The papers of Matthew Shepard (1976-1998) a gay man who was a victim of a hate crime in Laramie, Wyoming October 1998 resulting in his death. His death gained national and international attention leading to the formation of the Matthew Shepard Foundation and eventual passage of federal hate crime legislation (The Matthew Shepard and James Byrd, Jr. Hate Crimes Prevention Act), signed into law in October 2009.
Content Description:
Papers relating to the life of Matthew Shepard, his beating, death, and its aftermath, leading to the passage of anti-hate crime legislation named for him and James Byrd, Jr. The papers include items from Shepard's early life, his school life, elementary through college, and personal material. The collection includes material from his recycling campaign. It also includes items from theater productions in which he participated. There is correspondence both written and received as well as notebooks and his passports. Travel and general ephemera are also included.
The papers related to the aftermath of his beating and death include funeral memorabilia, programs, flower cards, and photographs of floral arrangements. The bulk of the material consists of condolence cards and letters, expressions of sympathy and condolence, and material from memorial events thoughout the United States. These include not only written correspondence, but graphic and artistic tributes (drawings, poetry, screenplays, and musical compositions.)
There are screenplays, correspondence, and photographs relating to the television motion pictures, Anatomy of a Hate Crime (2001) and The Matthew Shepard Story (2002) starring Stockard Channing, Sam Waterston, and Shane Meier.
The papers have been utilized prior to their donation to the Archives, National Museum of American History by filmmaker Michele Josue and Zeina Barkawi for the award winning documentary, Matt Shepard Is A Friend of Mine (2015). The material was also researched by representatives of Ford's Theater, Washington, DC when Ford's mounted a production of Moises Kaufman's The Laramie Project in 2013.
Arrangement:
The collection is arranged in three series.
Series 1, Shepard, Matthew, Personal Papers, 1976-2018, undated
Subseries 1.1: Education and Schooling, 1981-1998, undated
Subseries 1.4: Assorted Papers and Ephemera, 1976-1999,undated
Subseries 1.5: Funeral and Celebration of Life, Estate, 1998 October-2018 October 26
Series 2, Shepard Family and The Matthew Shepard Foundation, Papers and Correspondence Received, 1998-2013, undated
Subseries 2.1: Papers, 1998-2003, undated
Subseries 2.2: Correspondence Received, 1998 October-2009 September
Series 3, Tribute, Vigil, Memorial Services, Memorabilia, and Inspired Works, 1998-2008, undated
Subseries 3.1: Tribute, Vigil, and Memorial Services, 1998, undated
Subseries 3.2: Memorabilia and Inspired Works,1973-2008, undated
Subseries 3.3: Anatomy of a Hate Crime, 1999-2001
Subseries 3.4: The Matthew Shepard Story, 1999-2004, undated
Biographical / Historical:
The life and death of Matthew Shepard have been documented in numerous biographies, motion pictures, and newsprint.
Matthew Wayne Shepard was born on December 1, 1976 in Casper, Wyoming to Judy Peck and Dennis Wayne Shepard. Shepard's early life was spent in Casper, where he attended elementary school, junior high, and high school till the tenth grade. While living in Casper, he participated in local productions at theater companies based in Casper. One of his school projects involved bringing awareness to recycling. He was so successful that he was appointed as the young adult representative to the governor's initiaive on state-wide recycling. In his junior year of high school, Shepard left Casper to attend The American School in Switzerland (TASIS). At that time his mother Judy and younger brother Logan joined Dennis Shepard in Saudi Arabia where Dennis was employed by SAUDI ARAMCO.
While attending TASIS on a school trip to Morocco Shepard was raped by one or more unknown assailants. Although the crime was reported, the perpetrators were never apprehended. This emotional and physical trauma stayed with Shepard the remainder of his life. After graduation from TASIS, Shepard briefly attended Catawba College in Salisbury, North Carolina. After leaving Catawba he moved to Raleigh, North Carolina, and then returned to Casper, where he enrolled in Casper College, the local community college. He briefly moved to Denver, Colorado, before deciding to enter the Universty of Wyoming in Laramie, his parents' alma mater. He was admitted for the 1998-1999 school year to the University of Wyoming.
It was while living in Laramie on the evening of October 6, 1998 that Shepard crossed paths with Aaron McKinney and Russell Henderson at the Fireside Lounge. McKinney and Henderson later drove him to a location outside Laramie, where they tied Shepard to a split-rail fence, robbed, and beat him senseless with the butt of a Smith & Wesson .357 Magnum revolver. After beating him they stole his shoes and left him in the near-freezing temperatures.
Shepard was discovered 18 hours later by Aaron Kreifels. He was first transported to Ivinson Hospital in Laramie, and upon the discovery of the severity of his injuries he was transferred to the Poudre Valley Hospital in Fort Collins, Colorado. His parents immediately flew from Saudi Arabia and were with him when he died in the early morning hours of October 12, 1998.
McKinney and Henderson were arrested and charged. They maintained what is known as a "gay panic defense" claiming Shepard had made sexual overtures to one or both of them. This was ultimately not allowed. Henderson pleaded guilty to the charges of felony murder and kidnapping. McKinney went to trial also facing charges of felony murder and kidnapping. When found guilty, McKinney faced the possibility of the death penalty, but upon the Shepard family's request he received two consecutive life sentences, as had Henderson.
