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Horae Beatea Mariae Virginies, secundum usum Romanae Curiae / Holy Hours of the Virgin Mary, according to the Ritual of the Roman Curie

Medium:
pen and ink, brush and washes, gold on parchment. Bound in red cover of Morocco leather
Type:
miniatures
illuminated manuscript
Object Name:
illuminated manuscript
Made in:
Flanders
Tourraine, France
Date:
1470–80
Accession Number:
1962-12-1
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1962-12-1

Bugle

Created by:
Unidentified  Search this
Medium:
metal
Dimensions:
H x W x D: 6 × 17 1/8 × 4 1/2 in. (15.2 × 43.5 × 11.4 cm)
Type:
bugles
Place made:
United States, North and Central America
Date:
1916-1970
Topic:
African American  Search this
Music  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Alan Laird
Object number:
2017.111.18
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Musical Instruments
Tools and Equipment-Military
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5a6db537f-2966-4bed-9e23-393e96c979ad
EDAN-URL:
edanmdm:nmaahc_2017.111.18
Online Media:

William "Cat" Anderson Collection

Creator:
Anderson, William "Cat", 1916-1981 ((musician))  Search this
Names:
Benny Carter All Stars  Search this
Cat Anderson Quintet  Search this
Duke Ellington Orchestra  Search this
Lionel Hampton Orchestra  Search this
Mingus Quintet  Search this
Bechet, Sidney (musician)  Search this
Calloway, Cab, 1907-  Search this
Carter, Benny, 1907-2003  Search this
Ellington, Duke, 1899-1974  Search this
Fitzgerald, Ella, 1917-1996  Search this
Hampton, Lionel  Search this
Humphrey, Hubert H. (Hubert Horatio), 1911-1978  Search this
Humphrey, Muriel  Search this
Johnson, Lucy Bird  Search this
Johnson, Lyndon B. (Lyndon Baines), 1908-1973  Search this
Tatum, Art, 1910-1956  Search this
Webster, Ben  Search this
Extent:
5 Cubic feet (12 boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Transcripts
Oral histories (document genres)
Oral history
Phonograph records
Photographs
Recordings
Interviews
Clippings
Audiotapes
Awards
Audiocassettes
Articles
Date:
1940-1981
bulk 1963-1977
Scope and Contents note:
Primarily audiotapes, sheet music, and photographic images. Also: correspondence, newspaper clippings, magazine articles, itineraries, awards, and ephemera.,Of particular interest are recordings or photographic images, including the personalities listed below, and President and Mrs. Tubman of Liberia; also, two interviews and three recordings of Cat Anderson as guest with various university and college jazz bands.
Arrangement:
Divided into 4 series: (1) Music; (2) Original tapes and recordings; (3) Photographs; (4) Miscellaneous. Arranged topically.
Biographical/Historical note:
Prominent African American jazz musician (trumpet), b. Sept. 12, 1916, d. April 29, 1981. One of the premier trumpet players of the Duke Ellington Orchestra. Known for effortless high notes; a strong section leader and great soloist whose style exhibited humor and precision. Grew up in Jenkins' Orphanage, Charleston, S.C., received basic music training there, and participated in many of their famous student ensembles. Formed and played with the Cotton Pickers, a group of orphanage teens. Before joining Ellington in 1944, played in several big bands, including Claude Hopkins and Lionel Hampton. Left the Ellington organization 1947-49 to lead his own group. Free-lanced 1959-1961 and after 1971, working with the Ellington orchestra intermittently. Received honors from tyhe U.S. Air Force, the Prix du Disque de Jazz, and the City of Los Angeles.
Related Archival Materials:
Additional memorabilia can be found in the Division of Cultural History, NMAH.
Provenance:
Collection donated by Dorothy Anderson, 1998, January 22.
Restrictions:
Master tapes not available to researchers.
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.

Copyright status of items varies. Signed copies of releases on file.
Topic:
Music -- 20th century  Search this
Music -- Acoustics and physics  Search this
Musicians -- 20th century  Search this
Piano and synthesizer music  Search this
Inventions -- 1980-2000  Search this
Synthesizer music  Search this
Composers -- 20th century  Search this
Electric engineering -- 1980-2000  Search this
Band musicians  Search this
African American musicians  Search this
Jazz musicians -- United States  Search this
Inventors -- 20th century  Search this
Genre/Form:
Manuscripts -- Music -- 20th century
Transcripts
Oral histories (document genres)
Oral history
Phonograph records
Photographs -- 20th century
Recordings
Interviews
Interviews -- 1950-2000
Clippings -- 20th century
Audiotapes -- 1940-1980
Awards
Audiocassettes
Audiotapes
Articles -- 1940-1980
Citation:
William "Cat" Anderson Collection, ca. 1940-1981, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0630
See more items in:
William "Cat" Anderson Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0630
Online Media:

Playbill for 'Master Harold' …and the boys

Published by:
Playbill, American, founded 1884  Search this
Used by:
Lyceum Theatre, American, founded 1903  Search this
Subject of:
Danny Glover, American, born 1946  Search this
Zakes Mokae, South African, 1934 - 2009  Search this
Lonny Price, American, born 1959  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 1/2 x 5 5/8 in. (21.6 x 14.3 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1982
Topic:
African American  Search this
Broadway Theatre  Search this
Drama (Theatre)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.63
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd587833493-3e52-477d-947d-5b52493e7f97
EDAN-URL:
edanmdm:nmaahc_2011.45.63
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Playbill for 'Master Harold' …and the boys digital asset number 1
  • View Playbill for 'Master Harold' …and the boys digital asset number 2
Online Media:

