folder of newspaper clippings, a program, and a map of local folk singers across the country. The slides are unarranged, but most slides have names, places, and dates.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Art Thieme was born on July 9, 1941 in Chicago, Illinois. He becamea noted folk singer. He launched his career at a Hyde Park, Chicago club, the Limelight, in 1959 and went on to perform for many years at a coffeehouse called No Exit, also in Chicago. Touring all over the country, he photographed and recorded many folk singers and concerts, documented in this collection. At the end of his career, he performed on the steamboats Julia Belle Swain, Twilight on the Mississippi, and Illinois Rivers. He has recorded traditional folk songs rendered by himself for Folk Legacy Records. Thieme died on May 26, 2015.
Provenance:
The collection was donated by Art Thieme in 2012.
Restrictions:
The collection is open for research. Gloves must be worn when handling unprotected photographs and negatives.
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:
Musical instruments -- 20th century  Search this
Concerts  Search this
Folk music -- United States  Search this
Folk musicians  Search this
Folk songs -- United States  Search this
Folk music -- Appalachian Region, Southern  Search this
Folk festivals  Search this
Folk music  Search this
Musicians -- 1950-2000  Search this
Genre/Form:
Photographs -- Color transparencies -- 1950-2000
Chromogenic processes
Slides (photographs) -- 1950-2000
Citation:
Art Theime Folk Music Slides, circa 1960s-1990, Archives Center, National Museum of American History. Gift of Michael Cuscuna.
Identifier:
NMAH.AC.1239
See more items in:
Art Thieme Folk Music Slides
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1239
Online Media:

Claudia Schmidt at Winnipeg. [Jul 78 processing date on slide mount.]

Photographer:
Thieme, Art, 1941-2015  Search this
Donor:
Thieme, Art, 1941-2015  Search this
Collection Creator:
Thieme, Art, 1941-2015  Search this
Extent:
1 Item (Color dye on film., 35mm.)
Container:
Box 1, Page 10
Type:
Archival materials
Chromogenic processes
Slides (photographs)
Place:
Winnipeg (Manitoba)
Date:
1978
Local Numbers:
AC1239-0000069 (AC Scan No.)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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:
Musicians -- 1950-2000  Search this
Folk music  Search this
Genre/Form:
Chromogenic processes
Slides (photographs) -- 1950-2000
Collection Citation:
Art Theime Folk Music Slides, circa 1960s-1990, Archives Center, National Museum of American History. Gift of Michael Cuscuna.
See more items in:
Art Thieme Folk Music Slides
Art Thieme Folk Music Slides / Folk music slides
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1239-ref524

Ian Robb & Grif Laskin [82 stamp without month on mount]

Photographer:
Thieme, Art, 1941-2015  Search this
Donor:
Thieme, Art, 1941-2015  Search this
Collection Creator:
Thieme, Art, 1941-2015  Search this
Extent:
1 Item (Color dye on film., 35mm.)
Container:
Box 1, Page 10
Type:
Archival materials
Chromogenic processes
Slides (photographs)
Date:
1978
Local Numbers:
AC1239-0000068 (AC Scan No.)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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:
Musicians -- 1950-2000  Search this
Folk music  Search this
Genre/Form:
Chromogenic processes
Slides (photographs) -- 1950-2000
Collection Citation:
Art Theime Folk Music Slides, circa 1960s-1990, Archives Center, National Museum of American History. Gift of Michael Cuscuna.
See more items in:
Art Thieme Folk Music Slides
Art Thieme Folk Music Slides / Folk music slides
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1239-ref525

Subject and Research Files

Collection Creator:
Munro, Eleanor, 1928-  Search this
Extent:
20.6 Linear feet (Box 15-36, OV 38-40)
0.001 Gigabytes (ER01)
Type:
Archival materials
Gigabytes
Date:
circa 1950s-2000s
Scope and Contents:
Subject and research files compiled and organized by Munro date from circa 1950s-2000s and reflect a wide variety of research interests, professional projects, activities, and topics of interest. Types of material include notes, drafts, printed and digital material, correspondence, proposals, interview transcripts, bibliographies, annotated articles, slides, photographs, original artworks, manuscripts by others, and four sound recordings. Printed material includes journals, annotated clippings, exhibition announcements and catalogs, maps, brochures, press releases, and posters. Many files relate to Munro's interest in women artists and serve as research for Originals: American Women Artists (1979). Interview transcripts are with women artists Eleanor Antin, Nell Blaine, Lee Bontecou, Barbara Chase-Riboud, Mary Frank, Maya Lin, Joan Mitchell, Beverly Pepper, Sylvia Stone, Alma Thomas, and others.
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Eleanor Munro papers, circa 1880-2011, bulk 1950-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.munrelea, Series 5
See more items in:
Eleanor Munro papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-munrelea-ref36

National Cotton Council of America (NCC) Photographs and Film

Creator:
National Cotton Council  Search this
Extent:
28 Cubic feet (48 boxes)
224 Motion picture films
Type:
Collection descriptions
Archival materials
Motion picture films
Photographs
Motion pictures (visual works)
Slides (photographs)
Date:
circa 1945-1999, undated
Summary:
The collection consists primaily of photographs and films created by the National Cotton Council of America (NCC) to document cotton production and use and to support the advocacy and educational work of the organization.
Scope and Contents:
Collection consists of photographs, slides, and 16mm films created by the National Cotton Council of America (NCC) to document cotton production and use and to support the educational and advocacy work of the organization. It is arranged into four series.

Series one contains black and white photographic prints dating primarily from the 1950s-1970s. The photographs document every aspect of cotton farming, from before the seed is planted to the production of finished cloth. Most of these prints illustrate agricultural practices, including land preparation, planting, bedding, plowing, harrowing, drainage, cultivation, stripping, and harvesting. Another group documents pests and infestations – boll weevils, fleas, mites, pink bollworm, hoppers - and the methods of countering them with insecticide and herbicide applications. Other photographs illustrate more general topics, including the history of cotton, research programs, trading, foreign cotton farming, printing, spinning, and weaving. There are also photographs of agricultural equipment manufactured by International Harvester. In addition, a small group of photographs consist of images from movies produced by the National Cotton Council of America (NCC). The photographs were maintained in the order that was created by the National Cotton Council of America (NCC).

Series two include slides and color photographs which date from the 1980s-early 2000s. These materials document many of the same topics as the black and white photographic prints during a later time. Many of the slides were created and assembled for use in presentations. In addition, there are slides of individuals and activities from the National Cotton Council of America (NCC) board meetings and conferences.

Series three consists of publications and reference materials.

Series four contains two hundred and fourteen films that were created by the National Cotton Council of America (NCC) and date from the 1960s-1980s. Films primarily document cotton farming and its versatility and use in consumer goods. A consistent theme and message are to promote cotton to the fashion industry and for home use.
Arrangement:
The collection is arranged into four series.

