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Underwood & Underwood Glass Stereograph Collection

Creator:
Underwood & Underwood  Search this
Publisher:
American Stereoscopic Co.  Search this
H. C. White Co.  Search this
Killela, J.J.  Search this
Underwood, Bert, 1862-1943  Search this
Underwood, Elmer, 1859-1947  Search this
Photographer:
Ponting, Herbert George, 1870-1935  Search this
Underwood, Bert, 1862-1943  Search this
Underwood, Elmer, 1859-1947  Search this
White, Clarence W.  Search this
Extent:
160 Cubic feet
Type:
Collection descriptions
Archival materials
Stereographs
Photographs
Stereoscopic photographs
Lantern slides
Date:
1895-1921
Summary:
A collection of approximately 28,000 glass plate negatives showing views of a variety of subjects.
Scope and Contents:
The major part of the collection, series 1-4, contains nearly 28,000 glass plates, including original stereoscopic negatives, interpositives, and both negative and positive non-stereoscopic plates used to produce lantern slides and paper prints. The photographs were taken all over the world. The majority are from the Underwood & Underwood active files, but plates from other publishers are also included. Series 5 is a small collection of paper stereographs. Series 6 contains 4 Underwood & Underwood descriptive sales catalogs and 1 H. C. White & Co. catalog (numbers on the Underwood plates correspond to the numbers on catalog captions). Series 7 is apparatus--four stereoscopes.

The approximately 28,000 glass plates in this collection have not been completely inspected at this point due to handling problems associated with asbestos contamination of the collection. A preliminary survey, however, indicated that the selections of images cover the full range of subject matter encompassed by the "Underwood Travel System." The subject matter is most easily comprehended by consulting one of the Underwood sales catalogs which accompany the collection. The catalog captions are arranged geographically, for the most part, and generally represent an organized "tour" which could be purchased as a boxed set, complete with maps and guide book, although individual images could be purchased separately. The catalogs indicate that the Underwood files were continually updated, for extensive modifications in some of the sets can be seen from edition to edition, and actual inspection of published stereographs shows that alternate views with identical Underwood catalog numbers were substituted from time to time, and that new subjects (with new catalog numbers) were sometimes introduced into the sets and old subjects were retired. There are glass plate negatives as well as positives in this collection. The positive images were probably interpositives used for the production of duplicate negatives. Some of the original stereo negatives were cut apart and the images transposed; they were then bound with an additional glass support (in many cases the tape has deteriorated). Half stereo positives also appear in the collection: these probably were intended for use in lantern slide production. Frequently a drawer of plates contains several incarnations of a single image, including the original negative, a copy negative, an interpositive, and a positive lantern slide. In other cases a drawer may contain only a single mode, e.g., original negatives, while corresponding positives and/or lantern slides appear in separate drawers.

A small quantity of the Underwood & Underwood plates are not from the Travel System, but represent humorous and genre subjects which were cataloged and marketed separately. The work of several other publishers, usually without Underwood catalog numbers, is also represented, including H. C. White, American Stereoscopic Company, and J. J. Killela.

The arrangement of the collection seems to reflect a combination of permanent reference storage as well as active use files. The apparent anomalies or inconsistencies probably indicate the pulling of plates from permanent files into temporary work files, and the collection may consist of a combination of permanent storage and temporary working files. As the drawers do not appear to have been renumbered according to any easily discernible pattern, they have become intermixed and rearranged in storage. The contents of each drawer usually have been found in good order, however, and the plates were nearly always arranged numerically,usually with the low numbers at the rear of the drawer and the highest number at the front. As the plates have been rehoused, the reverse numerical order has been corrected. When all the plates have been rehoused and inventoried, consideration will be given to general collection rearrangement and renumbering of the containers, either strictly in numerical order or topically and/or geographically with a numerical sequence within each group.

The collection is in good condition for the most part, although conservation attention will be required. There is a certain amount of emulsion peeling or frilling at the edges of some plates, but this is a condition to which emulsions on glass frequently are prone. A few plates, bound in a sandwich arrangement between cover glass and acetate facing the emulsion, have suffered severe damage, peeling, and image losses through the apparent ferrotyping and sticking of emulsion to the plastic, probably under conditions of high humidity at some stage. There is surprisingly little glass breakage within the collection.

Most of the stereoscopic negatives and many of the positives are defaced with a double "XI' scratched into the emulsion of either the left or right side, as described above in the historical note. Of particular interest and presumed rarity are cards found interfiled with plates in many of the drawers. These cards, filed by Underwood (i.e., catalog) numbers, bear printing'or production dates and notes, along with the unique, chronological accession numbers which the company assigned to each plate, regardless of the "active" number which it might eventually receive. A check mark on a card usually refers to a plate actually in the collection and with which the card is found physically associated; additional accession numbers without check marks listed on the cards possibly refer to variant views which were discarded or may in fact be in the Keystone Mast Collection (pending further research). For ease of handling and in the interest of conservation, the cards have been separated from the plates within each drawer and are arranged as a group at the rear, but can still be located easily. Frequently when a plate and/or its original envelope does not bear both the "active" and accession numbers, the missing number can be located on one of these cards.