Jackie Shane Live

Published by:
Other Peoples Music, Canadian  Search this
Recorded by:
Jackie Shane, American, 1940 - 2019  Search this
Frank Motley & The Hitchikers, founded 1966  Search this
Produced by:
John C. Irvine, Canadian  Search this
Medium:
vinyl , cardboard , plastic
Dimensions:
H x W x D: 12 3/8 × 12 3/8 × 3/16 in. (31.5 × 31.5 × 0.5 cm)
Type:
record covers
long-playing records
Place captured:
Toronto, Ontario, Canada, North and Central America
Date:
recorded 1967; remastered 2015
Topic:
African American  Search this
Rhythm and blues (Music)  Search this
Singers (Musicians)  Search this
Soul (Music)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Aaron Bryant
Object number:
2019.41.2
Restrictions & Rights:
© Other Peoples Music Inc. Permission required for use.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Audio Recordings
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5f0b84e7b-60e2-4081-92fb-fda420980824
EDAN-URL:
edanmdm:nmaahc_2019.41.2
Online Media:

Swinging Horn Section, c. mid 1950s

Photograph by:
Steve Jackson Jr., 1923 - 1999  Search this
Subject of:
Willene Barton, American, 1928 - 2005  Search this
Unidentified Man or Men  Search this
Jimbo's Bop City, American, 1950 - 1965  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (image): 9 15/16 × 7 15/16 in. (25.3 × 20.2 cm)
Type:
gelatin silver prints
Place depicted:
Fillmore, San Francisco, California, United States, North and Central America
Date:
ca. 1955
Topic:
African American  Search this
Entertainers  Search this
Instrumentalists (Musicians)  Search this
Jazz (Music)  Search this
Nightlife  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Mary E. Jackson, Posthumously and Linda A. Jackson
Object number:
2016.117.16
Restrictions & Rights:
© Linda A. Jackson
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd59a5b07ca-e864-406b-9e14-6fc048db2686
EDAN-URL:
edanmdm:nmaahc_2016.117.16
Online Media:

Elder Charles Beck (1930-1939)

Recorded by:
Elder Charles Beck, American, 1900 - 1972  Search this
Produced by:
Johnny Parth, Austrian, born 1930  Search this
Manufactured by:
Document Records, Scottish, founded 1985  Search this
Distributed by:
Eden Records, Austrian  Search this
Medium:
vinyl, ink on paper
Dimensions:
Diameter (record): 11 13/16 in. (30 cm)
H x W (album jacket): 12 3/8 × 12 3/8 in. (31.5 × 31.5 cm)
Type:
record covers
long-playing records
Date:
1930 - 1939; published after 1985
Topic:
African American  Search this
Gospel (Music)  Search this
Instrumentalists (Musicians)  Search this
Mass media  Search this
Preaching  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Gayle Wald
Object number:
2014.98.13ab
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Audio Recordings
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd510859bb0-f20a-40e4-b5cf-a32d76d00d5c
EDAN-URL:
edanmdm:nmaahc_2014.98.13ab
Online Media:

American Spirituals

Published by:
Sonora Radio & Television Corp., American, founded 1942  Search this
Recorded by:
Kenneth Spencer, American, 1913 - 1964  Search this
Medium:
vinyl , ink on cardboard , paper
Dimensions:
H x W x D: 10 1/4 x 12 1/4 x 3/4 in. (26 x 31.1 x 1.9 cm)
Type:
record covers
long-playing records
Place depicted:
Chicago, Cook County, Illinois, United States, North and Central America
Date:
1945
Topic:
African American  Search this
Spirituals (Music)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Arthur Tyrill Farrell Family
Object number:
2011.21.4a-f
Restrictions & Rights:
© Sonora Records/ RCA Victor Records. Permission required for use.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Audio Recordings
Exhibition:
Musical Crossroads
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd546bc8b81-bb73-4c49-bf24-f394f200259c
EDAN-URL:
edanmdm:nmaahc_2011.21.4a-f
Online Media:

Benny Carter Collection

Creator:
Carter, Benny, 1907-2003  Search this
Extent:
67.5 Cubic feet (182 boxes, 3 oversize folders)
Type:
Collection descriptions
Archival materials
Awards
Clippings
Scrapbooks
Scores
Posters
Photographs
Music
Manuscripts
Date:
1928-2000
Scope and Contents:
The majority of the material in the Benny Carter Collection is dated from the late 1920s through the later half of the 1990s. Donated to the Smithsonian Institution in December, 2000, the bulk of the collection is comprised of original music manuscripts (full scores and parts), band books, and published sheet music from Benny Carter's prolific career as a jazz composer and musician. The collection also contains newspaper clippings, correspondence, photographs, scrapbooks, awards, posters, commercial sound recordings, a few jazz related journals and some personal ephemera documenting Benny Carter's personal life and career as a composer, arranger, bandleader, trumpeter and alto saxophonist.
Arrangement:
The collection is organized into six series

Series 1: Music Manuscripts, 1928-1990s

Series 2: Newspaper Clippings and Magazine Clippings, 1928-2000

Series 3: Photographs, 1928-1998

Series 4: Awards and Proclamations, 1961-1999

Series 5: Sound Recordings, 1958-1989

Series 6: Ephemera, 1952-2000

Series 7: 2004 Photographs Addenda

Series 8: 2004 Ephemera Addenda

Series 9: 2004 Magazine and Newsclippings Addenda

Series 10: 2004 Awards and Proclamations Addenda
Biography:
Bennett Lester Carter, better known as "Benny," was born on August 8, 1907 in New York City. The Carter's were quite a musical family - - Benny's father played guitar, his mother played piano, and a cousin, Theodore ("Cuban") Bennett, played the trumpet professionally - - so it was no surprise that Benny also became a musician, beginning his musical training at the age of ten. He first played the trumpet and then C-melody saxophone before changing to alto saxophone, which became his chief instrument.

Benny Carter began his professional career around the young age of seventeen, when he joined a local group as an alto saxophonist. He subsequently played with various other groups, including Billy Paige and Louis Deppe, until attending Wilberforce College in Ohio to study seminary in 1925. Finding music more enticing than theology, Carter left college and instead toured with Horace Henderson's Wilberforce Collegians intermittently between 1925 and 1928.