Series 1, Black and White Photographic Prints, 1945-1970s, undated

Subseries 1.1, Cultivation and Production of Cotton, 1950s-1970s

Subseries 1.2, Film Stills, 1956-1971, undated

Subseries 1.3, Subjects and Events, 1945-1965

Series 2, Slides, 1979-1999, undated

Series 3, Publications, 1954-1981

Series 4, Films, 1953-1996, undated
Biographical / Historical:
The National Cotton Council of America (NCC) is the official trade association of the cotton industry. The NCC was founded in 1939 to promote the interests of cotton farmers, ginners, brokers, and manufacturers from the Southern, cotton-growing states. Its mission evolved over the years as new uses for cotton and its byproducts were found; as synthetic fibers were developed; as fashion tastes changed; as government regulation increased; and as foreign competition in farming and manufacturing grew. The National Cotton Council's website states that its current mission is "to ensure the ability of all United States cotton industry segments to compete effectively and profitably in the raw cotton, oilseed and United States-manufactured product markets at home and abroad." Throughout its existence, the NCC has been the contact point for industry issues affecting its members, legislators in Congress, allied agribusinesses, and consumers.

The National Cotton Council of America (NCC) initially gave this collection to the Cotton Museum at the Memphis Cotton Exchange early in 2008, during the move of the Memphis-based NCC's corporate offices into a much smaller facility. Calvin Turley, president of the Board of the Cotton Museum, accepted the materials with the understanding that he could do with them as he wished. Ultimately, he decided that the collection was outside the scope of the Cotton Museum's mission. Turley offered the collection to the National Museum of American History in the belief that this was "the best possible place in the whole world for it."
Related Materials:
Materials in the Archives Center

Maid of Cotton Records (NMAH.AC.1176)

Warshaw Collection of Business Americana (NMAH.AC.0060)

Peter Paul Haring Papers (NMAH.AC.1014)

Sally Fox Innovative Lives Presentation (NMAH.AC.0646)

William Mason Papers (NMAH.AC.0045)

Anne E. Peterson Stereograph Collection (NMAH.AC.0402)

Southern Agriculture Oral History Project Records (NMAH.AC.0773)

Uriah A. Boyden Papers (NMAH.AC.0982)
Provenance:
Donated to the Archives Center in 2009 by the Cotton Museum.
Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives.
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:
Cotton textile industry  Search this
Cotton industry  Search this
Cotton growing  Search this
Cotton picking  Search this
Cotton manufacture  Search this
Trade associations  Search this
Textile industry  Search this
Cotton  Search this
Cotton farming  Search this
Genre/Form:
Photographs -- 1950-2000
Motion pictures (visual works)
Slides (photographs) -- 1950-2000
Citation:
National Cotton Council of America Photographs and Film, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1177
See more items in:
National Cotton Council of America (NCC) Photographs and Film
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1177

Hector and Norma Orcí Advertising Agency Records

Creator:
Orci, Hector  Search this
Orci, Norma  Search this
Orci Advertising Agency  Search this
Names:
McCann Erickson  Search this
Extent:
3.5 Cubic feet (10 boxes)
Type:
Collection descriptions
Archival materials
Letters (correspondence)
Born digital
Newsletters
Business records
Clippings
Photographs
Training manuals
Slides (photographs)
Programs
Reports
Advertisements
Awards
Oral history
Advertising
Date:
1979-2016, undated
Summary:
The Hector and Norma Orcí Advertising Agency Records document the history, educational, and creative output produced by Hector and Norma Orcí throughout their extensive career in advertising. The Orcís founded their own independent agency in 1986 in Los Angeles. The Orcí Advertising Agency successfully introduced various products to Latinos in the United States and developed a reputation as one of the top advertising agencies to understand the US Latino market. The collection showcases the agency's history and awards, advertising and marketing campaigns, and its role in educating advertising agencies on the importance of the US Latino market.
Scope and Contents:
The collection documents the Orcí Advertising Agency and its work in helping clients market their products to U.S. Latinos, its marketing methods and creative philosophy, and its role in educating other advertising companies about the Latino consumer market in the United States. The collection includes the founding and history of the agency, business records, awards and press clippings, training materials for staff, reports on the US Latino market for various products, training and curriculum materials for a UCLA Extension course on advertising in the US Latino market, account reports, conference materials, slides and photographs, and campaigns and advertising materials developed for clients such as Allstate, Honda, and Pepsi. Video footage of Spanish-language commercials developed by the Orcí Advertising Agency is also part of the collection.
Arrangement:
The collection is divided into five series.

Series 1: Background Materials, 1979-2010, undated

Series 2: Advertising and Marketing Materials, 1986-2003, undated

Series 3: Teaching Materials, 1985-2012, undated

Series 4: Conference Materials, 1984-1999, undated

Series 5: Audiovisual Materials, 1986-2016
Biographical / Historical:
Once employees of La Agencía de McCann-Erickson advertising company, Hector and Norma Orcí founded their own independent agency in 1986. The Orcí Advertising Agency, also known as La Agencía de Orcí & Asociados, is based in Los Angeles. Since its inception, the Orcí Advertising Agency has devoted itself to US Latino marketing and teaching other advertising agencies how to effectively advertise and sell products to US Latinos. The Orcís quickly developed an impressive roster of successful campaigns for major clients and continue to be a well-respected agency in the advertising sector.
Separated Materials:
The Division of Work and Industry holds the following artifacts related to this collection:

Virgin of Guadalupe Painting, Accession #: 2015.0306.01

INS Eagle Painting, Accession #: 2015.0306.02

Don Quixote Figurine, Accession #: 2015.0306.03
Provenance:
Collection donated by Hector and Norma Orcí, 2016.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Hispanic American businesspeople  Search this
Hispanic American leadership  Search this
Hispanic American consumers  Search this
Mexican American leadership  Search this
mexican Americans and mass media  Search this
advertising -- Beer -- 1950-2000  Search this
Mexican American business enterprises  Search this
advertising -- 21st century  Search this
Advertising campaigns  Search this
Hispanic American business enterprises  Search this
advertising -- Beverages  Search this
Hispanic American capitalists and financiers  Search this
Advertising history  Search this
advertising -- Soft drinks  Search this
Advertising executives  Search this
Hispanic Americans and mass media  Search this
Advertising agencies -- United States  Search this
Minority consumers  Search this
advertising -- Automobiles  Search this
Hispanic American businesswomen  Search this
Minorities in advertising  Search this
Latinos in American society and culture  Search this
Hispanic Americans -- Press coverage  Search this
Genre/Form:
Letters (correspondence) -- 20th century.
Letters (correspondence) -- 21st century
Letters (correspondence) -- 21st century
Born digital
Newsletters -- 21st century
Business records -- 21st century
Clippings -- 20th century
Photographs -- 20th century
Training manuals -- 21st century
Slides (photographs) -- 20th century
Programs -- 20th century
Clippings -- 21st century
Newsletters -- 20th century
Programs -- 21st century
Reports -- 21st century
Slides (photographs) -- 21st century
Reports -- 20th century
Advertisements -- 21st century
Training manuals -- 20th century
Awards
Business records -- 20th century
Oral history -- 2010-2020
Advertising -- 20th century
Photographs -- 21st century
Advertisements -- 20th century
Citation:
Hector and Norma Orcí Advertising Agency Records, 1979-2016, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1384
See more items in:
Hector and Norma Orcí Advertising Agency Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1384
Online Media:

Robert Ledley Papers

Creator:
Ledley, Robert S.  Search this
National Biomedical Research Foundation. Georgetown University  Search this
Names:
Automatic Computerized Transverse Axial Scanner  Search this
Computer-Assisted Tomography Scanner  Search this
National Biomedical Research Foundation. Georgetown University  Search this
Extent:
3 Cubic feet
Type:
Collection descriptions
Archival materials
Manuals
Patents
Photographs
Design drawings
Correspondence
Articles
Diagrams
Slides (photographs)
Notes
Motion pictures (visual works)
Albums
Date:
1972-1990
Summary:
The Robert Ledley Papers document the development of the first whole-body diagnostic imaging system, the Automatic Computerized Transverse Axial (ACTA) X-ray Scanner by Ledley in 1973. Also included is material relating to Ledley's company, Digital Science Information Corporation (DISCO), as well as the public and medical communities' reactions to the scanner.
Scope and Contents:
The Robert Ledley Papers document the development of the Automatic Computerized Transverse Axial (ACTA) X-ray Scanner, Ledley's company Digital Science Information Corporation (DISCO), as well as the public and medical communities' reactions to the scanner. The collection is arranged into nine series.

Series 1, ACTA Scanner I Schematics, 1973-1975; Series 2, ACTA Scanner I [Computer and Electronics], 1973; and Series 3, ACTA Scanner Tomograph Mechanics, 1973-1974 document the development and design of the ACTA scanner through drawings, notes, memoranda, and product information. More detailed information about these materials is located in the control file. All oversize drawings have been moved to flat storage for preservation concerns.

Series 4, ACTA Scanner Operating Instructions, 1975, is the operating manual created for the scanner used in Ledley's Georgetown lab.

Series 5, ACTA Articles, Clippings, and Press Releases, 1973-1979, is comprised of the aforementioned materials relating to the ACTA Scanner. Newspaper clippings illuminate the public's perception of the scanner, and scientific pieces highlight the medical community's reaction. Ledley's published articles on the scanner and related topics are included.

Series 6, Digital Information Science Corporation (DISCO) material, 1973-1981, documents Ledley's career and his company. A biographical sketch, list of articles, textbooks, and patents highlight Ledley's achievements. Invoices, receipts, contracts, and correspondence illuminate the financial situation at DISCO and the relationship between the company and Pfizer.

Series 7, Computer manuals, 1972-1975, documents the computer systems and software that were used with the ACTA Scanner.

Series 8, Photographic material, 1973-1978, includes an album of photographs depicting the ACTA Scanner and images of the scans it created. This album was disassembled due to preservation concerns. This series also includes a collection of slides featuring the scanner and related equipment in use and images of the scans it created. A detailed description of each photograph and slide is included in the control file.

Series 9, ACTA Scanner film, [1974?], is a 16mm narrated film describing the creation of the scanner, its components, the way they work, the scanner in use, and images of the scans produced.
Arrangement:
This collection is arranged into nine series.

Series 1, ACTA Scanner I Schematics, 1973-1975

Series 2, ACTA Scanner I [Computer and Electronics], 1973

Series 3, ACTA Scanner Tomograph Mechanics, 1973-1974

Series 4, ACTA Scanner Operating Instructions, 1975

Series 5, ACTA Articles, Clippings, and Press Releases, 1973-1979

Series 6, Digital Information Science Corporation (DISCO) material, 1973-1981, undated

Series 7, Computer manuals, 1972-1975

Series 8, Photographic material 1973-1978

Subseries 1, Photographs, 19731978

Subseries 2, Slides, 1974

Series 9, ACTA Scanner film [1974?]
Biographical / Historical:
Robert Steven Ledley was born in Flushing Meadows, New York in 1926. He received a D.D.S. degree from New York University College in 1948. While attending dental school, he simultaneously studied at Columbia University; he earned a M.A. in Theoretical Physics in 1949. He volunteered for the army and was sent to the U.S. Army Medical Field Service School in Fort Sam Houston, Texas.1 After completing his service, Ledley held a wide variety of research and academic positions in physics, electrical engineering, and medicine.

Ledley was a physicist within the External Control Group of the Electronic Computer Laboratory of the National Bureau of Standards from 1953-1954. He was an operations research analyst within the Strategic Division of the Operations Research Office at Johns Hopkins University from 1954-1956. Ledley went on to become an associate professor in the Department of Electrical Engineering at The George Washington University from 1956-1960 while also serving as a consultant mathematician at the National Bureau of Standards Data Processing Systems Division, 1957-1960. At this time, Ledley also worked part time at the National Research Council's National Academy of Sciences from 1957-1961. Ledley became the president of the National Biomedical Research Foundation in 1960, a position he still holds today. He was an instructor of pediatrics at the Johns Hopkins University School of Medicine from 1960-1963. He returned to The George Washington University's Department of Electrical Engineering in 1968 where he was a professor until 1970. He then became a professor in the Department of Physiology and Biophysics at the Georgetown University School of Medicine in 1970. In 1974, Ledley also became a professor in the Radiology Department at the Georgetown University Medical Center. In 1975, he became the director of the Medical Computing and Biophysics Division at Georgetown University Medical Center.

In 1972, the British company Electric and Musical Industries Limited (EMI) released a medical imaging machine for use on smaller areas of the body that were positioned under a water tank. In 1973, Ledley developed the Automatic Computerized Transverse Axial (ACTA) X-ray Scanner (US Patent #3,922,552). This machine was a whole-body diagnostic medical imaging system. He was awarded a grant from the National Institutes of Health for an engineering equipment project, but the money was never received due to budget cuts. Ledley looked elsewhere for funding. He consulted with Georgetown staff and discovered a neurosurgeon had asked to buy a head scanning machine from EMI. Ledley did not think the images in EMI's brochure appeared clear, and he offered to create a similar machine for half the price. Georgetown agreed to fund this project for $250,000. Ledley secured the services of a machinist at a local machine shop, an electronic engineer, and a programmer/mathematician to assist in the project.2 The ACTA Scanner debuted in February, 1974 and did not require the use of a water tank.

Following the creation of the ACTA Scanner, Ledley organized Digital Information Science Corporation (DISCO) in order to manufacture the system. DISCO began producing scanners as orders were received. Due to financial constraints, DISCO was forced to request $100,000 upon receipt of the order, $100,000 when the scanner was halfway completed, and the final $100,000 payment upon delivery3. In 1975, Pfizer purchased the rights to manufacture the ACTA Scanner from DISCO for $1.5 million.

Ledley is a Fellow of the American Association for the Advancement of Science and a senior member of the Institute of Electrical and Electronics Engineers. He has earned numerous awards and honors for his work. In 1997, he received the National Medal of Technology from President William Jefferson Clinton for his pioneering work on the whole-body CT diagnostic X-ray scanner. He also founded the Pattern Recognition Society and Computerized Tomography Society.

Sources

1 Ash, J., D. Sittig, and R. Ledley. "The Story Behind the Development of the First Whole-body Computerized Tomography Scanner as Told by Robert S. Ledley." Journal of the American Medical Informatics Association, 2006 Sep-Oct (2006), 465-469, http://www.pubmedcentral.nih.gov/articlerender.fcgi?artid=1561796. (accessed June 24, 2009).

