The papers contain correspondence, reports, drawings, blueprints, cost estimates, contracts, specifications, regulations, legal documents, photographs, profiles, diagrams, clippings, and publications concerning projects which Forgie worked on, especially the Holland and Lincoln Tunnels, the Midtown Hudson Tunnels in New York City. Also included are publications and patents on subaqueous tunneling, subway stations, and bridges, and material on the Forgie submarine.
Arrangement:
The collection is arranged into four series.
Series 1: Professional Papers, 1892-1945
Series 2: Projects, 1914-1957
Series 3: Publications, 1856-1952
Series 4: Drawings, 1888-1951
Biographical / Historical:
James Forgie (1868-1958) was born in Longside, Aberdeenshire, Scotland. Forgie graduated from Gordon's Technical College, Aberdeen, Scotland (1881-1885) and apprenticed in the office of civil engineer George Gordon Jenkins from 1885-1889. Forgie came to the United States in 1902 to work as a chief assistant engineer to the Pennsylvania Railroad on tunnels in New York City. He joined the private engineering practice with partners Charles M. Jacobs and J.Vipond Davies of Jacobs and Davies, Inc. from 1909-1923. Forgie was awarded the Tedlford Gold Medal from the Institute of Civil Engineering (British) in 1915 in recognition of his paper "The Laxaxalpam Aqueduct Tunnels in Mexico." He authored numerous articles about tunneling and consulted as a an expert witness and arbitrator in many legal cases involving tunneling. Forgie was a member of the American Society of Civil Engineers, Institute of Civil Engineers of Canada, and New York Section of the American Society of Civil Engineers.
Forgie married Martha Maitland Thom (1868-1936) in 1895. They had four children: Martha (b. 1900), Wilhelmina (b. 1902), James (b. 1904), and Christina (b. 1906). Forgie later married Anne McDougall (b. 1872) in 1937.
Related Materials in the Archives Center, National Museum of American History:
Materials at the Archives Center
The Foundation Company Records (AC0974)
Warshaw Collection of Business Americana, Series: Tunnels (AC0060)
Herbert S. Grassman Papers (AC0955)
Penn Station, New York Photographs (AC1048)
Lawrence Talma Smith Papers (AC0988)
Silas H. Woodward Papers (AC1038)
Alfred Maevis Collection (AC0954)
William R. Hutton Papers (AC0987)
Montgomery C. Meigs Papers (AC0984)
Henry Grattan Tyrrell and Mary Maude Knox Tyrrell Papers (AC0948)
Parsons, Brinckerhoff, Quade and Douglas Records Collection (AC0969)
Chicago Surface Lines Drawings (AC0212)
Grand Central Terminal Collection (AC1071)
Modjeski and Masters Company Records (AC0976)
Thomas Norrell Railroad Photographs Collection (AC1174)
Separated Materials:
The Division of Work and Industry holds a model of a Ram for driving tunnel shields (1933). It was used in driving the Union Tunnel for the Pennsylvania Railroad, 1933-1934 by James Forgie. See accession #MC.329243.
Provenance:
Collection donated by Mrs. James Forgie, 1967.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
An interview of Valerie Jaudon conducted 2009 Oct. 8-Dec. 22, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Jaudon's studio, in New York, N.Y.
Jaudon speaks of her family and early life in Greenville, MS; her early interactions with visual art; her education at Mississippi University for Women in Columbus and Memphis Academy of Art in Tennessee; her time as an art student at University of the Americas in Mexico City and at St. Martin's School of Art in London; her early career as an artist in New York City and her work for the architecture firm of Romaldo Giurgola; her involvement with the pattern painting and feminist art movements of the mid-1970s; her experience of being represented by dealers Holly Solomon and Sidney Janis; the artistic influences in her paintings and their formal development from the early 1970s to the present; commissioned works and installations for private and public spaces, including "Long Division" (1988), for the 23rd St. and Lexington Ave. subway station in New York City; "Reunion" (1989), for the Police Plaza at the Municipal Building in New York City; "Free Style" (1989), for the Athletic and Swim Club at the Equitable Center in New York City; "Pilot" (1989), for the City Hall in Atlanta, GA; "Eastern Standard" (1991), for the Rudin Building in New York City; "Refraction" (1994), for Staten Island College in New York City; "Blue Pools Courtyard" (1993), for the Birmingham Museum of Art in Alabama; "Solstice" (1996), at Ronald Reagan Washington National Airport; "Measure for Measure" (1999), at the Städel Museum in Frankfurt, Germany; and her two GSA commissions: "Portal South, Portal North" (2002), for the Federal Courthouse in Jacksonville, FL; and "Filippine Garden" (2004), for the Thomas Eagleton Courthouse in St. Louis, MO. Jaudon also recalls the following