Carter's musical talents began attracting widespread attention in 1930 during a year-long stint with Fletcher Henderson's orchestra, to which he contributed many important arrangements. As word of his talent continued to spread, Carter played with such notables as William "Chick" Webb (1931) and served as musical director of William McKinney's Cotton Pickers (1931-1932) in Detroit. Upon returning to New York in 1932, Carter formed his own highly-respected orchestra. In its two years of existence, the Benny Carter Orchestra included several major pioneers in early swing style, such as Bill Coleman, Dicky Wells, Ben Webster, Chu Berry, Teddy Wilson, and Sid Catlett. Months after playing the inaugural show in New York City at Harlem's Apollo Theater in 1934, Carter disbanded the orchestra and, one year later, sailed to Europe to spread jazz across the globe.

After arriving in Europe, Carter first performed with Willie Lewis in Paris, France, and then, during 1936 -1938, served as staff arranger for the BBC Dance Orchestra in London, England. As he continued to tour throughout his stay in Europe (even leading his own interracial band in the Netherlands in 1937), he met with even greater success than in the United States. By this point, Carter was well-known for his arrangements and for his alto saxophone and clarinet playing. He was also recognized for his talented singing and tenor saxophone, trumpet, and piano playing.

In 1938, Carter sailed back to the United States and formed a new orchestra which regularly played at Harlem's Savoy Theater until 1940. He toured the United States during the next few years, both with small groups and with his big band, finally settling in Los Angeles in 1945. There he continued to lead his band (band members included modern jazz greats such as Miles Davis and J. J. Johnson), but turned increasingly to writing and arranging music for films and television productions. His film scores include Stormy Weather (1943), A Man Called Adam (1966), Red Sky at Morning(1970), and Buck and the Preacher (1972). "Ironside," "Bob Hope Presents," and the Alfred Hitchcock show were among the television programs for which he wrote music.

Carter had stopped performing with a regular orchestra by 1946, but he remained active up through the 1960s both by playing at Norman Granz's Jazz at the Philharmonic shows and with Duke Ellington, among others. He also continued to arrange music for various singers, including Sarah Vaughan, Ella Fitzgerald, Ray Charles, Peggy Lee, and Louis Armstrong. During the 1970s he began performing again, touring in Europe, Asia and Australia; in 1976 he toured the Middle East under sponsorship of the U.S. Department of State. Carter also became involved with academia, serving as visiting professor or workshop consultant at universities such as Yale, Cornell, Princeton, and Duke. He remained active in the music business well into the 1990s and still resides in California.

Benny Carter is regarded as "one of the most versatile musicians of his time." As a musician, he made major contributions to several areas of jazz and, as an arranger, he helped to construct the big-band swing style. He has received many awards throughout his career. The more prestigious honors included a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences and a 1994 Grammy Award for the album "Elegy in Blue."

Footnotes

[1 ] Biographical note derived from Benny Carter: A Life in American Music, by Monroe and Edward Berger, and James Patrick (New York: Scarecrow Press and the Institute of Jazz Studies, Rutgers University, 1982).

[2] J. Bradford Robinson, "John Kirby," The New Grove Dictionary of Jazz, vol 1, 1986: 653-54.
Provenance:
The Benny Carter Collection was donated by Bennett Carter in December 2000.
Restrictions:
Collection is open for research.
Rights:
Reproduction restricted due to copyright.
Topic:
African American musicians  Search this
Jazz -- 20th century -- United States  Search this
Genre/Form:
Awards
Clippings -- 20th century
Scrapbooks -- 20th century
Scores
Posters -- 20th century
Photographs -- 20th century
Music -- Manuscripts
Manuscripts -- Music -- 20th century
Citation:
Benny Carter Collection, 1928-2000, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0757
See more items in:
Benny Carter Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0757
Online Media:

Bill Holman Collection

Creator:
Holman, Bill, 1927-  Search this
Kenton, Stan  Search this
Monk, Thelonious  Search this
Basie, Count, 1904-  Search this
Herman, Woody  Search this
Extent:
12 Cubic feet (68 boxes)
Type:
Collection descriptions
Archival materials
Music
Posters
Business records
Scores
Date:
1951-2000
Scope and Contents:
The Bill Holman Collection consists of original music compositions and arrangements, posters, performance contracts and a photograph dating from 1952 to 1999. The collection is organized into two series: Series 1: Music Manuscripts; and Series 2: Photographs and Business Records.
Arrangement:
The collection is organized into two series.

Series 1: Music Manuscripts, 1952-1999

Series 2: Photographs and Business Records, 1975-1997
Biographical / Historical:
Born Willis Leonard Holman on May 21 in Olive, California, Bill Holman is considered one of the great jazz composers of the last half of the twentieth century. He is best known as one of the architects of the style of jazz defined as "West Coast" and as the major arranger for the Stan Kenton Orchestra from 1952 - 1955.

Holman began playing clarinet in junior high school and tenor saxophone while in high school eventually leading his own band. After serving in the Navy and studying engineering, he chose a career in music instead and attended Westlake College of Music in California from 1948-1950. While attending Westlake, he studied counterpoint with Russ Garcia and one hallmark of a Holman work continues to be the distinguished use of that compositional element.

While performing as a tenor and baritone saxophonist for Charlie Barnet & His Orchestra in 1951, Holman submitted his first composition for a name band to Woody Herman. Originally titled Prez Conference in honor of Lester Young, the piece - which featured solos for four tenors - was recorded in 1954 with a baritone and trumpet introduction and ending tagged on by Herman and re-titled Mulligantawny Stew.

From 1952 - 1954, Holman performed in the reed section of the Stan Kenton Orchestra and there he received international recognition. Within six months, Kenton encouraged Holman's voice as a composer and arranger and he quickly became a principal. His distinctive swinging approach was always evident resulting in songs still beloved by Kenton fans all over the world such as Stomping At The Savoy and Whats New. Taking advantage of his clout in the industry, Stan Kenton facilitated Holman's first recording as a leader in 1954 (Kenton Presents Jazz B Bill Holman: Bill Holman Octet) as one in a series of Capitol recordings featuring Kenton's sidemen as bandleaders. Unfortunately, this was not released until five years later. After returning to the West Coast in 1955, Holman continued as a Kenton staff arranger until 1956 and contributed compositions and arrangements on an occasional basis until the late 1950s.