2 Ibid.

3 Ibid.
Separated Materials:
An ACTA Scanner and numerous accessories were donated to the Museum in 1984.
Provenance:
This collection was donated by Robert S. Ledley on September 18, 1984.
Restrictions:
The collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Medical innovations  Search this
Inventors  Search this
Inventions -- 20th century  Search this
Biology  Search this
History of science and technology  Search this
Digital Information Science Corporation  Search this
Diagnostic imaging  Search this
Medicine  Search this
Medical technology  Search this
Medical radiology  Search this
Whole body imaging  Search this
Tomography  Search this
Radiology  Search this
Genre/Form:
Manuals -- 1970-1990
Patents
Photographs
Design drawings
Correspondence -- 20th century
Articles -- 20th century
Diagrams
Slides (photographs) -- 1950-2000
Notes
Motion pictures (visual works) -- 20th century
Albums
Citation:
Robert Ledley Papers, 1972-1984, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1135
See more items in:
Robert Ledley Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1135
Online Media:

A. Bernie Wood Papers

Creator:
Wood, Arthur Bernie, 1921-1986  Search this
Extent:
10 Cubic feet (27 boxes, 2 oversize folders)
Type:
Collection descriptions
Archival materials
Slides (photographs)
Clippings
Negatives
Transparencies
Matchcovers
Placemats
Stationery
Business cards
Business records
Advertisements
Photographs
Drawings
Motion pictures (visual works)
Design drawings
Date:
1942-2001
bulk 1960-1969
Summary:
A. (Arthur) Bernie Wood (1921-1986) was an advertising designer, consultant, and inventor actively involved in the development of the restaurant franchise industry in America during the 1960s and 1970s. Particularly notable is his work with marketing, promotion, and merchandising for the McDonald's Corporation during its formative years.
Scope and Contents:
The collection documents the post-war development of the franchise business system from an insider's view. Wood participated in almost all aspects of franchising activities from design to ownership. The materials consist of a wide variety of corporate identity elements--primarily visual--developed by Wood under contract to various corporations in the food service industry. Wood delivered his services in design concepts and graphics for advertisers and industrial firms using photo graphics and lithographic media.
Arrangement:
The collection organized into seven series.

Series 1: Personal Materials, 1942-1986, undated

Series 2: Business Materials, 1959-2001, undated

Subseries 1: Franchise information, 1961-2001

Subseries 2: Design work, undated

Subseries 3: Reference materials, 1959-1972

Series 3: McDonald's Corporation, 1957-1985

Subseries 1: Background materials, 1963, 1985, undated

Subseries 2: Corporate materials, 1960-1984

Subseries 3: Newsletters, 1960-1964, 1983

Subseries 4: Advertising and marketing materials, 1957-1978, undated

Subseries 5: Packaging, 1964, undated

Subseries 6: Sales materials, 1963, 1964, [1972?], undated

Subseries 7: Drawings, 1960s-1970s

Series 4: Client Files, 1958-1984

Series 5: Patent and Trademark Materials, 1962-1976

Subseries 1: Patents and patent applications, 1962-1969, 1975-1976

Subseries 2: Trademarks, 1964-1970

Series 6: Photographs, Slides and Negatives, 1963-1975, undated

Subseries 1: Biographical, 1964, 1975, undated

Subseries 2: Client Work, 1963-1968

Subseries 3: Slide Presentations, 1963-1969, undated

Series 7: Audio and Moving Image Materials, 1963, 1964, 1968

Subseries 1: Audio Materials, 1963, 1964, 1968

Subseries 2: Moving Image Materials, undated
Biographical / Historical:
Arthur Bernie Wood (1921-1986) was born in Council Grove, Kansas. Wood graduated from Central High School in Kansas City, Missouri, in 1939 and subsequently attended several junior colleges and business and trade schools. Wood held a variety of positions in typesetting and lithographic services from 1940 until military service in the United States Navy (1942-1945). In the Navy, Wood served as a Laboratory Technician, 1st Class Photographic Specialist at the Naval Air Station, Glenview, Illinois. While in the Navy, Wood produced patentable material for a photo-litho process for instant printing techniques through photosynthesis. After being discharged from the Navy, Wood worked for an art studio that serviced advertising agencies. This work involved reproduction art, direct mailing services, mail order books, and newspaper art for Marshall Field's. From 1958 to 1960, Wood established the A. Bernie Wood Studio in Chicago to provide finished photographic art for leading advertising and print publications and television.

In 1961, Wood founded Admart, Inc., Advertising. As the president and creative director of Admart, he created, promoted, and merchandised the new fast-food corporate image of McDonald's Carry-Out Restaurants. While working for McDonald's, Wood designed interior food service floor plans, a logotype, direct mailing materials, posters, newspaper mat campaigns, and radio taped productions (1963-1964). Wood obtained several patents--beverage cup holder (1964), candy box (1967), finger-grip food product containers (1967), and a refreshment tray-forming template (1964) and trademarks--"Chick'n-2-Go" (1968);"NEATRAE" (1967); and "Ma and Pa's Country Candy Store" (1966). Wood, and Donald Conley formed Neat Containers Associates to promote the use of "Neatrae" and license it.

In 1965, Wood founded a franchise business called Ma and Pa's Country Candy Stores in Arlington Heights, Illinois, which he owned and operated with his wife Marilyn until 1972. They also owned another unit in Long Grove, Illinois. As the director and co-founder of this franchise, Wood was responsible for creating names, trademarks, copyrights, and image materials. He sold franchise rights to others, and there were other Ma and Pa's Country Candy Stores located in the United States, especially in St. Louis. He also designed store interiors and exteriors for other clients and supervised construction. From 1964 to 1965, Wood was a freelance designer and consultant on design, marketing, and franchising issues for restaurants and drive-ins. Other corporate images designed by Wood include: Prince Castle, Neba Roast Beef, and Friar Fish's Fish and Chips. Wood expressed his goal to design an image/logo as one "that would be recognized and one that would relate to products, packaging, properties, people, procedures and promotion. Put together, these elements communicated and coordinated the corporate image."

Wood also developed the concept Dial "All Wood," the use of a memorable association of letters rather than phone numbers (255-9663) and requesting specific phone numbers from the local Illinois Bell Telephone.

Wood married Marilyn Dewar (1923-1981) on May 27, 1942, in Kansas City, Missouri. They had five children: Ronald W.; Rhonda C.; Randall S.; Rayne Ann; and Rodger L.