The death of Matthew on October 12, 1998 resulted in an unprecedented national and international outpouring of sympathy and reflection from the public at large. Cards, letters, and donations to what became the Matthew Shepard Foundation were received from not only the United States but the world. The response was overwhelming, many writing, "to express their concern and sorrow about what had happened to Matt and to us as his parents," in the words of Dennis Shepard. Shepard's Celebration of Life was held at the family's home church, St. Mark's Episcopal, in Casper, Wyoming. Fred Phelps and the Westboro Baptist Church picketed the funeral.
Over a ten-year period, Judy Shepard and the Matthew Shepard Foundation fought for national hate crime legislation. It was not until 2009 that Congress passed The Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act, also known as the Matthew Shepard Act, on October 22. President Barack Obama signed the act into law on October 28. The Foundation continues to this day bringing good from evil, empowering individuals, ". . . to embrace human dignity and diversity through outreach, advocacy and resource programs," and, ". . . to replace hate with understanding, compassion and acceptance."
Shepard's ashes were inurned at the Washington National Cathedral in October 2018.
Source
Shepard, Judy. The Meaning of Matthew, My Son's Murder in Laramie and a World Transformed. New York, New York: Hudson Street Press, 2009.
Matthew Shepard Papers, Archives Center, National Museum of American History, Smithsonian Institution.
St. Mark's Episcopal Church website: http://stmarks.diowy.org/ accessed August 2018.
Matthew Shepard Foundation website: https://www.matthewshepard.org/ accessed August 2018.
Separated Materials:
Objects relating to Matthew Shepard are held in the Division of Medicine and Science.
Provenance:
Collection donated by Dennis and Judy Shepard in 2018.
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.
This collection consists of eight scrapbooks and five posters documenting the burlesque career of Irene Jewell (stage name Ricki Covette), who at 6'8" was billed as "The World's Tallest Exotic Dancer." The albums contain clippings; letters; certificates; photographs, including photographs of her act; ephemera, such as postcards, travel brochures, postcards, and decals, from her travels; advertisements; and theater programs.
Scope and Contents:
Scrapbooks and posters documenting the burlesque career of Irene Jewell (stage name Ricki Covette), who at 6'8" was billed as "The World's Tallest Exotic Dancer."
Arrangement:
Collection is arranged into two series.
Series 1: Scrapbooks
Series 2: Posters
Biographical / Historical:
Born in 1925 in rural Alberta, Canada, Irene Jewell aspired to become a singer and dancer. Moving to the United States in the 1950s, Jewell began a thirty-year career in show business, including theater, small parts in television and film, but especially burlesque, under her stage name "Ricki Covette." Billed as "The World's Tallest Exotic Dancer" at 6'8" and the "Glamazon," Covette's career spanned the peak of burlesque's popularity; her career highlights included headlining at clubs, including an 82-week stint at the ShoBar in New Orleans, Louisiana, and a solo act world tour in Japan, the United Kingdom, and the Americans. Besides her burlesque career, Covette also had parts in theater, including playing the role of Gymnasia in the 1963-1964 tour of A Funny Thing Happened on the Way to the Forum, and appearing in the 1966 film The Swinger. After she left show business, she started a successful second career as a real estate broker in the Los Angeles area and travelled with her husband, cinematographer Stuart Jewell, shooting footage of nature and culture. In 2010 she appeared in Leslie Zemeckis's documentary, Behind the Burly! Covette died in February 2016.
Provenance:
Donated to the Archives Center in 2014 by Irene Jewell (stage name Ricki Covette).
Restrictions:
Collection is open for research. Social Security numbers are present and have been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
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.
The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.
Scope and Contents:
The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.
Biographical material and personal business records include address books, calendars, legal paperwork, life documents, resumes, and other material. Correspondence is both personal and professional in nature. Personal correspondence is between Cosmos and friends, family, and pen pals. Professional correspondence is with curators, publishers, and estates and mostly concerns Cosmos's artwork, photographs, or objects he lent for exhibition or publication.
Writings include general writings and notes, including a book layout for a book never realized; fifteen notebooks containing Cosmos's writings about projects, dreams, and miscellany; music compositions in both written form and on sound recordings; and scattered writings by others, including manuscripts and theater scripts.
Teaching files document photography courses taught by Cosmos at the School of Visual Arts in 1974-1976, and the Parsons School of Design in 1980.
Printed materials and commercially published sound and video recordings in the collection are extensive and reflect Cosmos's unique interests and inspirations, and his tendency to save and collect material discarded or rejected by others. There are books and periodicals featuring Cosmos's work, annotated by Cosmos, or of special significance to Cosmos. There is also a list of books in Cosmos's library. Some of the periodicals concern Push Pin Studios and Milton Glaser. There is a large group of ephemera, such as announcements, catalogs, press releases, programs, playbills, posters, and assorted items covering several decades of New York exhibitions, events, concerts, and performances. There are posters for exhibitions, events, performances, film screenings, and concerts. Some of the clippings and other ephemera may have been removed from scrapbooks or other compilations, and some remain collated and mounted on mat board. Some of the printed materials may have been used by Cosmos as source materials.