Upon his return to Los Angeles, California in 1955, Holman B as an instrumentalist, composer and arranger B helped shape the sound later dubbed West Coast Jazz. At first, Holman worked in small groups for others including Conte Candoli (1955), Shelly Manne (1955), and Art Pepper (1957) but in 1957 Holman longed to Amake a statement@ for himself and formed his own big band. The band eventually recorded three albums that have become collector=s items among jazz aficionados: The Fabulous Bill Holman (1957), Big Band In A Jazz Orbit, (1958) and Bill Holman's Great Big Band. (1960) Holman continued to work in small group settings as well recording Jive For Five with a quintet co-led by Mel Lewis and Jazz Erotica (re-titled in CD release as West Coast Jazz) in an octet featuring Richie Kamuca.

In 1960, Holman entered into a twenty-seven year hiatus from recording. However, he remained active in the business and was continually sought out as a composer and arranger for both jazz and popular music. His arrangements for Gerry Mulligan, Count Basie, Woody Herman, and Shorty Rogers, among others, are considered the pinnacle of jazz composition and orchestration. Holman=s occasional forays into film, television and popular music include Aquarius as recorded by the Fifth Dimension and The Association=s Never My Love and Cherish. A long relationship with the Tonight Show band directed by Doc Severinson (1967 B 1992) developed eventually awarding him with his first Grammy award for an arrangement of Billy Strayhorn=s Take The >A= Train.

Bill McKay, the co-owner of a Los Angeles night club Donte's, encouraged Holman to re-form his band in 1975 leading to his legendary rehearsal band which still meets most weeks at the Hollywood Musician=s Union. However, the Bill Holman Band did not record until the release of World Class: The Bill Holman Big Band in 1987, followed by A View From the Side. (for which Holman earned a Best Instrumental Composition Grammy for the title track) in 1995. Although Holman's arranging style matured, his characteristic use of line writing, unison sections, uneven bar lengths, and reference for rhythm were distilled and refined rather than complicated in the interim.

Beginning in 1980, Holman received regular commissions from the WDR band in Cologne Germany including ones for extended works and special programs featuring noted jazz instrumentalists such as Lee Konitz, Al Cohn and Phil Woods. Since 1990, he has been conducting that renowned Orchestra. In 1997, Holman embarked on what has become an annual European trip B as a composer/conductor for the Netherlands Metropole Orchestra B and in that same year recorded Further Adventures with them. Holman continues to work extensively in Europe and in 2001 will conduct orchestras in Sweden, Austria and the Netherlands.

Continually sought after by contemporary vocalists, Holman supplied the arrangements (with the exception of the title tune) for Natalie Cole=s 1991 Unforgettable B a tribute to her father Nat King Cole. He continues to provide settings for elite jazz vocalists including Tony Bennett and Carmen McRae. Holman remains active. In 1998, he received a composer=s grant from the International Association of Jazz Educators. The Bill Holman Band still rehearses weekly and appears periodically in the Los Angeles area. Brilliant Corners: The Music of Thelonius Monk is a big band and arrangers tour-de-force and garnered Holman his third Grammy award in 1997.
Restrictions:
Collection is open for research.
Rights:
The Archives Center does not own the reproduction rights to the music of the Bill Holman Collection. All requests for performance or publication of Mr. Holman's compositions and/or arrangements should be directed to Bill Holman at 323-466-8809.
Topic:
Music -- 20th century  Search this
Musical arrangers  Search this
Composers -- 20th century  Search this
Jazz  Search this
Genre/Form:
Music -- Manuscripts
Posters -- 20th century
Business records -- 1950-2000
Scores
Citation:
Bill Holman Collection, 1951-2000, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0733
See more items in:
Bill Holman Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0733
Online Media:

Frank Driggs Collection of Jimmie Lunceford Orchestrations

Composer:
Lunceford, Jimmie (bandleader)  Search this
Collector:
Driggs, Frank, 1930-  Search this
Arranger:
Oliver, Sy  Search this
Extent:
8 Cubic feet (28 boxes)
Type:
Collection descriptions
Archival materials
Music
Orchestrations
Date:
circa 1929-1954
Summary:
Collection consists of approximately 320 titles from the Jimmie Lunceford Band Orchestrations.
Scope and Contents:
The Frank Driggs Collection of Jimmie Lunceford Orchestrations consists of ca. 310 music titles dating from approximately 1935 to 1954. The titles are arranged alphabetically. Many arrangements are by Edwin Wilcox but the orchestrations also include arrangements by Sy Oliver and Willie Smith who with Wilcox were the "architects" of the Lunceford style. There are a few arrangements by Lunceford and others including Fernando Arbello, Al Cobbs, Tadd Dameron, Bill Doggett, Eddie Durham, George Duvivier, Bud Estes, Horace Henderson, Dave McRae, Billy Moore, Jr., Don Redman, Roger Segure, Willie Smith, Lonnie Wilfong, and Chappie Willett. The arrangements are found in a variety of configurations. Some have a score only, some have parts only, some have both scores and parts, and a few have incomplete sets of parts. Several pieces contain piano or drum parts only. Many parts bear the musician's name rather than the instrument he played. It can be assumed by the condition of the material that the band continued to use the arrangements of Sy Oliver and Willie Smith after their departure in 1939. It appears they replaced those parts for their arrangements when they deteriorated from use. Although most of the material is in good condition, some older frequently used arrangements are in poor condition. Oversized scores were removed to one larger box; this box is at the end of the Collection and the reference see oversize.