Wood died on April 5, 1986.
Provenance:
The collection was donated by Rayne Ann Wood, daughter of A. Bernie Wood, on February 25, 2007.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Restaurants  Search this
Trademarks  Search this
Patents  Search this
advertising  Search this
Franchises (Retail trade)  Search this
Genre/Form:
Slides (photographs) -- 20th century
Clippings -- 20th century
Negatives
Transparencies
Matchcovers
Placemats
Stationery
Business cards
Business records -- 1950-2000
Advertisements -- 20th century
Photographs -- 1950-2000
Drawings
Motion pictures (visual works) -- 20th century
Design drawings -- 1950-2000
Citation:
A. Bernie Wood papers, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0962
See more items in:
A. Bernie Wood Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0962
Online Media:

William C. Sturtevant papers

Topic:
Handbook of North American Indians
Creator:
Sturtevant, William C.  Search this
Names:
National Museum of Natural History (U.S.)  Search this
Six Nations  Search this
Extent:
220 Linear feet (The total extent of the collection is 191.41 linear feet (consisting of 473 document boxes and 2 record boxes) plus 254 sound recordings, 94 computer disks, 42 card file boxes, 85 oversize folders, 9 rolled items, 18 binder boxes, and 3 oversize boxes. Of the total extent, 4.79 linear feet (14 boxes) are restricted.)
Culture:
Indians of North America -- Southeast  Search this
Indians of North America -- Northeast  Search this
Indians of North America  Search this
Iroquois  Search this
Seminole  Search this
Type:
Collection descriptions
Archival materials
Realia
Research
Notes
Office files
Theses
Slides (photographs)
Sound recordings
Exhibition catalogs
Field notes
Clippings
Correspondence
Photographs
Microfilms
Newsletters
Manuscripts
Memorandums
Articles
Card files
Books
Artifacts
Negatives
Date:
1952-2007
Summary:
This collection contains the professional papers of William Curtis Sturtevant and documents his activities as Curator of North American Ethnology at the National Museum of Natural History, his work as the editor-in-chief of the Handbook of North American Indians, his research among the Seminole and Iroquois people, and other professional activities. The collection is comprised of books, sound recordings, research and field notes, realia, artifacts, clippings, microfilm, negatives, slides, photographs, manuscripts, correspondence, memorandums, card files, exhibition catalogs, articles, and bibliographies.
Scope and Contents:
This collection contains the professional papers of William Curtis Sturtevant and documents his activities as Curator of North American Ethnology at the Smithsonian Institution's National Museum of Natural History, his work as the editor-in-chief of the Handbook of North American Indians, his research among the Seminole and Iroquois people, and his involvement in various professional activities. The collection is comprised of research and field notes, sound recordings, realia, clippings, negatives, slides, prints, published and unpublished writings, correspondence, memorandums, conference papers and meeting notes, card files, exhibition catalogs, articles, bibliographies, student files such as class notes and papers from Sturtevant's years as an anthropology student, teaching materials including lecture notes and exams, daily planners, passports, military records, artwork including prints and lithographs, maps, and computer files.

The materials in this collection document Sturtevant's career as a preeminent North American ethnologist, museum curator, university professor, his role as General Editor of the Handbook of North American Indians, and his contributions to the field of Anthropology. From his early work with the Seminole Indians of Florida to his forays into Burma, and his decades-long study of how Native Americans have been depicted in artistic and popular culture, Sturtevant's diverse intellectual interests are represented in his research files. A copious note taker, Sturtevant captured his observations and opinions of everything from meetings with colleagues to museum exhibits. Sturtevant's commitment to the anthropological profession can be found in the notes and programs of the many conferences, symposiums, and lecture series he attended and at which he presented. He also held numerous leadership positions in various professional associations and sat on the board of directors/trustees for several cultural organizations including Survival International and the Museum of the American Indian-Heye Foundation. Sturtevant was respected for his vast knowledge of indigenous peoples and he received a voluminous amount of correspondence from colleagues who often included copies of their papers and grant proposals. He kept many of these works, which, it appears he used as reference material. Sturtevant's own work is reflected in his writings; he published over 200 scholarly papers, articles, and books.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
This collection is organized in 14 series: 1. Correspondence, 1951-2008; 2. Research Files, 1851, 1860s, 1880s, 1890, 1939-2006; 3. Writings, 1952-2006; 4. Professional Activities, 1952-2006; 5. Smithsonian, 1954-2008; 6. Handbook of North American Indians, 1971-2007; 7. Biographical Files, 1933-2007; 8. Student Files, 1944-1985; 9. Subject Files, 1902-2002; 10. Photographs, 1927-2004; 11. Artwork, 1699-1998; 12. Maps, 1949-1975; 13. Sound Recordings, 1950-2000; 14. Computer Files, 1987-2006.
Biographical/Historical note:
William C. Sturtevant (1926-2007), preeminent North American ethnologist, museum curator, and university professor, was best known for his contributions to Seminole ethnology, as curator of North American Ethnology in the Department of Anthropology at the Smithsonian Institution's National Museum of Natural History, and for his work as the general editor of the Handbook of North American Indians.

Sturtevant's passion for studying Native peoples began at a young age. In third grade "after a class on American Indians, he asked his father what kind of people study Indians, and his father replied, 'Anthropologists.' Sturtevant decided then that he would make anthropology his career" (Merrill 11). After graduating with honors from the University of California at Berkeley in 1949, Sturtevant went on to Yale University to complete his graduate work in anthropology. When it came time to decide on what area of North America he should focus his research, one of his faculty members at Yale, Irving Rouse, "suggested he consider the Seminoles of south Florida. By the end of his first fieldwork season, Sturtevant was convinced that the dearth of ethnographic information about these Seminoles and their status as one of the least acculturated of all North American Indian societies justified ethnographic research among them and offered the possibility of making an important contribution to North American ethnology" (Merrill 13). Sturtevant spent the summers of 1950 and 1951 conducting preliminary fieldwork among the Mikasuki-speaking Seminole and in 1952 he took up temporary residence at Big Cypress Reservation to undertake research for his dissertation, "The Mikasuki Seminole: Medical Beliefs and Practices." This work focused on Seminole medicine, but also included Sturtevant's analysis of Seminole worldview, religion, history, inter-ethnic relations, material culture, economy, kinship, language, and social organization.

In 1954, while he was finishing his dissertation, Sturtevant made the transition from student of anthropology to professional anthropologist. He was hired as an instructor in Yale's Anthropology Department and began his career in museum work as an assistant curator of anthropology at the Yale Peabody Museum. After receiving his PhD from Yale in 1955, Sturtevant moved on to the Smithsonian Institution, where he accepted a position as a research anthropologist at the Bureau of American Ethnology (BAE). This position afforded Sturtevant the chance to continue to explore his many research interests in ways that a full time professorship or museum curatorship could not. Over the next ten years he studied the Catawba in South Carolina; the Seneca and Cayuga nations of the Iroquois League in New York, Oklahoma, and Ontario; continued his work with the Seminole; visited European museums to examine early ethnographic examples and possible European prototypes of eastern North American Indian material culture; and spent a year in Burma. In 1963, Sturtevant and his wife, Theda Maw, the daughter of a prominent Burmese family, took their three young children to Burma so that they could visit with Maw's family. Sturtevant took this as an opportunity to branch out from his Native American research and spent the year visiting neighborhoods in Rangoon and villages in the surrounding countryside, examining archival materials, studying the Burmese language, learning about Burmese clothing and other aspects of the culture, and taking photographs. He also collected 386 items of clothing and other objects for the Smithsonian.