individuals: Lawrence Alloway, Frank Auerbach, Gillian Ayres, Francis Bacon, Jim Balsley, Edward Larrabee Barnes, Lynda Benglis, Bruno Bischofberger, Scott Burton, Anthony Caro, Leo Castelli, Martin Craig, Louise Deutschman, John Duff, Thomas Francis Eagleton, Edward Louis Filippine, Eric Fischl, Conrad Fisher, James Ingo Freed, Lucian Freud, Jennifer Gibson, Françoise Gilot, Mitchell Giurgola, Paola Giurgola, Barbara Gladstone, Amy Goldin, Eugene Goossens, Frederick Gore, Dan Graham, Marcia Hafif, Lindsay Hannich, Al Held, Eva Hesse, Peter Howard, Carroll Janis, Harriet Janis, Neil Jenney, Jasper Johns, Louis Kahn, Richard Kalina, Allan Kaprow, Ivan Karp, Jane Kaufman, Willem de Kooning, Leon Kossoff, Joyce Kozloff, Cynthia Krauss, Sol Lewitt, Dorothy Lichtenstein, Roy Lichtenstein, Bob Loeb, Morris Louis, Kim MacConnel, Brice Marden, Gabriel Mayer, Ronay Menschel, Stephen Miotto, Mary Miss, Piet Mondrian, Henry Mundy, Betty Parsons, Cesar Pelli, Larry Poons, Tony Robin, Dorothea Rockburne, Randy Rosen, Aldo Rossi, Jonas Salk, Miriam Schapiro, Bernard Schmalenbach, Alfred Schmela, George Segal, Helen Segal, Rena Segal, Richard Serra, Ned Smyth, Horace Solomon, Pari Stave, Frank Stella, Gary Stephan, Margret Stuffmann, Robert Venturi, Joan Ward, Andy Warhol, Tom Wesselmann, Isabel Wilson, Mario Yrisarry, Robert Zakanitch, Barbara Zucker; and others.
Biographical / Historical:
Valerie Jaudon (1945- ) is a feminist artist in New York, N.Y. She is known for her postminimal paintings and public art works.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Painters -- New York (State) -- New York Search this
Public artists -- New York (State) -- New York Search this
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
On Monday, June 25th,ten Per Cent of All Ticket Sales on the Subway and Elevated Will Go to the Red Cross War Fund . Interborough Rapid Transit Company.
Other Image(s): A subway car with the name "Interborough" on it
Local numbers:
Princeton Poster# 9705
General:
Issued by: Interborough Transit Co.
Issued for: 1st Red Cross War Fund
Artist(s): Anon
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Copyright status of items varies. 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.
Princeton University Posters Collection, Archives Center, National Museum of American History.
Sponsor:
Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.
Boardwalk scene: "The China" chop suey restaurant and "The Subway Hotel," advertising "moving pictures." Identified by visitors as Surf Avenue, Mardi Gras.
Arrangement:
Formerly in box 1.1.1 [162], moved from [158].
Local Numbers:
RSN 140
94-3581 (OPPS Neg. No.)
AC0143-0000140 (AC scan)
General:
Original envelope marked "Brown Bros. '08." No publisher's catalog or caption located. Original number on envelope: 134-B.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Order print from neg. no. 94-3581. Public domain due to expired copyright. Fees for commercial use.
Topic:
Amusement parks -- New York (State) -- New York -- Coney Island -- 1890-1920. Search this
Restaurants -- Chinese -- 1900-1910 -- Coney Island -- New York Search this
Moving-picture theaters -- 1900-1910 -- Coney Island -- New York Search this
An interview of Isabel Bishop conducted on 1959 April 15, by Warren Chappell and Henrietta Moore, for the Archives of American Art.
Bishop speaks of her painting, "Subway Scene"; the Art Students League; study abroad; contemporary art; problems with drawing Union Square; and the drawings of James Thurber. She recalls Kenneth Hayes Miller and Reginald Marsh.
Biographical / Historical:
Isabel Bishop (1902-1988) was a painter in New York, New York.
General:
Originally recorded 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 4 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Book illustrators -- New York (State) -- New York Search this
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.
Scope and Contents:
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.
Biographical material includes biographical notes and curricula vitae, as well as several video recordings of documentaries about Spero by Patsy Scala and Irene Sosa which feature original footage of Spero at work. Correspondence is personal and professional, and includes letters from artists including Judy Chicago and Ana Mendieta, writers and curators such as Deborah Frizzell and Susanne Altmann, regarding Spero exhibition catalogs, monographs, and articles, and personal news from family members such as Spero's sons, and correspondence related to other aspects of Spero's career.
Interviews of Spero include transcripts, published interviews, and video recordings. Writings include many of Spero's statements about her work, as well as notes, published versions of articles written by Spero, and video recordings of talks and panel discussions she participated in.