Photographic material makes up a significant portion of the collection (14.5 linear feet), and illustrates the breadth of Cosmos's documentation of New York City, capturing the avant-garde art and theater worlds, the people and streets, self-portraits, and numerous other subjects. There are images of named people and people at parties, of exhibitions and performances, of New York City streets and buildings, of a more personal and family nature, of artwork, and of miscellaneous subjects. There are also collected photographs, some of which are vintage. There is a large group of unidentified and unsorted negatives, slides, and contact sheets. Where they existed, labeling and descriptive notes have been preserved with the unidentified materials.
Artwork is also quite extensive (10.5 linear feet) and found in a variety of genre, format, and media. There is also a small subseries of artwork by others. One group of artwork consists of titled or named art projects and series, often executed in the form of series that spanned decades. This group includes Cosmos's Reciprocal project that incorporated his photographic work. For this project, he would photograph notable figures, including John Cage, Robert Scull, and others, and ask them to photograph him. There are also several folders of Cosmos's work focusing on photographer Diane Arbus.
A group of artwork identified as "compilations" consist primarily of photocopies of compiled presentations of documents, photographs, fragments, writings, drawings, printed materials and ephemera, and bits and pieces of Cosmos's titled work. These compilations were prepared by Cosmos for individuals in the art world to whom he was close. The original compilations were then photocopied and presented to the intended receiver. The subseries of compilations contains both originals and photocopied versions that do not always correlate with one another. Also found among the artwork are drawings, illustrations, a few paintings, collages, and sketchbooks by Cosmos. Artwork by others includes an artist book, drawings, a sketchbook, and prints by Milton Glaser, Alex Hay, Douglas Huebler, Marvin Israel, Ray Johnson, Ellsworth Kelly, and Eve Sonneman.
Found within the collection are three dimensional artifacts, including eight cameras and other items Cosmos saved and collected to incorporate into his photographs.
There is a large series of unpublished sound recordings and born-digital material, some of which is clearly identified and labeled, and some of which is unidentified. When known, labeling has been incorporated into the folder titles in the container inventory. Users should note that sound recordings that were clearly identified and associated with other projects were arranged in context with those related materials.
Printed material (series 5), photographic material (series 6), and artwork (series 7), include many photocopies. Cosmos used the photocopy process to make copies of his work to share with others, and as a creative form of art in itself, experimenting with tonality, collage, and the degeneration of images from repeated copying. Photocopies were also made of articles, newspapers, and various source material and ephemera that he collected. Many photocopies have descriptive labeling on the back. For some photographs and projects, photocopies are the only form of documentation located in the collection.
Arrangement:
The collection is arranged as nine series
Missing Title
Series 1: Biographical Material and Personal Business Records, circa 1949-2011 (1 linear foot; Box 1, 44, OV 49)
Series 2: Correspondence, 1940s-2011 (.7 linear feet; Box 1-2)
Series 3: Writings, circa 1947-2000s (4.2 linear feet; Box 2-6, 44, OV 50-51)
Series 4: Teaching Files, 1970s-1980s (1.9 linear feet; Box 6-8, 44, OV 52)
Series 5: Printed Material, Published Sound, Video Recordings, 1894-2000s (8.3 linear feet; Box 8-13, 44-45, OV 53-73, RD 105)
Series 6: Photographic Material, circa 1860-2000s, bulk 1970-2010 (14.5 linear feet; Box 14-26, 46-47, OV 74-80)
Series 7: Artwork, 1947-2000s (10.5 linear feet; Box 27-34, 47-48, OV 81-104)
Series 8: Artifacts, 1960s-2000s (1.5 linear feet; Box 34-35)
Series 9: Sound Recordings and Born-Digital Material, 1950s-2000s (6.6 linear feet; Box 36-43, 0.367 GB; ER01-ER02)
Biographical / Historical:
Cosmos Andrew Sarchiapone (1931-2011) was a documentary photographer, musical composer, and conceptual artist who worked in New York City.
Cosmos Andrew Sarchiapone was named Cosime Sarchiapone at birth, and was also known as Cosmos, Cosmos Savage, and Richard Savage. His parents, Lois and Aldo, had seven children, including twins Cosmos and Damian. Born in Manhattan, Cosmos graduated from the La Guardia High School of Music and Art in New York City in 1948 and from Syracuse University in 1958 with a concentration in music composition and studio art. After college, he studied musical composition with John Cage at the New School in 1961, art history with Meyer Schapiro at Columbia University from 1963-1965, illustration with Marvin Israel from 1966-1971, design with Milton Glaser from 1968-1973, and photography with Diane Arbus from 1970-1971. He taught photography at the School of Visual Arts from 1974-1976, and at Parsons School of Design in 1980. In the early 1970s, he led experimental theater workshops at Columbia-Barnard University.
Between 1968-1969, Cosmos worked with Milton Glaser and Seymour Chwast at their Push Pin Studios, a graphic design and illustration studio.