When Sturtevant returned from Burma, he found the BAE had been dissolved. In 1965, he was transferred from the now-defunct BAE to the Department of Anthropology at the National Museum of Natural History (NMNH), where he became curator of North American Ethnology, a position he held for the next forty-two years. During his tenure at NMNH Sturtevant oversaw all the North American ethnology collections, planned exhibitions, served on committees, and sponsored interns and fellows. One of Sturtevant's primary duties at NMNH was serving as the General Editor of the Handbook of North American Indians, "a major multi-volume reference work summarizing anthropological, linguistic, and historical knowledge about native peoples north of Mexico" (Jackson). Each volume was designed to represent a geographic or topical area of Americanist study. As General Editor, Sturtevant selected volume editors, chapter authors, oversaw office staff, and proofread manuscripts over the course of production.

Besides focusing on the Handbook, much of Sturtevant's time was taken up by responsibilities he held outside the Institution. Sturtevant was extremely involved in professional anthropological associations and held many leadership positions. Fresh out of graduate school, he began a three-year term on the Board of Governors of the Anthropological Society of Washington in 1957. He later became a member of the executive committee of the Florida Anthropological Society, served as book-review editor and associate editor of the American Anthropologist from 1962-1968, was a member of the American Anthropological Association's Committee on Anthropological Research in Museums and was both vice president and president of the committee once it became the Council for Museum Anthropology, was on the American Anthropological Association's Committee on Archives, served three terms on the Board of Trustees of the Museum of the American Indian-Heye Foundation from 1976-1982 and was appointed to a fourth term between 1984 and 1986, and sat on the Board of Directors of Survival International from 1982-1988. He was President of the American Society for Ethnohistory, the American Ethnological Society, the American Anthropological Association, and the Anthropological Society of Washington. Sturtevant also taught classes at Johns Hopkins University as an adjunct professor in the Department of Anthropology, served as a consultant on exhibits at other museums, and reviewed manuscripts for scholarly publications.

Sturtevant remained active in the profession throughout his later years. After divorcing Theda Maw in 1986, he married Sally McLendon, a fellow anthropologist, in 1990 and they undertook several research projects together. Sturtevant was recognized for his dedication and contributions to the field of anthropology in 1996 when he was awarded an honorary doctorate in humane letters by Brown University, and in 2002 when his colleagues published a festschrift in his honor, Anthropology, History, and American Indians: Essays in Honor of William Curtis Sturtevant.

Sturtevant died on March 2, 2007 at the Collingswood Nursing and Rehabilitation Center in Rockville, MD after suffering from emphysema.

Sources Consulted

Estrada, Louie. 2007. William C. Sturtevant; Expert on Indians. Washington Post, March 17. http://www.washingtonpost.com/wp-dyn/content/article/2007/03/16/AR2007031602273.html, accessed August 31, 2012.

Jackson, Jason Baird. 2007. William C. Sturtevant (1926-2007). http://museumanthropology.blogspot.com/2007/03/william-c-sturtevant-1926-2007.html, accessed August 31, 2012.

Merrill, William L. 2002. William Curtis Sturtevant, Anthropologist. In Anthropology, History, and American Indians: Essays in Honor of William Curtis Sturtevant. William L. Merrill and Ives Goddard, eds. Pp. 11-36. Washington D.C.: Smithsonian Institution Press.

1926 -- Born July 26 in Morristown, NJ

1944 -- Entered the University of California at Berkeley as a second-semester freshman

1944 -- Attended summer school at the Universidad Nacional Autonoma de Mexico in Mexico City where he took courses on Mexican archaeology and South American ethnology

1945 -- Drafted into the United States Navy

1946 -- Received an honorable discharge from the Navy with the rank of pharmacist's mate third class and returned to UC Berkeley

1947 -- Attended the University of New Mexico's summer field school in Chaco Canyon, New Mexico

1949 -- January: Received his Bachelor's degree with honors in anthropology from UC Berkeley

1949 -- Began graduate studies at Yale University

1950-1951 -- Spent the summers of 1950 and 1951 in Florida conducting fieldwork among the Mikasuki-speaking Seminole

1951 -- Conducted his first research study of the Iroquois, a classification of Seneca musical instruments, their construction and use, with Harold Conklin

1952 -- May: Moved to Big Cypress Reservation in Florida to conduct research for his dissertation. He focused on Seminole medicine, but also collected physical anthropological data such as blood-type frequencies, handedness, and color blindness

1952 -- July 26: Married Theda Maw

1954 -- Hired by Yale University as an instructor in the Department of Anthropology and as an assistant curator of anthropology in the Yale Peabody Museum

1955 -- Received PhD in anthropology from Yale University

1956 -- Joined the staff of the Smithsonian Institution's Bureau of American Ethnology (BAE) as a research anthropologist

1957 -- Began a three-year term on the Board of Governors of the Anthropological Society of Washington

1957 -- Traveled to Rock Hill, South Carolina to collect linguistic data from Sam Blue, the last member of the Catawba tribe to have maintained some proficiency in the Catawba language. While there, he made a small collection of Catawba pottery for the United States National Museum

1957-1958 -- Spent seven weeks continuing his research among the New York Seneca

1959 -- Returned to Florida to study Seminole ethnobotany. He also collected ethnographic materials, especially objects made for the tourist market, which he deposited in the United States National Museum

1959-1960 -- Member of the executive committee of the Florida Anthropological Society

1960 -- July and August: Visited 17 European museums to examine early ethnographic examples and possible European prototypes of eastern North American Indian material culture

1961-1962 -- Spent the summers of these years conducting ethnographic fieldwork among the Seneca-Cayuga in Oklahoma

1962 -- October: Visited the Six Nations Reserve in Ontario, Canada to conduct fieldwork among the Seneca and Cayuga there

1962-1968 -- Book-review editor and associate editor of the American Anthropologist

1963 -- October: Spent the year in Burma; visited neighborhoods in Rangoon and villages in the surrounding countryside, examined photographs in several archives, studied the Burmese language, and read extensively about the country's history and culture. Assembled notes on Burmese clothing and other aspects of the culture, took hundreds of photographs, and made a collection of 386 items of clothing and other objects for the Smithsonian

1964 -- Visited Inle Lake in the Southern Shan States southeast of Mandalay, where he examined local approaches to artificial island agriculture

1964-1981 -- Became a member of the American Anthropological Association's Committee on Anthropological Research in Museums, which became the Council for Museum Anthropology in 1974. Sturtevant was the Council's first vice president, serving two terms between 1974 and 1978, and was its president from 1978 to 1981

1965 -- Became curator of North American Ethnology in the Department of Anthropology at the National Museum of Natural History after the dissolution of the BAE

1965-1966 -- President of the American Society for Ethnohistory

1966 -- Named the editor of the Handbook of North American Indians

1967-1968 -- Fulbright scholar and lecturer at Oxford University's Institute of Social Anthropology

1969 -- Began serving on the American Anthropological Association's Committee on Archives

1974-1989 -- Adjunct Professor in the Department of Anthropology at Johns Hopkins University

1976-1982 -- Served three terms on the Board of Trustees of the Museum of the American Indian-Heye Foundation and was appointed to a fourth term between 1984 and 1986

1977 -- President of the American Ethnological Society

1980-1981 -- President of the American Anthropological Association

1981 -- Spent part of the spring semester at the University of California Berkeley as a Regents Lecturer