Photographers represented include Herbert G. Ponting and Clarence W. White. A photographer and/or publisher named J. J. Killela is also represented.
Arrangement:
This collection is arranged in seven series. Series 1, 2, and 3 are each divided into negative and positive subseries. Plates are arranged numerically in groups based on geographical and subject content. Controlled at the series level in the finding aid and at the item level in a computer database.

Series 1, H. C. White glass plates

Series 2, American Stereoscpopic Co. glass plates

Series 3, Underwood & Underwood glass plates

Series 4, Broken glass plates

Series 5, Original company catalogs

Series 6, Paper stereographs

Series 7, stereoscopes (viewers)
Biographical / Historical:
Underwood & Underwood was established at Ottawa, Kansas, by the young brothers Elmer and Bert Underwood in 1882. They initially operated as distributors for eastern photographers' stereographs to new markets in the West. Their activities included door to door canvassing with views by Charles Bierstadt, J. F. Jarvis, and Littleton View Co.(1) Underwood & Underwood, Publishers, opened a branch office in Baltimore in 1887.(2)

Soon Underwood & Underwood and other large stereograph publishers began recruiting college students to work as salesmen during summer months (1890). Underwood and Underwood claimed that their organization alone sent out as many as 3,000 college students in one Summer [sic]. With the other ... big companies each employing more than 1,000, it is easy to understand how the countryside of the Nation literally swarmed with stereograph salesmen throughout the summer months! ... The competition between the salesmen themselves was likewise aggressive, with no holds barred. Many successful business and professional men of today relate with considerable pride that they got their start on their careers in this practical and very effective school of salesmanship.(3)

The company moved its main office from Ottawa, Kansas to New York City (1891),(4) and gradually began to publish its own stereographs. Bert Underwood finally took photography lessons from M. Abel in Mentone, France during the same year.(5) B. L. Singley, erstwhile salesman for the Underwood & Underwood and James M. Davis & Co. firms, in 1892 formed the Keystone View Company of Meadville, Pennsylvania, which was to become Underwood & Underwood's chief competitor and imitator.(6)

Underwood & Underwood entered the education market (1895) by producing packaged sets of 100 or more stereographs with descriptive texts.(7) From 1897 the firm employed full time staff photographers as well as free lancers. By 1901 the Underwoods were publishing 25,000 stereographs per day (i.e.,total number of cards). Increasing production levels led them to gain control of the Jarvis, Bierstadt, and William H. Rau photoprinting facilities in 1897 1898.(8)

The Keystone view Company created its own Educational Department in 1898. This division sustained the Keystone View Company past the period of the stereograph's popularity. In this year Underwood & Underwood reprinted Oliver Wendell Holmes's series on the stereograph and stereoscope which originally appeared in The Atlantic Monthly between 1859 and 1863. This eighty page booklet included testimonials from eminent scholars on the value of the stereograph in education. The company had been test marketing what itlater called "The Underwood Travel System." This consisted of a boxed set of stereo views of a country or region, a guide book describing the significance of the places shown, and a map showing their location and the viewpoints from which the stereographs were taken. Captions on the backs of the stereographs were sometimes printed in six languages.(9) As stereographs began to be used in schools as visual aids, the firm promoted its Travel System with endorsements from prominent educators, citing the usage of the system by various schools and universities.(10)

The H. C. White Company, which had manufactured stereoscopes for several decades, entered the stereo publication field in 1899.(11) Much of its production seemed to imitate Underwood & Underwood cards, including typography and the color of mount stock. Underwood & Underwood expanded into news photography by 1910 and gradually decreased its stereographic work. Few new stereo negatives were added to the file after 1912 except for a flurry of activity during the early war years, 1914 1916. The total number of Underwood & Underwood "titles" in stereo were from 30,000 to 40,000 (there might be a substantially larger number of actual negatives, since the files frequently were updated with newer views for old catalog numbers).(12)

Underwood & Underwood sold a portion of its negative file to the educational division of Keystone View Company in 1912,(13) and between 1921 1923 conveyed to this competitor their remaining stereo stock (presumably both cards and negatives) and rights.(14) In addition to its involvement as a news photographic agency, the company eventually opened portrait studios which flourished during the World war II years. A former Smithsonian employee, Vince Connolly, worked for Underwood & Underwood, which competed with Harris & Ewing in general portrait work during that period: he did portraiture and other photography, but says he was unaware of his employer's earlier stereo publishing activities.

Underwood & Underwood donated approximately 6000 negatives to the Section of Photography of the Division of Graphic Arts (1964). These photographs are primarily 4" x 5", captioned glass plate and film negatives. The subjects are news events and theatrical, sports, and political subjects of the early 20th century. In a letter to the Smithsonian of March 25, 1966 (in accession number 270586), Mrs. John M. Stratton described another collection of Underwood & Underwood photographs, stating that her husband had been a partner in Underwood & Underwood Illustrations and owned Underwood & Underwood News Photos. In November of the same year Mr. and Mrs. Stratton donated this collection of glass plates by Underwood & Underwood and other publishers to the Division of Photographic History (then the Section of Photography of the Division of Graphic Arts) . This material consists of both negative and positive stereographic plates, as well as non stereoscopic plates, chiefly copies made from the stereographs, with some catalogs, stereoscopes, and other material. The donor estimated 12,900 plates, but in 1983 the Smithsonian Institution inventory yielded a total of approximately 28,000 plates.