Sometime between the late 1960s and the early 1970s, Cosmos began photographing New York City, capturing the art and theater worlds, the people and streets, self-portraits, and numerous other subjects. As a freelance photographer for New York magazine (founded by Milton Glaser) and other mass-market publications, Cosmos photographed Andy Warhol and his circle, Halloween parties at the Waldorf, the Rev. Sun Myung Moon convention, the Jesus Joy Jubilee at Carnegie Hall, the Beat Poets' reunion and private parties attended by Hollywood actors and directors, often capturing the overlapping worlds of art, movies and music. Cosmos's photographs have been published in numerous books and publications. His work was featured in several exhibitions in the 1970s, including shows at the Jamie Gallery, the Fine Arts Building, and the Baltimore Museum of Art. But he created the bulk of his work for himself and much of it remains unpublished.
Throughout the 1970s, Cosmos documented the avant-garde art scene in New York City. He captured performances at The Kitchen and La Mama, the offices of New York magazine and Push Pin Studios, Tom O'Horgan's Broadway and Off-Broadway productions, and much more. He photographed performances and installations at 112 Greene Street in SoHo, an interdisciplinary art space that nurtured the experiments of a number of now significant American artists, dancers and musicians, including Chris Burden, Vito Acconci, Suzanne Harris and Phillip Glass, all of whom were photographed by Cosmos. He also photographed numerous images of 112 Greene Street's sister space, Matta-Clark's FOOD, an artist-run eatery at the corner of Prince and Wooster Streets where exotic meals were offered up as both performance art and nourishment. Cosmos used his camera as a way to get close to artists he admired, including Diane Arbus, Milton Glaser, and Marvin Israel.
According to Milton Glaser, "Cosmos was a brilliant photographer who was never without a cameraā¦.He was always everywhere. In terms of documentation of that period, there was no one like him."
Cosmos often incorporated aspects of his photography into conceptual art pieces, including two serial works that Cosmos made from fragments of Diane Arbus' discarded photographs, transforming her iconic work. Many of Cosmos's conceptual art pieces often took the form of a series, and were continuously revisited. In Reciprocal, Cosmos photographed figuresāincluding those he admired like John Cage, Meyer Schapiro, Robert Scull, and othersāthen asked each to photograph him. Many of Cosmos's art projects were based in photographic documentation of his "performances", as in Sheet Music, where he is seen tearing a white sheet outside Bloomingdale's during the 'white sale.' Cosmos's convictions about smoking, its hazards, and the nefarious actions of tobacco companies led to several related projects, among them, Photo Arrest, where Cosmos captured on camera people smoking illegally in hospitals, classrooms, grocery stores, and elevators.
Cosmos created scores for plays and dance performances, including Churchyard by the Paul Taylor Dance Company in 1970, and numerous Off-Off Broadway theater productions in the 1960s. He wrote an opera, Vox Humana #3. The opera is about three heroines of history: Antigone, Joan of Arc, and Patty Hearst, and synthesizes a variety of media, including music composition, stage direction, and video (Patty Hearst in Chains), into a four hour performance that was staged at La Mama in 1976 and The Kitchen in 1977.
Cosmos lived at Westbeth Artists' Community from 1970-2011, but had largely withdrawn from the world by the 2000s. Cosmos Sarchiapone died in 2011.
Provenance:
Donated to the Archives of American Art in 2015 by Tom Sarchiapone, Cosmos Sarchiapone's brother, via Catherine Morris, curator and friend of Cosmos.
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 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:
Composers -- New York (State) -- New York Search this
Conceptual artists -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
Papers relating to Alex Bradford's career as a composer of Gospel music. Included among the materials are playbills, published sheet music, music manuscripts, gospel song books, play scripts, newspaper clippings and articles, and one LP record.
Scope and Contents:
Collection documents the career of Alex Bradford as a composer of gospel music. Most of the materials relate to the musical production Your Arms Too Short to Box with God and include playbills and an LP. There are music manuscripts, published sheet music, and three Gospel song books of Bradford's music. In addition, there are playscripts for some of Bradford's other musical productions. Newspaper clippings and magazine articles document the importance of Bradford's creative work to the African American community. Lastly, playbills from the League of New York Theatres and Producers Antoinette Perry Award (Tony Awards) ceremonies are also found among the materials. The materials are arranged in chronological order.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Alex Bradford was a musical and theater legend who served as a bridge between the gospel and secular worlds in music and performance. Bradford was responsible for the rise and popularity of the mass gospel choir. Alex Bradford was born in Bessemer, Alabama in the late 1920s during an era of racial segregation. A racially motivated altercation eventually led his mother to send him to New York. Before he left Alabama, Bradford performed on stage and sang in various children's choirs. Bradford was a talented and influential gospel singer, performer, song writer, and stage play author. Richard Becker, an accomplished music producer, worked with the Beatles and the Rolling Stones. Becker's first collaboration with Bradford resulted in their production of Black Nativity, based on a play by Langston Hughes. Commissioned to do a second stage musical, the two created Your Arms Too Short to Box With God, based on the Biblical book of Matthew. Your Arms was the first musical production fully funded at the Ford's Theatre in Washington, DC. The musical made its debut on Broadway at the Lyceum Theatre, on December 22, 1976. The original cast included Al Green, Patti LaBelle, and newcomer Jennifer Holliday.