1982-1988 -- Board of Directors of Survival International

1986 -- Divorced Theda Maw

1986-1987 -- Smithsonian Fellow at Oxford University's Worcester College

1990 -- Married Sally McLendon

1992 -- President of the Anthropological Society of Washington

1996 -- Awarded an honorary doctorate in humane letters at Brown University

2007 -- Died March 2 in Rockville, MD
Related Materials:
Other materials relating to William C. Sturtevant at the National Anthropological Archives are included in the following collections:

Manuscript 4504

Manuscript 4595

Manuscript 4806

Manuscript 4821

Manuscript 4972

Manuscript 7045

Photo Lot 59

Photo Lot 79-51

Photo Lot 80-3

Photo Lot 81R

Photo Lot 86-68 (6)

Photo Lot 86-68 (7)

American Society for Ethnohistory records

Committee on Anthropological Research in Museum Records

Handbook of North American Indians records

Records of the Department of Anthropology, National Museum of Natural History

Gordon Davis Gibson Papers, Sound Recordings

SPC Se Powhatan Confederacy Mattapony BAE No # 01790700

DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04913800

DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04913900

DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04914000

Negative MNH 1530

Negative MNH 1530 B

Sturtevant is listed as a correspondent in the following NAA collections:

Administrative file, 1949-1965, Records of the Bureau of American Ethnology

John Lawrence Angel Papers

James Henri Howard Papers

Donald Jayne Lehmer Papers

John Victor Murra Papers

Records of the Society for American Archaeology

Albert Clanton Spaulding Papers

Waldo Rudolph Wedel and Mildred Mott Wedel Papers

Copies of sound recordings made by William C. Sturtevant can be found at The California Language Archive at UC Berkeley in two collections, The William Sturtevant collection of Creek/Seminole sound recordings, which includes 31 minutes of Northern Muskogean linguistic field recordings from 1951, and The William Sturtevant collection of Mikasuki sound recordings, which includes 33 minutes of Mikasuki linguistic field recordings from 1951. Two sound tape reels of Seminole music Sturtevant recorded in Florida in 1951 can be found at Wesleyan University's World Music Archives. Folk songs on these recordings include "Scalping Sickness," "Bear Sickness with blowing," "Bear sickness without blowing," "Lullaby," "Feather Dance," "Snake Dance," and "Crazy Dance." Performers include Josie Billie, Lee Cypress, Harvey Jumper, Boy Jim, Charlie (Johnny?) Cypress, Little Tiger Tail, Billy Ossiola, and Charlie Billy Boy.
Separated Materials:
One video tape, "Seminole History and Tradition", was transferred to the Human Studies Film Archives. Series 2.2, Tukabahchee Plate: Glass negative of spectrogram from FBI (Box 135), removed for storage with other glass plate negatives.
Provenance:
These papers were transferred to the National Anthropological Archives by the Department of Anthropology at the National Museum of Natural History.
Restrictions:
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Rights:
Contact the repository for terms of use.
Topic:
Ethnology  Search this
Botany  Search this
Anthropology  Search this
Archaeology  Search this
History  Search this
Linguistics  Search this
Genre/Form:
Realia
Research
Notes
Office files
Theses
Slides (photographs)
Sound recordings
Exhibition catalogs
Field notes
Clippings
Correspondence
Photographs
Microfilms
Newsletters
Manuscripts
Memorandums
Articles
Card files
Books
Artifacts
Negatives
Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2008-24
See more items in:
William C. Sturtevant papers
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-2008-24
Online Media:

Carol Bier and Lionel Bier Collection

Creator:
Bier, Carol  Search this
Bier, Lionel D., 1942-2004  Search this
Extent:
2,500 Frames ((2 binders), black and white)
Culture:
Sassanians  Search this
Qashqāʼī (Turkic people) -- Iran  Search this
Type:
Collection descriptions
Archival materials
Frames
Negatives
Slides (photographs)
Place:
Mamasani (Iran)
Iran -- Fars
Date:
undated
Scope and Contents:
Photographs taken by Carol Bier and Lionel Bier, comprising two binders of black and white 35mm negatives and contact sheets as well as a collection of color slides documenting both pre-Islamic and Islamic Iranian architectural monuments, taken 1975-1976. Focus primarily on the Sasanian sites of Fars province, focusing on built monuments, rock reliefs, and rock-cut monuments. Sites include: Firuzabad, Naqshi-Rustam, Naqshi-Rajab, Bishapur, Sarvistan, and Taq-i Bustan. Also includes a small number of ethnographic images by Carol Bier, predominanly of the Qashqai and Mamasani. Some of these images have been used previously in publications by both the authors themselves as well as other scholars.
Arrangement:
Negatives: organized in 1 box (1 linear foot)
Biographical / Historical:
Carol Bier is an historian of Islamic art who is Research Associate at The Textile Museum in Washington, DC, where she served as Curator for Eastern Hemisphere Collections from 1984-2001. Her research focuses on Islamic patterns as intersections of art and mathematics.
The late Lionel D. Bier, art historian and archaeologist, taught art history at Brooklyn College for more than 30 years. He was primarily active in researching the archaeological record of pre- and early-Islamic Iran. Among his noted publications are: Sarvistan: A Study in Early Iranian Architecture (1986) and The Sassanian Palaces and their Influence in Early Islam, from Ars Orientalis (Vol. 23, 1993)
Local Numbers:
FSA A2008.01
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Archaeology -- Iran  Search this
Architecture, Sassanid  Search this
Genre/Form:
Negatives
Slides (photographs) -- 1950-2000
Identifier:
FSA.A2008.01
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a2008-01

Jean W. Seele Rural Photographs

Donor:
Seele, Charline  Search this
Photographer:
Seele, Jean W. (Jean Warren), 1924-1993  Search this
Extent:
0.6 Cubic feet (6 boxes)
Type:
Collection descriptions
Archival materials
Slides (photographs)
Landscapes (representations)
Chromogenic processes
Color prints (photographs)
Place:
Kansas
Date:
1963-1983
Scope and Contents:
Approx. 1,065 color photographs (chromogenic prints), negatives and slides of rural scenes, mostly in Kansas.
Arrangement:
Collection is divided into two series.