The Keystone View Company's stereoscopic production continued much later than Underwood & Underwood's. It was not until 1939 when declining interest in stereography led the firm to discontinue stereograph production and enter the field of visual optometrics. The stereoscopic negative collection, including material obtained from Underwood & Underwood and other firms, was placed in storage in concrete vaults. The Mast family of Davenport, Iowa, eventually purchased the collection in 1963, and in 1977 donated the collection to the University of California for its California Museum of Photography in Riverside. The University took physical possession of this vast collection in 1979.(15)

Many of the Underwood & Underwood plates donated by the Strattons (which were transferred to the Archives Center in 1983), in effect have been cancelled by having diagonal lines (double "X" marks) scratched into the emulsion of either the left or right image of each stereo pair (never both sides). These cancellation marks do not appear on the Underwood & Underwood plates in the Keystone Mast Collection in Riverside. This leads to several theories: (a) that these cancellations were in fact the reason that the Smithsonian plates were not purchased by Keystone in either 1912 or 1921, since Keystone clearly intended to use the Underwood material for stereograph production and the defaced plates would be of no value to them for this purpose; or (b), as stereo collector John Waldsmith suggests, that the cancellations were part of an agreement between Underwood & Underwood and Keystone: Keystone may have asked Underwood & Underwood to cancel one side of each stereoscopic plate not being sold to Keystone so that Underwood & Underwood would no longer be able to compete with Keystone in the stereo market. The defaced plates, as well as other material which Keystone did not purchase, apparently remained in Underwood custody and eventually were acquired by Mr. and Mrs. Stratton. The cancellation marks in the Smithsonian's collection are the subject of further conjecture. Edward Earle at Riverside feels that, since Underwood & Underwood sought to abandonded stereograph production much earlier than Keystone's departure from the field in order to enter the non stereoscopic lantern slide market, the cancellation may have served to indicate which side of each sterescopic pair should be converted to lantern slide production use; the existence of the 4" x 5" copy negatives and positives from stereographs in this collection seem to corroborate this. The Underwood & Underwood conversion from stereograph to lantern slide materials seems to coincide with the ascendance of lantern slide projection as visual aids in schools. The company apparently modified the type of photographic product which they published at least partially in recognition of this new educational trend.

NOTES

1. edward W. Earle, ed., Points of View: The Stereograph in America A Cultural @ Visual 'g . E!Ltory, Rochester, F.Y., Th Studies Workshop ress, 1979, p. 60; William Culp Darrah, The World of Stereographs, Gettysburg, Pa., 1979, p. 46.

2. Tbid., p. 62.

3. George E. Hamilton, Oliver Wendell Holmes, His Pioneer SLtuereoscope and Later Industry, New York, New )men Society, 1949, p. 17, quoted in Points of 1=e w:, 6 4 . P.

4. Points of View., p. 66.

5. Darrah, p. 47.

6. points of View, p. 66.

7. Ibid., p. 68.

8. Darrah, p. 47.

9. Points of View, p. 70.

10. Howard S. Becker, "Steteographs: Local, National, and International Art Worlds," in Points of View, p. 95. 11. points of View, p. 72.

12. Darrah, p. 48.

13. Darrah, p. 48, quoted in Points of View, P. 82.

14. Darrah, p. 48.

15. Chris J. Kenney, introduction to "Perspective and the Past: The Keystone Mast Collection," CMP Bulletin, Vol. 1, No. 2, 1982.
Related Materials:
California Museum of Photography, University of California--Riverside, Riverside, California 92521.

Underwood & Underwood stereographs in this collection and the Smithsonian Underwood & Underwood Collection originally were components of the same company file.
Provenance:
Collection donated by June Stratton (Mrs. John M.) on December 19, 1966.
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:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Traveling sales personnel  Search this
Travel photography -- 1890-1930  Search this
Genre/Form:
Stereographs -- 1890-1930
Photographs -- Interpositives -- Glass -- 1890-1930
Photographs -- Black-and-white negatives -- Glass -- 1890-1930
Photographs -- 1900-1950
Stereoscopic photographs -- Glass -- 1890-1930
Lantern slides
Photographs -- 1890-1900
Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0143
See more items in:
Underwood & Underwood Glass Stereograph Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86e358e26-e305-49a6-bf9b-f2d38d995ae0
EDAN-URL:
ead_collection:sova-nmah-ac-0143
Online Media:

The Underwood Travel System, Catalog No. 28 [p. 4 illustration: Man holding stereoscope, pointing to Egypt on a large globe : line drawing]

Publisher:
Underwood & Underwood  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Page
Type:
Archival materials
Pages
Drawings
Date:
[ca. 1907.]
Scope and Contents:
An illustration from "The Underwood Travel System," Underwood & Underwood stereograph catalog No. 28, ca. 1907. The image graphically demonstrates this publisher's ambition to provide stereographs of the entire world for the delight and education of "armchair travelers." Caption under illustration: "To be within arm's reach of distant countries it is only necessary to be within arm's reach of the Underwood Stereograph Travel System."
Local Numbers:
87-2132 (OPPS Neg. No.)