This document uses three reference abbreviations to indicate the location of the music. See indicates the material is under another title or in the oversize box (for example;Cherry Blossom Lane see It Looks Like Love In Cherry Blossom Lane); the reference sa means see also and shows additional music under this title is found elsewhere (for example: For The Rest Of My Life see oversize ). The reference verso indicates a part on the reverse of another piece of music (for example, Honeysuckle verso Cone With The Wind).Approximately 320 titles of Jimmie Lunceford Band Orchestrations.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
Jimmie Lunceford (1902-1947) was born in Fulton, Missouri. He studied music under Wilberforce J. Whiteman, father of Paul Whiteman (leader of a popular swing band in the 1930's), when Lunceford's family moved to Denver, Colorado. Lunceford graduated with a bachelor's degree in music from Fisk University. In 1926, Lunceford was a performer in Mary Lou William's (nee Scruggs) band in Memphis, Tennessee where he taught music at Manassa High School. Lunceford returned to Fisk as an assistant professor and with his former students, Edwin Wilcox (piano) and Willie Smith (alto sax), formed the Chicksaw Syncopaters in 1927. Although Lunceford was a composer and skilled on reeds, guitar and trombone, he preferred to conduct, leading the band with a white baton. In 1929, the band became professional, and due to its popularity from radio broadcasts began touring nationally in 1933. Lunceford was a disciplinarian and from the beginning the band symbolized correctness and professionalism in music and demeanor with a great sense of showmanship. Its unique arrangements distinguished the band displaying a saxophone ensemble sound and a two-beat swing that came to be known as the "Lunceford style." This sound was the creation of its earliest arrangers, Wilcox and Smith, Sy Oliver who joined the band in 1935, and Eddie Durham (guitar) in 1939. The arrangements also provided showcases for the band's unique soloists Snooky Young (trumpet), Joe Thomas (tenor sax) and Trummy Young (trombone) among others. At its peak in the mid and late 1930's, the Jimmie Lunceford Orchestra offered consistently brilliant swinging performances-popular with dancers. Nevertheless, by the early 1940's, the band reputation waned and many major soloists and arrangers left. Later arrangers, including Billy Moore, Jr. (who replaced Oliver when he joined Tommy Dorsey's band in 1939), Gerald Wilson and George Duvivier continued to contribute unique arrangements to the band's repertoire but the band's performances and popularity deteriorated until Lunceford's death in 1947. Edwin Wilcox and Joe Thomas co-led the Jimmie Lunceford Orchestra until 1949 when the band continued sporadically under Wilcox's leadership until the early 1950's.
Separated Materials:
Brass mutes, bandstands, and percussion instruments that are located in theDivision of Cultural and Community Life.
Provenance:
The collection was acquired from Frank Driggs, jazz historian, photographer, and producer from Brooklyn, New York. It was purchased with funds from the Division of Musical History, now known as the Division of Cultural and Community Life, August 31, 1992.
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.
Genre/Form:
Music
Orchestrations
Citation:
Frank Driggs Collection of Jimmie Lunceford Orchestrations, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0471
See more items in:
Frank Driggs Collection of Jimmie Lunceford Orchestrations
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0471

Unemphd Trumpet part see Subseries 1.3

Collection Collector:
McKinley, Ray, 1910-1995 (musician, bandleader)  Search this
Container:
Box 29, Folder 2
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Copyright restrictions. Contact the Archives Center for information.
Collection Citation:
Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.
See more items in:
Ray McKinley Music and Ephemera
Ray McKinley Music and Ephemera / Series 1: Music / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0635-ref355

Violin from Animated Film Tubby the Tuba by George Pal

Maker; producer:
Pal, George  Search this
User:
Walter Lantz Production  Search this
Maker:
Pal, George  Search this
Physical Description:
wood (overall material)
metal (overall material)
fiber (overall material)
Measurements:
overall: 1 in x 5 in x 1 3/4 in; 2.54 cm x 12.7 cm x 4.445 cm
Object Name:
figure, animation
Date made:
1947
Subject:
Motion Pictures  Search this
Animation  Search this
Music  Search this
Musicians  Search this
Credit Line:
Gift of Elisabeth Pal
ID Number:
1983.0361.02A
Accession number:
1983.0361
Catalog number:
1983.0361.02A
See more items in:
Cultural and Community Life: Entertainment
Movies
Movie Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746aa-4a46-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1188323
Online Media:

Cello from Animated Film Tubby the Tuba by George Pal

Maker; producer:
Pal, George  Search this
User:
Walter Lantz Production  Search this
Maker:
Pal, George  Search this
Physical Description:
wood (overall material)
metal (overall material)
fiber (overall material)
Measurements:
overall: 5.9055 cm x 26.67 cm x 5.9055 cm; 2 5/16 in x 10 1/2 in x 2 5/16 in
Object Name:
figure, animation
Date made:
1947
Subject:
Motion Pictures  Search this
Animation  Search this
Music  Search this
Musicians  Search this
Credit Line:
Gift of Elisabeth Pal
ID Number:
1983.0361.02B
Accession number:
1983.0361
Catalog number:
1983.0361.02B
See more items in:
Cultural and Community Life: Entertainment
Movies
Movie Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746aa-4a47-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1188324
Online Media:

Double Bass from Animated Film Tubby the Tuba by George Pal

Maker; producer:
Pal, George  Search this
User:
Walter Lantz Production  Search this
Maker:
Pal, George  Search this
Physical Description:
wood (overall material)
metal (overall material)
fiber (overall material)
Measurements:
overall: 3 in x 15 in x 4 3/4 in; 7.62 cm x 38.1 cm x 12.065 cm
Object Name:
figure, animation
Date made:
1947
Subject:
Musicians  Search this
Motion Pictures  Search this
Animation  Search this
Music  Search this
Credit Line:
Gift of Elisabeth Pal
ID Number:
1983.0361.02C
Accession number:
1983.0361
Catalog number:
1983.0361.02C
See more items in:
Cultural and Community Life: Entertainment
Movies
Movie Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746aa-4a48-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1188325
Online Media:

Guitar, Violin, and Drum Figures from Animated Film Tubby the Tuba by George Pal

Maker; producer:
Pal, George  Search this
User:
Walter Lantz Production  Search this
Maker:
Pal, George  Search this
Physical Description:
wood (overall material)
metal (overall material)
paint (overall material)
Measurements:
overall: 14 in x 9 1/4 in x 12 1/4 in; 35.56 cm x 23.495 cm x 31.115 cm
Object Name:
figures, animation
Date made:
1947
Subject:
Motion Pictures  Search this
Animation  Search this
Music  Search this
Musicians  Search this
Credit Line:
Gift of Elisabeth Pal
ID Number:
1983.0361.03
Accession number:
1983.0361
Catalog number:
1983.0361.03
See more items in:
Cultural and Community Life: Entertainment
Movies
Movie Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746af-beeb-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_679375

Tubby the Tuba

Maker; producer:
Pal, George  Search this
User:
Walter Lantz Production  Search this
Maker:
Pal, George  Search this
Physical Description:
wood (overall material)
plastic (overall material)
plaster (overall material)
paint (overall material)
Measurements:
overall: 8 3/4 in x 10 in x 5 in; 22.225 cm x 25.4 cm x 12.7 cm
Object Name:
figure, animation
Date made:
1947
Subject:
Motion Pictures  Search this
Animation  Search this
Musicians  Search this
Credit Line:
Gift of Elisabeth Pal
ID Number:
1983.0361.01
Accession number:
1983.0361
Catalog number:
1983.0361.01
See more items in:
Cultural and Community Life: Entertainment
Movies
Popular Entertainment
Movie Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746aa-4ccd-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_679377
Online Media:

Playbill for Sizwe Banzi is Dead and The Island

Published by:
Playbill, American, founded 1884  Search this
Subject of:
John Kani, South African, born 1943  Search this
Winston Ntshona, South African, born 1941  Search this
Medium:
ink on paper
Dimensions:
H x W: 9 x 5 5/8 in. (22.9 x 14.3 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1975
Topic:
African American  Search this
Drama (Theatre)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.46
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd50b44a076-2f5a-470b-b31d-c68d8717bd1f
EDAN-URL:
edanmdm:nmaahc_2011.45.46
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Playbill for Joe Turner's Come and Gone

Published by:
Playbill, American, founded 1884  Search this
Used by:
Ethel Barrymore Theatre, American, founded 1928  Search this
Subject of:
August Wilson, American, 1945 - 2005  Search this
Kimberleigh Aarn, American, born 1960  Search this
Angela Bassett, American, born 1958  Search this
L. Scott Caldwell, American, born 1950  Search this
Richard Parnell Habersham, American  Search this
Ed Hall  Search this
Delroy Lindo, American, born 1952  Search this
Jamila Perry  Search this
Bo Rucker, American, born 1948  Search this
Raynor Scheine, American, born 1942  Search this
Kimberly Scott, American, born 1961  Search this
Mel Winkler, American, born 1941  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 1/2 x 5 5/8 in. (21.6 x 14.3 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1988
Topic:
African American  Search this
Actors  Search this
Broadway Theatre  Search this
Drama (Theatre)  Search this
Migrations  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.49
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Exhibition:
Taking the Stage
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5bcb2e566-3531-4d4f-a37e-fb322aceb11e
EDAN-URL:
edanmdm:nmaahc_2011.45.49
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  • View Playbill for Joe Turner's Come and Gone digital asset number 1
Online Media:

Esther McCoy papers

Creator:
McCoy, Esther  Search this
Names:
Historic American Buildings Survey  Search this
Society of Architectural Historians  Search this
University of California, Los Angeles. School of Architecture and Urban Planning  Search this
Ain, Gregory, 1908-1988  Search this
Barragán, Luis, 1902-  Search this
Bradbury, Ray, 1920-  Search this
Davidson, Julius Ralph, b. 1889  Search this
Dreiser, Theodore, 1871-1945  Search this
Ellwood, Craig  Search this
Gill, Irving, 1870-1936  Search this
Grotz, Dorothy  Search this
Hollein, Hans, 1934-  Search this
Jones, A. Quincy (Archie Quincy), 1913-1979  Search this
Maybeck, Bernard R.  Search this
Neutra, Richard Joseph, 1892-1970  Search this
O'Gorman, Juan, 1905-  Search this
Rand, Marvin  Search this
Schindler, R. M. (Rudolph M.), 1887-1953  Search this
Shulman, Julius  Search this
Soriano, Rafael, 1920-  Search this
Watanabe, Makoto  Search this
Worlidge, T. (Thomas), 1700-1766  Search this
Extent:
44.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Etchings
Photographs
Sound recordings
Interviews
Video recordings
Slides (photographs)
Transcripts
Drawings
Memoirs
Date:
circa 1876-1990
bulk 1938-1989
Summary:
The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.4 linear feet and date from 1876 to 1990 (bulk 1938-1989). The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.
Scope and Content Note:
The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.4 linear feet and date from 1876 to 1990 (bulk 1938-1989). The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.

Biographical and family material consists of awards, resumes, identification documents, and other documentation of McCoy's personal life. Included are a transcript of a 1984 interview of McCoy by Makoto Watanabe and material relating to her friend, Theodore Dreiser.

Correspondence focuses on her personal relationships with family, friends, and lovers, and general correspondence relating primarily to her work as a writer. McCoy's personal correspondence is valuable to researchers who are interested in her personal life, her struggles as a young writer, and the way in which her family, friends, lovers, mentors, and colleagues helped to shape her work and career. As documented in this correspondence, her life offers a glimpse into twentieth-century American social and political history, especially the radical leftist movements of the 1920s and 1930s. Researchers interested in the roots of feminism in the United States should also find these papers useful in documenting the life of a creative and productive woman who was successful in a field then almost entirely dominated by men. Correspondents of note include her husband Berkeley Tobey, lovers Geoffrey Eaton and Albert Robert, writers Ray Bradbury and Theodore Dreiser, and artists and architects, such as Dorothy Grotz, Craig Ellwood, A. Quincy Jones, Hans Hollein, and J. R. Davidson. General correspondence is primarily with researchers, professors, architects, publishers, and professional organizations.