Series 1: Photographs

Series 2: Slides
Biographical / Historical:
Jean Warren (J. W.) Seele (1924-1993) was born in Topeka, Kansas and studied aeronautics at the Spartan School in Tulsa, Oklahoma. He worked for thirty years as an engineering technician at the Kansas Department of Transportation. Photography became a hobby that ultimately allowed him to pursue his interest in aviation. In the mid-1970s, he began to photograph the Kansas countryside.
Related Archival Materials:
Other Materials at the Smithsonian

National Air and Space museum Archives

Jean Warren (J. W.) Seele Aircraft Photography Collection, circa 1950s-1970s

This collection consists of approximately 6000 color slides and over 2000 negatives/prints (a mixture of color and black and white) of civil and military aircraft taken by Seele, circa 1950s-1970s. The shots were taken in the United States, specifically in the Midwest. Aircraft from the following manufacturers are represented: Aero Commander, Arrow, Aeronca, Beechcraft, Bell, Bellanca, Boeing, Bristol, Bucker, Callair, Cessna, Consolidated, Convair, Curtiss, Dassault, de Havilland, Davis, Dart, Douglas, ERCO, Fairchild, Fleet, Ford, Goodyear, Great Lakes, Grumman, Howard, Hawker Siddeley, Hughes, Heinkel, Jodel, Junkers, Lockheed, Ling-Temco-Vought, Lawson, Parsons, Pitts, Pitcarin, Piper, Pazmany, Piaggo, Porterfield, Republic, SAAB, Sikorsky, Stampe, Stearman, Stinson, Swearingen, Taylor, Vickers, and Waco. In June of 2001 the Smitihsonian's Museum of American History transferred an additional shoebox of Seele photography that had been sent directly to them from the widow. This color images included balloon events as well as aircraft shots. The ballooning images are color prints taken mostly around Topeka, Kansas, while the aircraft images are color transparencies of aircraft taken, again, mostly around Topeka.
Provenance:
Collection donated by Ms. Charline Seele, 2000.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Rights from photographs transferred to Museum in Deed of Gift. Fees for commercial reproduction.
Topic:
Rural scenes  Search this
Genre/Form:
Slides (photographs) -- 1950-2000
Landscapes (representations) -- Kansas
Chromogenic processes
Color prints (photographs)
Citation:
Jean W. Seele Rural Photographs, 1970s-1980s, Archives Center, National Museum of American History. Gift of Charline Seele.
Identifier:
NMAH.AC.0759
See more items in:
Jean W. Seele Rural Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0759

Marlboro Oral History and Documentation Project

Topic:
Marlboro (cigarette brand)
Creator:
Ellsworth, Scott, Dr.  Search this
Zinn, Manfredo  Search this
Marx, Dick  Search this
Nunez, Raul  Search this
Winfield, Darrel  Search this
Kwan, William  Search this
Kwong, Goddard  Search this
Adams, Hall  Search this
Landry, Jack  Search this
Arguelles, Rafael  Search this
Fockler, Knut  Search this
Philip Morris, Inc.  Search this
Gil, Felipe  Search this
Jarrard, Tom  Search this
Names:
Leo Burnett, Inc.  Search this
Extent:
17.4 Cubic feet (86 boxes)
Type:
Collection descriptions
Archival materials
Color slides
Commercials
Audiotapes
Videotapes
Posters
Proofs (printed matter)
Newsletters
Articles
Slides (photographs)
Place:
Brazil -- advertising
Argentina -- advertising
China -- advertising
Hong Kong -- advertising
Switzerland -- advertising
West Germany -- advertising
Dominican Republic -- advertising
Date:
1926-1988
Scope and Contents:
The Marlboro Oral History and Documentation Project is the result of a two-year effort supported in part by a gift from Philip Morris, Inc. Sixty oral history interviews and a variety of television commercials, print advertising, promotional materials, packaging, and industry publications were gathered to document Marlboro cigarette advertising. The bulk of the collection focuses on the period between 1954 and 1986, and examines the "Marlboro man", "Settle Back" and "Marlboro Country" campaigns. The collection is a rich source of information for researchers interested in advertising and marketing history, issues of smoking and health, and the export of both tobacco and American cultural symbols abroad. The core of the collection is a series of interviews conducted during 1985-1987 by Dr. Scott Ellsworth, an independent scholar and oral historian. The broad range of interviewees included executives of Philip Morris, advertising agency personnel from Leo Burnett, photographers, production staff, sales and marketing personnel, and Marlboro cowboys. Twenty-seven interviews were conducted overseas, in Argentina, Brazil, the Dominican Republic, Hong Kong, Switzerland, and West Germany. Conducted primarily with Marlboro licensee and affiliate staff, the interviews focus on the marketing and advertising history of Marlboro in the six nations. These interviews and others conducted with executives of Philip Morris International in New York City also address the history of Marlboro advertising in Africa, the Middle East, China, Eastern Europe and elsewhere in Europe and Latin America. The interviews cover events from the 1930s through the 1980s. They focus on the theory and development of Marlboro advertising, its content and creation, and its modifications over the years. The foreign interviews also discuss the structure of the local cigarette marketplace, marketing and advertising techniques, and the use and modification of Marlboro advertising for different cultures. Finding aids to the oral histories include abstracts of each interview indicating the major topic discussed, a cumulative index to personal names and topics in the interviews, and brief biographical and scope notes.
Arrangement:
Dthe collection is divided into seven series.

Series 1: Research Files, 1943-1987

Series 2, Interviewee Files, 1986

Series 3; Oral History Interviews, 1986

Series 4: Advertising Materials, 1926-1986

Series 5: Promotional items and packaging, 1926-1986

Series 6: Publications and Research Material, 1960-1988

Series 7: Travel Slides Generated by Project Team, 1926-1986
Biographical / Historical:
The history of Marlboro cigarettes offers insight into one of the great advertising and marketing success stories of the 20th century. Marlboro cigarettes were marketed from the Victorian era through the first half of this century as a women's cigarette, with tag-lines that aimed to appeal to female smokers, such as "Marlboro - Mild As May." In 1955, two transformations occurred which would affect both profitability and brand recognition: the addition of an integrated filter and the re-invention of the market through the debut of the "Marlboro Man" advertising campaign. The original Marlboro Man campaign featured close-up images of all kinds of men using the product -- the cowboy was one, along with lifeguards, sailors, drill sergeants, construction workers, gamblers and other types suggestive of a masculine spirit and rugged independence. By 1963, the "Marlboro Country" campaign began. This campaign focused on the cowboy and his symbolic canon: boots, hats, horses, and western landscapes. By the mid-1980s, Marlboro was the best-selling brand in the United States and the world, and the Marlboro cowboy was among the most widely recognized of American cultural symbols. Sold in over 180 nations, both the cigarettes and the ad campaign had become a global phenomena.
Provenance:
The collection was donated to the Archives Center by Philip Morris, Inc. in 1986.
Restrictions:
The materials in the Marlboro Collection are made available for research according to the established practices and principles of the Archives Center and the National Museum of American History.
Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials. In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
Occupation:
Cinematographers  Search this
Topic:
T.V. commercial producers  Search this
Photographers  Search this
Accountants  Search this
advertising -- Cigarettes -- 20th century  Search this
Cowboys -- 20th century  Search this
Advertising, Newspaper -- 20th century  Search this
Smoking -- 1940-1990  Search this
Travel photography -- 1940-1990  Search this
Photography, Advertising -- 20th century  Search this
Advertising photography  Search this
Advertising campaigns -- 20th century  Search this
Cigarette industry -- 20th century  Search this
Cigarettes -- advertising -- 20th century  Search this
Advertising agencies -- 20th century  Search this
Television advertising -- Cigarettes -- 1940-1990  Search this
Advertising, magazine -- 20th century  Search this
Art directors  Search this
Copy writers  Search this
Genre/Form:
Color slides -- 1960-1990
Commercials
Audiotapes -- 1980-1990
Videotapes
Posters
Proofs (printed matter)
Newsletters
Articles
Slides (photographs) -- 1950-2000
Citation:
Marlboro Oral History and Documentation Project, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0198
See more items in:
Marlboro Oral History and Documentation Project
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0198
Online Media:

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