AC0143-0000001.tif (AC Scan: pp. 4-5, double-page spread in catalog)
Restrictions:
Due to the fragile nature of the catalog containing this drawing, only photocopies may be consulted by researchers.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Globes  Search this
Stereoscope  Search this
Travel photography  Search this
Genre/Form:
Drawings -- 1900-1910
Collection Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
See more items in:
Underwood & Underwood Glass Stereograph Collection
Underwood & Underwood Glass Stereograph Collection / Series 5: Original company catalogs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8ab606039-b863-40bd-8941-5b87cd633482
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref28096

Donald H. Sultner-Welles Collection

Collector:
Sultner-Welles, Donald H. (Sultner, Donald Harvey), 1914-1981  Search this
Printer:
Janus, Allan  Search this
Interviewee:
Hanfstaengl, Erna  Search this
Names:
Baltimore Symphony Orchestra  Search this
Chautauqua Institute  Search this
Colonial Williamsburg Foundation  Search this
Holland-America Cruises  Search this
Hitler, Adolf, 1889-1945  Search this
Extent:
87.6 Cubic feet (331 boxes, 2 map-folders)
Type:
Collection descriptions
Archival materials
Passports
Photographs
Travelogs
Receipts
Ephemera
Files
Filmstrips
Lecture notes
Personal papers
Silver-dye bleach process
Contracts
Notebooks
Prints
Press releases
Ships' passenger lists
Project files
Magnetic tapes
Posters
Postcards
Vertical files
Dye destruction process
Travel diaries
Letters (correspondence)
Professional papers
Bank statements
Correspondence
Audiotapes
Series 12.
Clippings
Card files
Concert programs
Dye destruction photoprints
Biography files
Awards
Business records
Birthday cards
Date:
circa 1790-1981
bulk 1945-1980
Scope and Contents:
This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.

The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.

The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.

The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.

The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.

A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.

Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).

Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).
Arrangement:
The collection is arranged into eleven series.

Series 1: Personal Papers, 1923-1981

Series 2: Professional Papers, 1954-1980

Series 3: Lecture Materials, 1952-1980

Series 4: Biographical Materials, 1954-1980

Series 5: Transparencies, 1947-1980

Series 6: Photoprints, 1913-ca. 1980

Series 7: Photonegatives, 1929-1981

Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979

Series 9: Audio Tapes, 1947-1980

Series 10: Miscellaneous, 1947-1980

Series 11: Steve Eyster Addenda, 1937-1980
Biographical / Historical:
Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast. It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.

Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.

Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.

Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.

1914 -- April 13, born York, Pennsylvania.

1929 -- In Detroit at Lewis Institute to overcome a speech impediment.

1932 -- To University of Pennsylvania.

1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.

1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).

1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).

1938 -- Summer at home, and Picketts (PA), Camp Pratt.

1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).

1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).

1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).

1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.

1943 -- Summer trip to Mohonk (NY).

1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).

1945 -- Summer: To Winnepesauke (ME), Woodstock (NY), Ogunquit (ME), Bridgeport (CT).

1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).

1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.

1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.

1949 -- Singing tour of North and South Carolina.

1950 -- Summer trip to South.

1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.

1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.

1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.

1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.

1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.

1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.

1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.

1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.

1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.

1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.

1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.

1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.

1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.

1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.

1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.

1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.

1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.

1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.

1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.

1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.

1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.

1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.

1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.

1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.

1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.

1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.

1979 -- To England; Florida.

1980 -- To Florida.

1981 -- March 25: Sultner dies of cancer, York, Pennsylania.
Introduction:
The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.

The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.

This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.
Restrictions:
Collection is open for research but a portion of the collection 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.

A small number of letters and photographs are restricted until the year 2031. Identification list in box.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits -- 20th century  Search this
Lecturers  Search this
Photographers  Search this
Gardens -- Photographs -- 1300-1980  Search this
Architecture -- Photographs -- 1300-1980  Search this
Travel photography -- 1950-2000  Search this
Genre/Form:
Passports
Photographs -- Black-and-white negatives -- Acetate film
Travelogs
Receipts -- 20th century
Ephemera
Files
Filmstrips
Lecture notes
Personal papers -- 20th century
Silver-dye bleach process
Contracts
Notebooks
Prints
Press releases
Ships' passenger lists
Project files
Magnetic tapes
Posters
Postcards
Vertical files
Dye destruction process
Travel diaries
Letters (correspondence) -- 20th century.
Professional papers
Bank statements
Correspondence -- 1930-1950
Photographs -- Phototransparencies -- 20th century
Audiotapes -- 1940-1980
Series 12. -- Cibachrome (TM)
Photographs -- 20th century
Clippings
Card files
Concert programs
Dye destruction photoprints
Biography files
Awards
Business records
Birthday cards
Identifier:
NMAH.AC.0145
See more items in:
Donald H. Sultner-Welles Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c00c15e0-d905-4a3c-ab89-6fbd2f9c5f7d
EDAN-URL:
ead_collection:sova-nmah-ac-0145
Online Media:

Mildred N. Beauregard slide collection

Photographer:
Beauregard, Mildred N.  Search this
Extent:
2 Slide viewers
3.25 Cubic feet
1,249 Slides (35mm)
Type:
Collection descriptions
Archival materials
Slide viewers
Slides
Slides (photographs)
Date:
circa 1947-1971
bulk 1950-1969
Summary:
The Mildred N. Beauregard Slide Collection contains 1,249 35mm slides, dated circa 1947-1971, of gardens and castles in England, Scotland, France, Holland, Switzerland, Sweden, Norway, and Denmark, as well as American gardens, photographed by Mildred Napier Beauregard. Some slides show tourist sites and scenes including skylines, rock features, waterways, boats and ships, and unidentified individuals. The collection also includes two slide viewers.
Arrangement:
The historic order of the slides has been maintained and reflects an organization based on geographic location. In rehousing the slides, rubber bands were removed for preservation purposes and replaced with archival quality card stock to indicate groups of slides that were formerly banded together.
Biographical note:
Mildred Napier Beauregard was born in Milledgeville, Georgia. She was an avid traveler and photographer, taking numerous slides of the sites she visited.
Provenance:
Donated to the Smithsonian Institution's Office of Horticulture (later Smithsonian Gardens) in 1987 by Mildred Beauregard's son, Pierre G.T. Beauregard III.
Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Netherlands  Search this
Gardens -- France  Search this
Gardens -- Europe  Search this
Travel photography  Search this
Gardens -- England  Search this
Gardens -- Denmark  Search this
Gardens -- Norway  Search this
Gardens -- Scotland  Search this
Gardens -- Sweden  Search this
Gardens -- Switzerland  Search this
Gardens -- United States  Search this
Genre/Form:
Slides (photographs)
Citation:
Smithsonian Institution, Archives of American Gardens, Mildred N. Beauregard slide collection.
Identifier:
AAG.BRG
See more items in:
Mildred N. Beauregard slide collection
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6dda3d615-fbc9-4feb-b7be-df8dc6f3916c
EDAN-URL:
ead_collection:sova-aag-brg

Captain A. H. McComb Jr. slide collection

Photographer:
McComb, A. H., Jr., Capt.  Search this
Extent:
0.25 Cubic feet (230 color slides, 35mm)
Container:
Box 1, Box 2
Type:
Collection descriptions
Archival materials
Slides
Slides (photographs)
Place:
Washington (D.C.)
Panama
Trinidad and Tobago
Virgin Islands of the United States
Paris (France)
Puerto Rico
Bermuda Islands
Copenhagen (Denmark)
England
Germany
Haiti
Cuba
Jamaica
Date:
1956-1966
Summary:
The Captain A.H. McComb, Jr. Collection includes approximately 230 35mm slides of public and private gardens and landscapes dating from 1956 to 1966, photographed by Captain A.H. McComb, Jr. at sites in Washington, D.C., Maryland, Virginia, New York, United States Virgin Islands, Argentina, Bermuda, Capri, Cuba, Denmark, England, France, Germany, Haiti, Jamaica, Panama, Puerto Rico, and Tobago.
Scope and Contents note:
The Captain A.H. McComb, Jr. Collection includes approximately 230 35mm slides of public and private gardens and landscapes dating from 1956 to 1966, photographed by Captain A.H. McComb, Jr. at sites in Washington, D.C., Maryland, Virginia, New York, United States Virgin Islands, Argentina, Bermuda, Capri, Cuba, Denmark, England, France, Germany, Haiti, Jamaica, Panama, Puerto Rico, and Tobago. While McComb generally indicated the location and/or plant featured in each image on the corresponding slide mount, the location of sites documented in some of images is unknown. Also included are images of various flowers and plants, some of which are not attributable to a particular site. A typewritten list of image captions keyed to the numbered slides accompanied the donation.
Arrangement note:
Arranged into 2 series:

1. U.S. Gardens 2. Foreign Gardens

The original arrangement, which is maintained, consists of a two-part numbering system based on sequential (and chronological) rolls of film and the slides within each roll. Each roll was numbered sequentially by, presumably, Capt. McComb as were the slides within each roll (e.g. 1-1, 1-2, 1-3, and 7-1, 7-2, 7-3, etc.) with gaps in the numbering sequences representing slides not included in the donation to the Smithsonian.
Biographical/Historical note:
Captain Archibald H. "Bud" McComb, Jr. of Winchester, Virginia, (May 27, 1913-February 8, 2003), was the Chief of International Maritime Safety Coordinating Staff at the United States Coast Guard Headquarters in Washington, D.C and life member of the Society of Naval Architects and Marine Engineers.
Provenance:
Captain and Mrs. A.H. McComb donated the collection to the Office of Horticulture in (later Smithsonian Gardens) in 1981.
Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Travel photography  Search this
Flowers  Search this
Plants  Search this
Trees  Search this
Genre/Form:
Slides (photographs)
Citation:
Smithsonian Institution, Archives of American Gardens, Captain A. H. McComb Jr. slide collection.
Identifier:
AAG.MCC
See more items in:
Captain A. H. McComb Jr. slide collection
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb60eed9c26-c73a-4de3-8c5f-8f7c60bc8cb1
EDAN-URL:
ead_collection:sova-aag-mcc