Related Materials:
Materials in the Archives Center, National Museum of American History
Eugene D. Smallwood Gospel Music Collection NMAH.AC.0456
Martin and Morris Company Records NMAH.AC.0492
Wade in the Water Radio Series Collection NMAH.AC.0516
Program in African American Culture NMAH.AC.0408
Sam DeVincent Collection of Illustrated American Sheet Music, Series 36: Folios and Songbooks NMAH.AC.0300
Warshaw Collection of Business Americana, Series: Music NMAH.AC.0060
Duke Ellington Collection NMAH.AC.0301
Provenance:
Richard Becker donated the materials to the Archives Center, National Museum of American History in January 2001.
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.
Reproduction restricted due to copyright or trademark.
The papers of popular songwriter Harry Warren, three time Academy Award winner and prolific contributer to the American songbook.
Scope and Contents:
The Harry Warren Papers consists of original music manuscripts, scores, song sheets, commercial sheet music, bound scores, scripts, business records, correspondence (business, personal and fan), clippings, magazines, photographs, cassette tapes, LP records, posters and programs and personal memorabilia. The material documents the personal life and professional career of composer, songwriter and lyricist Harry Warren from 1894 to 1981 and to a lesser extent the operation of his Four Jays Music Corporation, circa 1954-2000. The bulk of the collection covers the years 1927-1980. The collection is organized into eight series.
Arrangement:
The collection is divided into eight series.
Series 1: Music Manuscripts, 1928-1987
Subseries 1.1: Original Holographic Theatre and Motion Picture Music Manuscripts, 1930-1960
With the possible exception of Irving Berlin, no one has contributed as much material to the canon of American popular song in the 20th century as Harry Warren (1893-1981). Warren was born in Brooklyn, New York, December 24, 1893, to Italian immigrant parents. His birth name was Salvatore Anthony Guaragna. By the time he graduated from grade school, he was known as "Harry Warren". He legally changed his name in 1938. He was educated in the public schools of New York but had no formal musical training. He taught himself to play the organ and piano and also sang in the church choir. Both Warren's sister and brother were performers so the theatrical world was not unknown to him. He worked as an actor and assistant director for the Vitagraph film studio in New York and played mood music for actress Corinne Griffith. During World War I, Warren served in the United States Navy at Montauk Point, New York. For a few weeks after the war, he worked as an insurance examiner for The Travellers Agency.
In December 1918, Warren married Josephine Wensler (1897-1993). Their first child was a son named Harry Warren, Jr. (1920-1937). In 1920, Warren became a song plugger for the music publishing firm of Stark & Cowan. Warren continued writing and in 1922 along with lyricist Edgar Leslie produced his first song hit, "Rose of the Rio Grande." From that point on, Warren composed a continuous stream of hits introduced by such artists as Paul Whiteman and others. By 1925, a second child, Joan (1924-1991), nicknamed "Cookie", was born. Warren continued his success with such songs as "I Love My Baby (My Baby Loves Me)," "In My Gondola" and the very popular 1928 hit "Nagasaki."
By 1929, Warren was the director of the American Society of Composers, Authors, and Publishers (ASCAP). He held that position until 1933. He also served on the ASCAP Board of Directors. During this time Warren worked with various musicians including Gus Kahn, Bert Kalmer, and Harry Ruby. In 1930, he wrote his first motion picture score for the film Spring is Here. Al Jolson asked him to compose a song for the show, Wonder Bar (1931). During the 1930s, Warren composed three other Broadway shows, Sweet and Low (1930), Crazy Quilt (1931) featuring Fanny Brice, and Laugh Parade (1931) starring Ed Wynn.
In 1932, Warren was hired by Warner Brothers Studios to help write songs for the Dick Powell, Ruby Keeler film 42nd Street (1933). Along with lyricist, Al Dubin, Warren wrote such hits as "We're in the Money" and "The Shadow Waltz". Warren continued composing memorable songs for motion pictures such as Gold Diggers of 1933, The Singing Marine (1937), and Footlight Parade (1933). Gold Diggers of 1935 included Warren's first Academy Award winning song, "Lullaby of Broadway". Warren made cameo appearances in a few films during his stay at Warner Brothers. He and lyricist Dubin can be seen in 42nd Street, Go Into Your Dance (1935), and A Very Honorable Guy (1934). He also appeared in a Vitaphone short entitled Harry Warren: America's Foremost Composer.
Warren left Warner Brothers for 20th Century Fox in 1940. At Fox he helped compose the scores for such motion pictures as, Sun Valley Serenade (1941), Orchestra Wives (1942), and The Gangs All Here (1943) that included the Carmen Miranda standard, "The Lady in the Tutti-Frutti Hat". During this period, he worked with lyricists Ralph Rainger, Mack Gordon and Leo Robin, and others. Hello Frisco, Hello (1943) garnered Warren his second Academy Award for the song, "You'll Never Know". While at Fox, Warren composed "Chattanooga Choo Choo" a song that became the first gold record in the history of the recording industry.