Personal writings include McCoy's diaries, notebooks, and memoirs, and writings by others including friends, lovers, and colleagues. Also included are drafts of McCoy's fictional works, both published and unpublished, including short stories, teleplays, and novels.

The collection contains in-depth documentation of McCoy's pioneering study of the modernist work of twentieth-century architects in Southern California. The bulk of her papers consist of her writing files for books, exhibition catalogs, articles, and lectures on architecture. Because many of the architects about whom McCoy wrote were her contemporaries, she developed personal relationships with several of them through her research and writing. Her writing files include drafts, notes, research material, photographs, and correspondence. McCoy also traveled extensively, particularly in Italy and Mexico, and wrote about architecture, craft, and culture in those countries. Project files document McCoy's other activities related to architectural history, such preservation projects, juries, grants, the Dodge House Preservation Campaign and related film project, her work for the Society of Architectural Historians and the Historic American Buildings Survey (HABS), and her work at the UCLA School of Architecture and Urban Planning, compiling a slide library and cataloging the Richard Neutra's papers. McCoy also maintained architect files which may contain correspondence, notes, photographs, research material, interview transcripts, about architects and their works. Among these extensive records, the files documenting the careers of R. M. Schindler, Irving Gill, Richard Neutra, and Juan O'Gorman are particularly rich.

Printed material in this collection documents McCoy's career as well as her personal interests. Included are books, clippings, magazines, newsletters, press releases, as well as publications arranged by subject such as architecture, art, Italy, and Mexico. McCoy also collected literary and leftist publications. The small amount of artwork in this collection consists of artwork sent to her by friends, including a drawing of her by Esther Rollo and etchings by various artists including Thomas Worlidge.

There are personal photographs of family and friends and of McCoy at different times in her life, as well as photographs gathered during the course of her research on architecture. Found here are photographs of architects and their works, including a large number depicting the work of Gregory Ain, Luis Barragan, J. R. Davidson, Irving Gill, Bernard Maybeck, Juan O'Gorman, R. M. Schindler, and Raphael Soriano. Many of these photographs were taken by notable architectural photographers Julius Shulman and Marvin Rand. Also found are photographs of architecture designed for the Case Study House program of Arts & Architecture magazine; exhibition photographs, primarily for the exhibition "Ten Italian Architects" in 1967; and other research photographs primarily documenting architecture and craft in other countries and the history of architecture in California. This series also includes approximately 3,600 slides of architecture.

Audio and video recordings include a videocassette of McCoy's 80th birthday party and 55 taped interviews with architects, people associated with architectural projects, and artists.
Arrangement:
The collection is arranged into 10 series:

Series 1: Biographical and Family Material, 1881-1989 (boxes 1, 48; 0.6 linear feet)

Series 2: Correspondence, 1896-1989 (boxes 1-6, 4.9 linear feet)

Series 3: Personal Writings, 1919-1989 (boxes 6-14; 8.1 linear feet)

Series 4: Architectural Writings, 1908-1990 (boxes 14-24, 42, 49, 50; 10.2 linear feet)

Series 5: Projects, circa 1953-1988 (boxes 24-26, 47, FC 53-56; 2.5 linear feet)

Series 6: Architect Files, 1912-1990 (boxes 26-28, 42; 2.2 linear feet)

Series 7: Printed Material, circa 1885-1990 (boxes 28-31, 42; 2.9 linear feet)

Series 8: Artwork, 1924-1967, undated (box 31; 0.4 linear feet)

Series 9: Photographs and Slides, circa 1876-1989 (boxes 31-38, 41-46, 51; 8.7 linear feet)

Series 10: Audio and Video Recordings, 1930-1984 (boxes 38-40, 47; 2.5 linear feet)
Biographical Note:
Esther McCoy (1904-1989) is remembered best for her pioneering work as an architectural historian, critic, and proponent of Southern California modern architecture of the early to mid-twentieth century. Although her professional interests ranged from writing fiction to studying the folk architecture and crafts of Mexico, McCoy achieved her most notable success for her numerous articles, books, and exhibitions about Southern California architecture and the architects associated with the modernist movement.

Born in Arkansas in 1904, Esther McCoy grew up in Kansas and attended various schools in the Midwest. In 1926 she left the University of Michigan to launch a writing career in New York, where she moved in avant-garde literary circles and conducted research for Theodore Dreiser. She began writing fiction in New York and continued to write after moving to Los Angeles in 1932, working on short stories, novels, and screenplays. She published numerous short stories between 1929 and 1962, with works appearing in the New Yorker, Harper's Bazaar, and university quarterlies. Her short story, "The Cape," was reprinted in Best Short Stories of 1950. Many of the novels that she wrote from the mid-1960s through the 1980s were related thematically to architects and architecture.

During the late 1920s and throughout the 1930s, McCoy participated in the politically radical movements of the period and wrote for leftist publications. Her interest in the lowcost housing projects of modern architects was prompted by one of her articles about slums for Epic News. During World War II she entered a training program for engineering draftsmen at Douglas Aircraft and in 1944 was hired as an architectural draftsman for the architect R.M. Schindler. As she became increasingly interested in modern architecture and design, she combined her two major career interests and began to focus her energies on architectural research, writing, and criticism. Her first article on architecture, "Schindler: Space Architect," was published in 1945 in the journal Direction.

McCoy began writing about architecture in earnest in 1950 as a free-lance contributor to the Los Angeles Times. From then until her death in 1989, she wrote prolifically for Arts & Architecture magazine, Los Angeles Times, Los Angeles Herald Examiner, Architectural Record, L'Architectura, Zodiac (Italy), Progressive Architecture, Lotus (Italy), and Architectural Forum. In addition to her numerous articles, McCoy wrote several books on Southern California modern architecture and architects. Her first major work, Five California Architects, published in 1960, is now recognized as a classic work in modern architectural history. It promoted a serious study of modern architecture in Southern California and introduced to the world several leading California architects and their work: Bernard Maybeck, Irving Gill, Charles and Henry Greene, and R.M. Schindler. That same year, she published another important book focusing on the work of the California architect Richard Neutra. Other books by McCoy include Modern California Houses: Case Study Houses (1962), Craig Ellwood (1968), Vienna to Los Angeles: Two Journeys (1979), and The Second Generation (1984).