Metamorphose/two : the photographer's interpretation of Saint Paul/76, emerging center of business, education, and the arts : a bicentennial exhibition at the permanent collection gallery, 10 November-27 December, 1976

Author:
Minnesota Museum of Art  Search this
Heikenen, Patricia  Search this
Physical description:
[44] p. : ill. ; 22 x 28 cm
Type:
Exhibitions
Place:
Saint Paul (Minn.)
Date:
1976
C1976
Topic:
Photography, Artistic  Search this
Description and travel  Search this
Call number:
N8214.5.U5 M66me
N8214.5.U5M66me
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_104675

Frederick John Pratson photographs for "Land of the Four Directions"

Photographer:
Pratson, Frederick John  Search this
Names:
Barlow, Peter, Chief  Search this
Extent:
23 Photographic prints
1 Contact sheet
Culture:
Passamaquoddy  Search this
Maliseet (Malecite)  Search this
Mi'kmaq (Micmac)  Search this
Type:
Collection descriptions
Archival materials
Photographic prints
Contact sheets
Place:
Maine
New Brunswick (Canada)
Date:
circa 1970
Summary:
This collection contains 23 photographic prints and one contact sheet (36 images) made by Frederick John Pratson for his book Land of the Four Directions, published in 1970. Photographs include images of Passamaquoddy community members in Indian Township, Maine as well as Maliseet community members of the Tobique First Nation and Mi'kmaq community members of Big Cove and Indian Island in New Brunswick, Canada.
Scope and Contents:
This collection includes one contact sheet with 36 images and 23 photographic prints of varying sizes made for Frederick John Pratson's 1970 publication Land of the Four Directions. The images on the contact sheet were most likely shot on the Mi'kmaq First Nation on Indian Island in Kent County, New Brunswick, Canada. These include portraits of Mi'kmaq Chief Peter Barrow, along with several other unidentified men. A handful of these images include Pratson himself.

A large number of the photographic prints (silver gelatin) were shot in the late 1960s among the Passamaquoddy community in Maine and were identified in 2010 by Donald G. Soctomah, Historic Preservation Officer of the Passamaquoddy Tribe. Many of the photographs include images of children, many from the Dana family, going about their daily lives. The rest of the prints are listed as being photographed among Maliseet community members of the Tobique First Nation in New Brunswick, Canada and also include a large number of portraits of children, many of them still unidentified.
Contact sheet catalog numbers: P25886-P25922; Photographic Print catalog numbers: P25923-P25945, P37586-P37588
Arrangement:
Arranged in six folders by catalog number.
Biographical / Historical:
Born October 4, 1935 in Hartford Connecticut to John and Catherine Pratson, Frederick John Pratson was a historian and travel guide writer. After graduating from Boston College in 1957, he wrote for the travel section of the Boston Globe in addition to publishing a number of guidebooks which covered Canada and parts of the United States. In 1970, Pratson published Land of the Four Directions based on travels, photography and interviews among Passamaquoddy community members in Indian Township, Maine as well as Maliseet community members of the Tobique First Nation and Mi'kmaq community members of Big Cove and Indian Island in New Brunswick, Canada.

Pratson later returned to Indian Island Reservation in New Brunswick to interview Mi'kmaq (Micmac) Chief Peter Barlow in 1972. He also conducted interviews with William Jalbert, a lumberjack in Round Pond, Maine and with a group of Fisherman in East Dover, Nova Scotia. These interviews, done under the sponsorship of the New England-Atlantic Provinces-Quebec Center at the University of Maine (Orono) are now held in the Northeast Archives of Folklore and Oral History at the University of Maine.

Pratson died in December 1989, leaving a wife, four sons and two daughters.
Related Materials:
MF 042 Frederick Pratson Collection located at the Northeast Archives of Folklore and Oral History, University of Maine.
Provenance:
Gift Frederick John Pratson, circa 1985.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Genre/Form:
Photographic prints
Citation:
Identification of specific item; Date (if known); Frederick John Pratson photographs from Land of the Four Directions, image #, NMAI.AC.341; National Museum of the American Indian Archives Center, Smithsonian Institution.
Identifier:
NMAI.AC.341
See more items in:
Frederick John Pratson photographs for "Land of the Four Directions"
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv48707aea5-78f0-4896-9d31-13daf58e22a6
EDAN-URL:
ead_collection:sova-nmai-ac-341
Online Media:

Virgil Whyte "All-Girl" Band Collection

Collector:
Kovan, Florice Whyte  Search this
Author:
Whyte, Virgil (bandleader)  Search this
Names:
United Service Organizations (U.S.)  Search this
Virgil Whyte's "All-Girl" Band  Search this
Extent:
3 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Postage stamps
Videotapes
Audiotapes
Postcards
Soap
Labels
Letterheads
Announcements
Clippings
Photomechanical prints
Photographs
Packages
Diaries
Place:
Racine (Wis.) -- 1940-1950
Date:
1942-1948, 1991-1993
Scope and Contents:
Includes 7 VHS videotapes and 1 audio tape produced by Florice Whyte Kovan, containing interviews and recollections by some band members. Studio portraits and snapshot photographs in 3 scrapbooks, which also contain display advertisements and newspaper clippings from about the band, 1940s. Snapshots include documentation of the band's travels and leisure activities while on the road, including swimming, horseback riding, etc. Packaged hotel soap bars collected by Betty Hansen during the bands' touring documents their itinerary, as do picture postcards written by Alice Smaus Jacoby.
Arrangement:
The collection is divided into seven series.