While at MGM, Warren worked with lyricists Mack Gordon, Ralph Blane, and others. In 1948, he and Blane composed the song score for Freed and director Rouben Mamoulian's ambitious film adaptation of Eugene O'Neills stage play Ah Wilderness entitled Summer Holiday (1948) starring Mickey Rooney and Gloria DeHaven. This is reported to have been Warren's favorite film assignment, but the film was not an unqualified success. Warren remained at MGM until the 1950s composing for such films as The Barkleys of Broadway (1949), starring Astaire and Rogers, Summer Stock (1950), starring Judy Garland and Gene Kelly and his final film for MGM, Skirts Ahoy! (1952), starring Esther Williams and Vivian Blane. After leaving MGM, Warren wrote the score for the Bing Crosby film, Just for You at Paramount. Warren also served on the Board of Directors for the Academy of Motion Picture Arts and Sciences.
Warren went on to write the music for two Jerry Lewis and Dean Martin films, The Caddy (1953) for which he composed "That's Amore", Artists and Models (1955) and for three Jerry Lewis films, Rock-a-Bye Baby (1958), Cinderfella (1960), and The Ladies Man (1961). Warren also composed instrumental pieces one being a "Mass in Honor of St. Anthony".
Warren returned to Broadway in 1956 with the musical Shangri-La, based on the novel Lost Horizon. The show was not a success and closed after fewer than thirty performances. He composed the title song for the Cary Grant, Deborah Kerr film, An Affair to Remember (1957); this song brought him his last nomination for an Academy Award. The song was later used in the motion picture Sleepless in Seattle (1993) starring Tom Hanks and Meg Ryan.
During the 1950s, Warren started his own music publishing company, Four Jays Music Corporation. After writing the songs for The Ladies Man, Warren retired from films but continued to write for piano, even composing the song for the Miss Oklahoma Pageant. His last film effort was to compose one song for the motion-picture Rosie (1968). During the last years of his life Warren composed and ran his music publishing business, but remained largely forgotten as the man who had composed a great deal of America's musical heritage.
With the resurgence in the appreciation of the movie musical in the early 1970s, the tunes composed during Warren's heyday were back in vogue, brought on in a large part by the phenomenal success of MGM's That's Entertainment! (1974). In 1980, he was asked to compose the musical numbers for an upcoming movie musical entitled, Manhattan Melody but it was never produced.
1980 brought the Warren name back to the marquees of Broadway with the David Merrick production of 42nd St.. The full budgeted big Broadway musical used the basic storyline from the 1933 film and drew upon the whole of the Warren and Dubin catalogue for the score. The production proved to be wildly popular, running in excess of five years on Broadway. Warren died in California on September 22, 1981. He was interred in the Sanctuary of Tenderness at Westwood Memorial Park in Los Angeles beside his wife and son. After Warren's death, his daughter Joan "Cookie" Warren Jones administered the music publishing company until her death in 1991.
Key:
OF = Original Film, RV = Reference Video, MV = Master Video
Separated Materials:
The Division of Cultural History (now Division of Cultural and Community Life) has three dimensional objects related to Harry Warren.
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Julia Riva and Jophe Jones, granddaughters of Harry Warren, on December 15, 2000.
Restrictions:
Collection is open for research but the audiovisual materials are stored off-site and special arrangements must be made to work with it. Researchers must use reference copies of audio-visual materials. When no reference copy existsContact 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.
The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection documents Whitehead's careers, as well as his family and personal life. The collection also includes the personal papers of Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The combined collection is comprised of black theatrical memorabilia; materials relating to civil rights activities in the District of Columbia; and the African American experience in general. Included are playbills, sheet music, admission tickets, newspapers, magazines, books, photographs, clippings, flyers, brochures, pamphlets, sound recordings, research files, and other material.
Scope and Contents note:
The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection includes the personal papers of Henry P. Whitehead, Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The collection is divided into four series.
Series I focuses on Whitehead and includes papers dating from 1843 to his death in 2011. This series includes biographical material including a large amount of appointment books, identification and membership cards, resumes, certificates, and personal and family material.
There is a limited amount of correspondence, which focuses on his personal relationships with family, friends, and general correspondence relating primarily to his work as a local historian.
Also found within Whitehead's papers are countless records from his time employed by the Washington DC government. Materials include memoranda, notes, research material, handbooks, guides, manuals, affirmative action info and records, affirmative action plans, promotion recommendations, recruitment plans and summaries, personnel files (complaints), civil actions and reports related too Whitehead's 37 years of government employment. It reflects the activities of numerous departments, primarily in regards to employment and affirmative action.
There are also a number of files that document Whitehead's involvement in numerous community organizations. Among the organizations in which Whitehead was involved include U Street Festival, Lincoln Corporation, and the U Street Theater Foundation. The papers of the U Street Foundation document the production and establishment of the annual U Street Festival. The Lincoln Theater Foundation and the U Street Theater Foundation papers document the efforts to reopen the Lincoln Theater. Also included are Whitehead's research on the Lincoln as well as old Lincoln Theatre programs. Additionally found within this series are documents and clippings on the economic development within Washington DC particularly in the Shaw/U Street location.
The majority of this series consists of printed material. Printed material in this series includes books, clippings, magazines, newsletters, newspapers, press releases, sheet music, programs as well as promotional material for several Washington DC theaters and organizations. There is a large quantity of theater programs dating from 1900-1986. The majority of the clippings and magazines are theater related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Whitehead's attention.