Exhibition files for over 75 shows document the extent to which Spero's work has been widely exhibited in her lifetime with numerous solo exhibitions, including major retrospectives in London, Paris, Barcelona, and Madrid, and dozens of group exhibitions in which she participated over the course of her career.
Gallery and museum files supplement the exhibition files by further documenting Spero's dealings with numerous galleries and museums, including Galerie Lelong, which represents Spero's estate, Barbara Gross Galerie, the first gallery in Germany to represent Spero, the Museum of Fine Arts, Boston, the National Gallery of Canada, and many others. The series also documents Spero's involvement with A.I.R. Gallery, the first independent women's art venue in the United States.
Professional files document other aspects of Spero's career including, but not limited to, awards she received, organizations she participated in or contributed to, publishing projects related to her work, and individual projects she executed such as an installation at the Harold Washington Library in Chicago and the Artemis, Acrobats, Divas & Dancers mosaic tiles she created for the Metropolitan Transit Authority for the 66th Street/Lincoln Center subway station. Also included here are files related to works of art such as Codex Artaud, and Notes in Time.
Subject files, contents of which were presumably used as source material for Spero, document subjects of interest to her, many of which were incorporated into her work and consists primarily of printed material. Broad subject categories include animal rights and conservation, feminism, war, and women. One set of folders documents "museum and political actions" undertaken by Spero and other activists during the 1960s-1970s to fight for equal representation of women in the arts and challenge the male-dominated hierarchy of the art world. Subject files include multiple news articles on torture, rape, and other atrocities committed particularly against women during wartime and by repressive and autocratic political regimes, and also include source material on the archetypal images of women that were fundamental to her interpretation of the female experience.
Printed material documents Spero's entire career from the late 1950s on. Announcements, exhibition catalogs, invitations, news clippings, and periodicals provide comprehensive coverage of her many exhibitions and other events. Printed material also documents the activities of a few other artists, primarily from the 2000s, and includes periodicals, primarily about art, and video recordings of documentaries about art and various other subjects.
Photographic material includes photographs of Nancy Spero from the 1940s on, photos of Spero with family and friends, and photographs of artwork including the heads of Spero's 2007 Maypole: Take No Prisoners which was the last major work completed before her death, originally realized for the Venice Biennale. Also found are a few installation shots and prints, slides, and digital images of Notes in Time at A.I.R. Gallery in 1979.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, 1950-2009 (Box 1, FC 30; 0.85 linear feet, ER01-ER04; 9.58 GB)
Series 2: Correspondence, 1946-2009 (Boxes 1-4, 27; 2.75 linear feet)
Series 3: Interviews, 1973-2007 (Boxes 4-5; 0.6 linear feet)
Series 4: Writings, 1950-2007 (Boxes 5-6; 1 linear foot)
Series 5: Exhibition Files, circa 1976-2009 (Boxes 6-9, 27, OV 28; 3.3 linear feet, ER09-ER10, ER14-ER17; 1.5 GB)
Series 6: Gallery and Museum Files, 1972-2009 (Boxes 9-14; 5.1 linear feet; ER05-ER08, ER12-ER13; 2.962 GB)
Series 7: Professional Files, circa 1967-2008 (Boxes 14-17, RD 29; 3.5 linear feet; ER15; 0.74 GB)
Series 8: Subject Files, 1950s-2009 (Boxes 17-19, 27, OV 28; 2.4 linear feet)
Series 9: Business Records, circa 1976-2008 (Boxes 19-20; 0.7 linear foot)
Series 10: Printed Material, 1949-2009 (Boxes 20-25, 27, OV 28; 5.5 linear feet)
Series 11: Photographic Material, 1940s-2009 (Boxes 25-27; 0.7 linear foot; ER18-ER19; 0.151 GB)
Biographical / Historical:
Nancy Spero (1926-2009) was a figurative painter, printmaker, and collage artist based in New York City whose work was executed primarily on paper from the 1960s on, and often incorporated text. Spero was among the first feminist artists and a political activist whose convictions were expressed relentlessly in her work. Using archetypal representations of women to examine the range of female experience, Spero centered "woman as protagonist" whilst simultaneously examining the suffering women have long been subjected to through structural inequality, the systematic abuses of repressive political regimes, and the atrocities of war.
Born in Cleveland, Nancy Spero lived in Chicago from the time she was a very young child until completing her studies at the School of the Art Institute of Chicago (BFA 1949) where she met her future husband, painter Leon Golub (1922-2004). Spero studied briefly in Paris and lived in New York City, returning to Chicago after her marriage in 1951. The couple and their two sons lived in Italy from 1956 to 1957. In 1959, after a few years in New York, the family moved to Paris where Spero developed an interest in existentialism and produced a series of black paintings. Spero and Golub returned to New York in 1964 with their three sons.