Series 1: Unmounted snapshots

Series 2: Scrapbooks

Series 3: Alice Smaus Jacoby's postcards

Series 4: Packaged soap samples

Series 5: Audiovisual Materials

Series 6: Framed Portrait Photoprints

Series 7: Oversized Photoprints

The scrapbook pages are arranged in original order, apparently partly chronological, but series 1 snapshots are in topical order.
Biographical / Historical:
Founded 1942 in Racine, Wis., by Virgil Whyte, his "all-girl" band was composed of young Racine women. Whyte was instructor, manager, and the initial leader on drums; later his sister Alice took over as drummer. After initial success in Racine and elsewhere in Wisconsin, the band began to accept engagements in other parts of the country, eventually touring the U.S. The band's success drew other acts and performers, including Jill Fontaine and the Wilford Mae Trio, Sam Hearn (known as "Schlepperman"), the Woodson Sisters, and Paul La Verre and Bro. They did U.S.O. tours, entertaining servicemen.

The principal donor, a free-lance researcher and writer, is the daughter of Virgil Whyte.
Provenance:
Collection donated by Florice Kovan, 1993.
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.
Occupation:
Tap dancers -- 1940-1950  Search this
Topic:
Travel photography -- 1940-1950 -- U.S.  Search this
Barracks -- 1940-1950  Search this
Railroad passenger cars  Search this
Horseback riding -- 1940-1950  Search this
Singers -- 1940-1950  Search this
Comedians -- 1940-1950  Search this
Jazz musicians -- 1940-1950  Search this
Band music -- 1940-1950  Search this
World War, 1939-1945 -- Musicians  Search this
Horses -- 1940-1950  Search this
Women musicians -- 1930-1950  Search this
Beaches -- 1940-1950  Search this
Swimming pools -- 1940-1950  Search this
Swimming -- 1940-1950  Search this
Jazz -- 1940-1950  Search this
Portraits -- Women  Search this
Genre/Form:
Postage stamps
Videotapes
Audiotapes
Postcards
Soap -- Packaged
Labels
Letterheads
Announcements
Clippings
Photomechanical prints
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950
Packages
Diaries
Citation:
Virgil Whyte's "All-Girl" Band Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0503
See more items in:
Virgil Whyte "All-Girl" Band Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep862348874-be31-467f-81fb-a872a712966b
EDAN-URL:
ead_collection:sova-nmah-ac-0503
Online Media:

Photographs

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Extent:
65.68 Linear feet
Type:
Archival materials
Date:
undated
1956-2001
Scope and Contents:
This series consists of Chickering and Porterfield's photography from 1956 to 2002 and undated, the vast majority of which is professional travel photography output in the form of prints, negatives, or slides. Chickering and Porterfield traveled throughout the United States and world, including a number of cruises; North American, Caribbean, and European tourist sites and ports are particularly well-represented within the collection.

Due to the large size of the photography collection—an estimated 168,000 slides and approximately 7 linear feet of prints and negatives—the collection has been minimally processed. Many materials returned from The New York Times and Photo Researchers remain in their original mailing envelopes with relevant labels preserved. The collection has been separated by format for ease of storage and preservation.

All photographs have been assigned accession number NAFC 2015.16.1 OP. Binders of slides have been assigned unique numbers (XXX) in the format NAFC 2015.16.1-XXX OP.

This series is arranged in 3 subseries: 9.1 Film-related photography, circa 1960-1973; 9.2 Personal photography, 1956-2002, undated; 9.3 Travel photography, 1963-2001, undated.
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
Identifier:
HSFA.2015.16, Series 9
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc95a7d5459-d7e6-4a95-b4a9-e365de5f4e12
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref292

Travel photography

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Extent:
57.42 Linear feet
Type:
Archival materials
Date:
1963-2001
undated
Scope and Contents:
This subseries consists of prints, negatives, and slides produced by Chickering and Porterfield in their print photography career. It is arranged in two further subseries: 9.3.1 Selected photographs, circa 1985-circa 1995; and 9.3.2 Travel slide collection, 1963-2001, undated.

Subseries 9.3.1 consists of prints, negatives, and slides. Prints and negatives are largely associated with the New York Times, while slides were mostly deposited with Photo Researchers; these images, which often remained in their original return mailing envelopes, were selected by Chickering and Porterfield for publication submission and may or may not have been published.

Subseries 9.3.2 encompasses an estimated 146,500 35mm slides with a wide geographic range, though a particular emphasis on North American, Caribbean, and European tourist sites and ports. Many slides (especially those sent out for deposit with a stock photography company) are individually labeled with explanatory captions. In contrast to 9.3.2, these slides remained in the binders in which Chickering and Porterfield had originally housed them, suggesting they were retained in storage rather than submitted for publication. Slides that had been housed in binders are arranged alphabetically by geographic location, then chronologically. Other photographs arrived loose and generally remain unarranged. Many materials still in original housing.
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
Identifier:
HSFA.2015.16, Subseries 9.3
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9ad902e77-7ae1-4937-b8d5-6f3c20478a6c
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref299

Travel slide collection

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Type:
Archival materials
Date:
undated
1963-2001
Scope and Contents:
This subseries consists of slides Chickering and Porterfield photographed on travels throughout the world and stored in a series of binders by geographic destination. There are an estimated 146,500 slides in this subseries.