Research, notes and writings include a large amount of scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook pertaiing to Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.
There are several photographs of African Americans in the performing arts as well as images of Washington DC and several unidentified men, women, and children.
Audio recordings include 23 cassette from the Alexandria Church of God.
The remainder of the collection consists of the papers of Tomlinson D. Todd, Elizabeth B. Delaney, and those about the Howard Theatre.
The Howard Theatre papers are arranged in Series II and include documents relating to the Washington DC historic Howard Theatre and date from 1910 to 1986. The papers in this series predominantly document the Howard Theatre Foundation's efforts to reestablish and run the Howard Theatre in which Whitehead was the vice president. Records include business correspondence, founding documents, photographs, memoranda, press releases, member lists, financial records, clippings, and scrapbooks of clippings pertaining to the organization and theatre.
The correspondence in the collection include a handful of letters from the Washington DC government along with individuals and organizations. Also included is a large amount of interoffice memoradums.
Administrative records include lawsuits, resolutions, meeting minutes, grant proposals, press releases, memoranda, member lists, studies and reports.
Financial records include check stubs, receipts, invoices, bank statements, expenses, and contribution lists.
Printed material includes original and photocopied clippings relating to the history and coverage of the foundation activities. Mostly promotional material as flyers, brochures, and press releases along with programs. In particular two 1920 Howard Theatre programs.
The scrapbooks of original and photocopied clippings compiled by Whitehead chronicle the history of the theatre and coverage of the foundation activities.
There are three VHS cassette featuring Whitehead discussing the Howard Theatre. Also found in series 2 are numerous stock investment record books belonging to A.E. Lichtman one of the early managers of the Howard Theatre. In addition early correspondence between Lichtman and the Rex Amusement Company concerning operational management issues of the Howard Theatre.
The Tomlinson D. Todd papers are arranged in Series III and date from 1902-1986 they include organization files, collected printed materials, subject files, and personal papers.
The collection includes materials relating to organizations in which there was a relationship to Todd's work and in which he had an interest primarily during the 1940s and 1950s, organizations include the National Negro Congress (ca, 1946-1947); the Congress for Industrial Organizations (1943-1947); National Council of Negro Women (1947-1949); Committee for Racial Democracy in the Nation's Capital (1947-1948).
The subject files include documents from three of Todd's organizations; Institute on Race Relation, Club Internationale, and his radio program "Americans All". As well as printed material from Todd's alma mater Lincoln University.
The largest subject file is "Americans All" which includes radio scripts as well as audio recording of a few programs and public service announcements. Also found are several black and white photographs of Todd at the radio studio.
Printed materials include newspapers, leaflets, convention proceedings, and flyers, There are a large amount of programs ranging from church worship to convention as well as performance.
Also present is a small amount of personal papers, including resumes, certificates, admission tickets, family documents, and travel ephemera from his all expense paid trip to Nigeria.
There are a few photographs of Todd at functions and with notable individuals as well as some family, friends and travel.
Elizabeth's B. Delaney papers are arranged in Series IV and date from 1874-1973.
The papers primarily document her involvement in four organizations, the Grand Oder of Odd Fellow of Kentucky, the Order Eastern Star Kentucky, the State Federation of Colored Women's Clubs of Kentucky and the National Association of Colored Women. There is a small amount of printed material belonging to her son primarily the Alpha Phi Alpha material and Gospel Choral Sheet Music, and books.
The Scrapbook was complied by Whitehead consisting of photocopied clipping documenting the life of Elizabeth B. Delaney.
Arrangement note:
This collection is arranged into four series:
Series 1: Henry P. Whitehead papers
Series 2: Howard Theatre
Series 3: Tomlinson D. Todd
Series 4. Elizabeth B. Delaney
Biographical/Historical note:
Henry Preston Whitehead Jr., was a native of Columbus Ohio. A graduate of Ohio State University, where he also attended law school and was a member of the Omega Psi Phi fraternity. Mr. Whitehead discovered Washington's "Black Broadway" in 1940, when he was a soldier in town on a weekend furlough. As he served in the Army in the South Pacific during World War II. Prior to moving to Washington DC Henry P. Whitehead worked for five years as a liquor inspector. Mr. Whitehead moved to Washington D.C. in 1949 and worked for the Post Office before working for the District of Columbia government where he stayed 21 years. He led several equal employment initiatives during the 1960s and 1970s, and was last employed as associate director of the District's Office of Human Rights. In 1980 after putting in 37 years of government service Mr. Whitehead retired.
Mr. Whitehead was an historian who led efforts to restore Washington's U Street cultural corridor and achieved recognition as an authority on and collector of black theatrical memorabilia. Mr. Whitehead worked to promote and preserve the city's rich African American cultural heritage.
Mr. Whitehead, served as the chairman and president for 10 years of the Howard Theater Foundation Inc., which he helped establish. There he led the effort to include Howard Theatre in the National Register of Historic Places.
Similarly he was an active member of the U Street Festival Foundation. He was an adviser to the Kennedy Center, Anacostia Museum, and other Smithsonian Institution units and contributed materials to their exhibitions. He was also a consultant to historical documentaries broadcast on public television and radio, including PBS's "Duke Ellington's Washington." His writings included "Remembering U Street," a book used for annual festivals in the historic area.