Nancy Spero was strongly affected by the war in Vietnam and the many social changes of the period. She became an activist and feminist, joined various organizations, and participated in a variety of demonstrations. Work such as the War series began to include political and sexual imagery, and Spero's work from here on was primarily executed on paper.
Spero was among the founding members of the women's cooperative A.I.R. Gallery established in 1972. In the 1970s archetypal representations of women in mythology, history, art, and literature became predominant in her work. Included in this vein are major series and installations, among them Torture of Women, Notes in Time on Women, The First Language, and her 66th Street/Lincoln Center subway station mosaic mural Artemis, Acrobats, Divas and Dancers.
Spero exhibited in the 1950 Salon des Independents and her first solo exhibition (in tandem with Leon Golub) was held at Indiana University in 1958. Thereafter, she showed sporadically until nearly 30 years later when her career flourished and she enjoyed international stature. Beginning in 1986, each year brought multiple solo exhibitions at galleries and museums in the United States and internationally. In addition, she continued to participate in group shows such as "Documenta" and the Venice Biennale. Her work is included in the permanent collections of museums throughout the world.
Awards and honors included the Skowhegan Medal for Works on Paper (1995), Hiroshima Art Prize shared with Leon Golub (1996), The Women's Caucus for Art award for Outstanding Achievement in Visual Arts (2003), and The Women's Caucus for Art Distinguished Artist Award for Lifetime Achievement (2005). Spero was awarded honorary Doctorates of Fine Arts by The School of the Art Institute of Chicago (1991) and Williams College (2001), and was elected a member of the American Academy of Arts and Letters (2006).
After several years of declining health, Nancy Spero died from heart failure in New York City, October 18, 2009.
Related Materials:
Also among the holdings of the Archives of American Art are an interview with Nancy Spero conducted 2008 Februay 6-July 24, by Judith Olch Richards, and the papers of Spero's husband, Leon Golub.
Provenance:
Following a gift of materials by Nancy Spero in 1979, the majority of the collection was donated by Spero's sons, Stephen Golub, Philip Golub, and Paul Golub, in 2013.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Collagists -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The Walton Family Foundation. Funding for the digitization of the collection was provided by the Smithsonian American Women's History Initiative.
The collection is open for research. Use of unmicrofilmed material requires an appointment.
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:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Isabel Bishop, 1959 April 15. Archives of American Art, Smithsonian Institution.
Interview of Don Freeman conducted 1965 June 4, by Betty Hoag McGlynn, for the Archives of American Art, in his home, in Santa Barbara, Calif. Freeman speaks of his childhood in San Diego with his guardian; his high school years spent in St. Louis at a public school Prineipia (and his teacher Kathryn Cherry); the knowledge of his artistic destiny as a child; his move to New York City in 1929; his time spent working as an unbooked trumpet player for jazz orchestras on Broadway; his formative years at the Art Students League under the guidance of John Sloan;
the influence of Robert Henri and "Art Spirit;" his decision to do illustrations for the theater section of the Herald Tribune of ongoing performances; his time spent studying with Harry Wickey (etcher and sculptor); his relationship and marriage to wife Lydia as well as description of life in downtown Manhattan immediately following the stock market crash ; time at Art Students League studying along side with Jackson Pollock, Manuel Tolegian, Whitney Darrel; his decision to work for the WPA in
the graphics department completing lithographs (1933-1934); "Freedom of the Press," a painting completed around the same time and the possible influence of Reginald Marsh; his interest in a project called "Paint for the People" (a public works project for the New York Subway system); time spent illustrating for the WPA theater magazine "The Living Magazine;" his opinions concerning acetate and stone as well as the use of mezzotint; his personal magazine which he published for four years (name unknown); a general summary of his feelings towards the WPA as an artistic force; his separation from the Union Uprisings due to his success within the program;
his work on "Our Flying Navy" a series of illustrations (now compiled as a book) used for advertisement for the Navy; his participation in the Association of American Artists before his term spent in the Army during WWII; his budding career as a children's books writer and illustrator (Barton Press); his illustrations for William Soroyan"s The Human Comedy; his move back west and his son Roy; and his current occupation of giving "Chalk Talks" around the country, speaking with students about art, music, theater.
Biographical / Historical:
Don Freeman (1908-1978) was an Illustrator from New York, N.Y. Went to New York City at the age of 21. Studied with John Sloan and Harry Wickey at the Art Students League.
General:
An unrelated interview of Ben Messick conducted by B. Hoag McGlynn is also on this tape.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Illustrators -- California -- Interviews Search this
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This record accompanies an image of the first page, and may duplicate the record for this composition.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