Though these slides were likely made at the same time as the 35mm slides in subseries 9.3.1, they appear to have been retained in storage rather than submitted for publication. Note that sheets of individually captioned slides, typically at the front of each binder, may have been removed for publication submission and later replaced (see subseries 9.3.1 for similar slide sheets that were deposited with Photo Researchers).

Binder titles and identifying numbers (in the format NAFC 2015.16.1-XXX OP) have been assigned by the archivist for clarity and consistency of reference. Slides within have been rehoused in folders and maintained in original order. Each set of folders labeled with the same number and title represents one original binder; note that one binder may span multiple trips to the same location, or one trip may span multiple binders. Documentation found in binder pockets, such as maps, brochures, and schedules, were filed at the beginning of each binder's folder series.

Handwritten notes on any original binder dividers and tabs have been recorded on the finding aid. In transcription of handwritten notes, "R+O" appears to refer to "remains and outs," and "P.R." has been expanded to "Photo Researchers."

Arranged alphabetically by geographic location (first by NAFC major geographic region, then by country or state), then chronologically. Dates were determined from the developed slides and may not correspond exactly to the original trip.
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
Identifier:
HSFA.2015.16, Subseries 9.3.2
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9c2a65268-5c88-4a05-8d28-12995ddbe7d7
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref305

Africa:

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Type:
Archival materials
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography / 9.3.2: Travel slide collection
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9d538f057-f66e-447b-ace5-8977236e794e
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref307

Asia:

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Type:
Archival materials
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography / 9.3.2: Travel slide collection
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc90f40ac09-47bb-4aeb-816b-85b071d7159c
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref308

Egypt

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Container:
Box 31
Type:
Archival materials
Slide sheet
Date:
1983
Scope and Contents:
Nile Cruise, Luxor (Temple of Karnak, Temple of Luxor, Valley of Kings, Valley of Queens), top shots, South of Luxor (Luxor to Aswan, Esna - below [and?] level, Edfu - with Horus, Kom Ombo - on water, Temple of Philae - on island near Aswan), Felucca, Temple of Horus at Edfu
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
Identifier:
HSFA.2015.16, File 2015.16.1-1 OP
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography / 9.3.2: Travel slide collection / Africa:
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc95fdb7adb-1afa-40d8-8d92-35a80aca06c2
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref309

Slides (35mm):

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Type:
Archival materials
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography / 9.3.1: Selected photographs
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc94e5817ce-d54a-40ba-b815-c8caf6a0bb96
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref311

Slides (2 ¼ inch):

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Type:
Archival materials
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography / 9.3.1: Selected photographs
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc96495c5dc-df04-4f72-ac3b-f36f73fecde2
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref313

Selected photographs

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Type:
Archival materials
Date:
undated
circa 1965-2001
Scope and Contents:
This subseries consists of prints, negatives, and slides created by Chickering and Porterfield on travels throughout the world for professional publication. Photographs span a wide geographic range, with a particular emphasis on North American, Caribbean, and European tourist sites, as well as cruises in the same areas. There are 1.25 linear feet of prints and negatives and an estimated 16,500 slides in this subseries.

The photographs in this series appear to have been submitted for publication by Chickering and Porterfield. Prints and negatives were largely stored in return envelopes from the New York Times, while slides were in return envelopes from Photo Researchers or were found individually mounted and captioned; these original housings suggest the photographs in this series were selected by Chickering and Porterfield as examples of their best work.

Photographs arrived loose and remain unarranged. Many materials still in original housing. Arranged by photographic material type (prints/negatives, 35mm slides, 2 1/4 inch slides), then by geographic region when applicable.
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
Identifier:
HSFA.2015.16, Subseries 9.3.1
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc941d5d4ca-1297-4570-a19a-77343a032335
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref315

Bermuda

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Extent:
14 Slides ((individually mounted))
Container:
Box 133
Type:
Archival materials
Slides
Slides
Date:
undated
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography / 9.3.1: Selected photographs / Slides (2 ¼ inch): / Caribbean:
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9efff25a0-b0b9-4be6-9303-93688d2ea837
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref317

Europe (misc.)

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Extent:
19 Slides ((individually mounted))
Container:
Box 133
Type:
Archival materials
Slides
Slides
Date:
undated
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography / 9.3.1: Selected photographs / Slides (2 ¼ inch): / Europe:
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc96c381541-2bc6-4b58-86f4-ab89082307fd
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref319

Ireland

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Extent:
1 Folder
17 Slides ((individually mounted))
Container:
Box 23
Box 133
Type:
Archival materials
Slide sheet
Slides
Slides
Date:
undated
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 9: Photographs / 9.3: Travel photography / 9.3.1: Selected photographs / Slides (2 ¼ inch): / Europe:
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9f0c925b7-e572-4119-b650-6eb93d640c8f
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref320

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