Mr. Whitehead was also the founder and board member of the Lincoln Theatre Foundation.
Henry P. Whitehead Jr. died on January 8th 2002 at the age of 84.
Provenance:
The collection was donated to the Anacostia Community Museum on September 1, 2005 by Michael A. Watkins.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
11.39 Cubic feet (consisting of 25 boxes, 2 folders, 4 oversize folders, 1 map case folder, plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Examinations (documents)
Speeches
Catalogs
Trade catalogs
Reports
Sales records
Trade literature
Print advertising
Business cards
Programs
Training manuals
Invoices
Publications
Business records
Advertising cards
Advertising mail
Certificates
Business ephemera
Manuals
Sales letters
Awards
Dance cards
Business letters
Commercial correspondence
Ephemera
Illustrations
Photographs
Sermons
Letterheads
Advertising
Printed ephemera
Catalogues
Theater programs
Report cards
Receipts
Advertising fliers
Legal documents
Scrapbooks
Correspondence
Lesson books
Periodicals
School records
Date:
1745-1973
bulk 1840-1930
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents note:
Most materials present are records and information related to specific schools and institutions and their operations. There are no complete records for any single organization. K-12 public, private schools are represented, as well as colleges, universities, vocational training, plus home study, correspondence courses, Sunday Schools and some religious instruction. HBCUs are not represented, though there may be a general item or two related to one or more of the HBCU schools. There is a sampling of teaching and learning tools such as workbooks, textbooks, and curriculum guides, plus publications for educators. A portion of the material focuses on administration and the profession of education. Student Services and Engagement covers the social aspects of higher education.
Arrangement note:
Schools is arranged in two subseries.
Institutions
By Name
Administration and Records
Genre
Advertisements
Images
Instruction and Learning: Tools and Resources
Post Family Education Records
Serial Publications for Educators and Administrators
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Schools is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Some items may be restricted due to fragile condition.
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.
Certificates -- School attendance -- 1930-1940 -- Illinois
Ephemera
Illustrations
Photographs
Sermons
Letterheads
Publications -- Business
Advertising
Printed ephemera
Catalogues
Theater programs
Report cards
Receipts
Advertising fliers
Legal documents
Scrapbooks
Correspondence
Lesson books
Periodicals
School records
Citation:
Warshaw Collection of Business Americana Subject Categories: Schools, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
9.54 Cubic feet (consisting of 19.5 boxes, 4 folders, 26 oversize folders, 8 map case folders, plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Ephemera
Business ephemera
Date:
1863-1966
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Theater forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This material consists primarily of theater programs (leaflets and pamphlets), images of performers and theaters, photographs, advertising cards, postcards, correspondence on letterhead stationary, theater tickets, newspaper clippings, articles, periodicals, pamphlets, catalogs and books. These materials are divided into eight series: American theaters, Foreign theaters, Performers, Managers/Agents/Agencies, Associations/Clubs, Theater productions, General works and Related publications.
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Theater is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana Subject Categories: Theater, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
William Broich Theatrical, Society and Stree Wigs Catalogue. Pages 6 and 7 feature women's and men's wigs, including bald and character wigs.
Local Numbers:
040060139.tif(AC Scan No.)
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Warshaw Collection of Business Americana Subject Categories: Theater, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
2.96 Cubic feet (consisting of 9 boxes, 1 folder, 7 oversize folders, 8 map case folders, 1 flat box (partial), plus digital images of some collection material. )
Type:
Collection descriptions
Archival materials
Theater programs
Ephemera
Business ephemera
Date:
1893-1969
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Motion Pictures forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents note:
Motion pictures were first publicly exhibited in the United States at the World's Columbian Exposition in Chicago, Illinois in 1893. While the films exhibited there were technically crude with little to no plot or story and far from the polished product of today, they immediately caught the public's attention.
Within a short time the motion picture industry (creation, distribution, and marketing) had grown into a lucrative business. Those first motion pictures were often short serial films run in a series to keep customers coming back to follow the story's plot line to its conclusion. Gradually, films became longer and a number of performers developed legions of fans guaranteeing a certain amount of box office business from name recognition of the star alone.
Initially, the film industry consisted of many small companies, but competition cleared the field and fewer, larger corporations cornered the market in both production and distribution. Independent theatre owners, who were at first almost wholly independent of the production companies, also became rare as the major theatre chains developed their own movie studios to ensure a steady stream of films to be shown at their theaters. The film industry, at first based in New York City and on the East Coast, moved to the famed Hollywood, California, in the late 1910s early 1920s.
The Motion Pictures section of the Warshaw Collection consists of various types of materials relating to motion pictures. The collection is especially strong for the silent movie era, 1893-1927. This portion of the collection is divided into seven series.
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Motion Pictures is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana Subject Categories: Motion Pictures, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
TomƔs Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
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 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:
Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
(includes letter of congratulation on Othello, review, and theater program; form letters concerning fund raising for Council on African Affairs; invitation to visit Kent, and requests for Robeson to appear at or support various events sponsored by civil rights or political organizations; birth announcements)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized 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:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