In addition to these books, McCoy organized and wrote catalogs for several significant exhibitions focusing on contemporary architects. Her first was the R.M. Schindler Retrospective, a 1954 exhibition at the Landau Art Gallery in Los Angeles. Her other exhibitions and accompanying catalogs include Roots of California Contemporary Architecture, 1956, Los Angeles Municipal Art Department; Felix Candela, 1957, University of Southern California, Los Angeles; Irving Gill, 1958, Los Angeles County Museum of Art; Juan O'Gorman, 1964, San Fernando Valley State College; and Ten Italian Architects, 1967, Los Angeles County Museum of Art. Moreover, McCoy contributed numerous essays to other exhibition catalogs and publications, lectured at the University of Southern California, participated in preservation projects, organized tours for the Society of Architectural Historians, and contributed to a number of documentary films. Her energy and interests also led her to catalog and transcribe Richard Neutra's papers at the University of California Los Angeles Archives.

McCoy received national recognition from the American Institute of Architects for her seminal and prolific work in the field of Southern California modern architectural history and criticism. Her interests, however, were not exclusively bound to California. She traveled the world and was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. She made five extended trips to Italy during the 1950s and 1960s, publishing regularly about the architecture there and curating the exhibition Ten Italian Architects. She was a contributing editor to two Italian journals, Zodiac and Lotus, and was awarded the Star of Order of Solidarity in 1960 by the Republic of Italy for her research and writing.

Esther McCoy died of emphysema on December 30, 1989, at the age of eighty-five. Her last contribution was an essay for the exhibition catalog Blueprints for Modern Living: History and Legacy of the Case Study House. The show opened at the Museum of Contemporary Art in Los Angeles one month before her death.

1904 -- Born November 18 in Horatio, Arkansas. Raised in Kansas.

1920 -- Attended preparatory school at Central College for Women, Lexington, Missouri.

1922-1925 -- College education: Baker University, Baldwin City, Kansas; University of Arkansas, Fayetteville; Washington University, St. Louis, Missouri; University of Michigan.

1924 -- Visited Theodore Dreiser in Michigan.

1926-1938 -- Began writing in New York City.

1926-1938 -- Researched and read for Theodore Dreiser.

1926-1938 -- Worked for editorial offices and publishers.

1926-1938 -- Traveled to write in Paris (1928), Key West, Florida (1930), and Los Angeles, California (1932-1935).

1938 -- Moved to Santa Monica, California.

1941 -- Married Berkeley Greene Tobey.

1942-1944 -- Employed as engineering draftsman at Douglas Aircraft.

1944-1947 -- Worked as architectural draftsman for R.M. Schindler.

1945 -- Began architectural writing career.

1950 -- Wrote script for film Architecture West.

1950 -- Joined editorial board of Arts & Architecture.

1950-1968 -- Worked as free-lance writer for the Los Angeles Times.

1951-1955 -- Traveled to, researched, and wrote about Mexico and Mexican art and architecture.

1954 -- R.M. Schindler Retrospective exhibition at the Landau Art Gallery, Los Angeles.

1956 -- Roots of California Contemporary Architecture exhibition, Los Angeles Municipal Art Department.

1957 -- Felix Candela exhibition, University of Southern California, Los Angeles.

1958 -- Irving Gill exhibition, Los Angeles County Museum of Art. Traveled to Italy.

1959-1968 -- Contributing editor to Italian periodicals Zodiac and Lotus.

1960 -- Five California Architects (New York: Reinhold).

1960 -- Richard Neutra (New York: G. Braziller).

1960 -- Awarded Star of Order of Solidarity by the Republic of Italy for reporting on arts and crafts in Italy.

1962 -- Death of Berkeley Greene Tobey.

1962 -- Modern California Houses: Case Study Houses (New York: Reinhold) (reprinted as Case Study Houses, Los Angeles: Hennessey and Ingalls, 1978).

1963 -- Resident Fellow at Huntington Hartford Foundation.

1964 -- Juan O'Gorman exhibition, San Fernando Valley State College, Northridge, Calif.

1965 -- Consultant for the California Arts Commission.

1965-1966 -- Wrote and produced the film Dodge House.

1965-1968 -- Lecturer at University of California at Los Angeles, School of Architecture and Urban Planning.

1966 -- Resident Fellow at MacDowell Colony, New Hampshire.

1967 -- Ten Italian Architects exhibition, Los Angeles County Museum of Art.

1967 -- Honorary Associate of the Southern California Chapter of the American Institute of Architects.

1967 -- Regents' Lecturer at University of California, Santa Barbara.

1968 -- Craig Ellwood (New York: Walker).

1968 -- Distinguished Service Citation from the California Council of AIA.

1969-1970 -- Lecturer at the University of California, Santa Barbara.

1969-1989 -- Contributing editor of Progressive Architecture.

1971-1978 -- Graham Foundation Grants.

1974 -- Regents' Lecturer at the University of California,Santa Cruz.

1979 -- Vienna to Los Angeles: Two Journeys (Santa Monica, Calif.: Arts & Architecture Press).

1979 -- Guggenheim Foundation Fellowship.

1981 -- Los Angeles Chapter Women's Architectural League Honorary Member.

1982 -- Los Angeles County Museum of Art's Modern and Contemporary Art Council Award for Distinguished Achievement.

1983 -- Home Sweet Home: The California Ranch House exhibition at California State University.

1984 -- The Second Generation (Salt Lake City: Peregrine Smith Books).

1985 -- American Institute of Architects, Institute Honor.

1986 -- High Styles exhibition at the Whitney Museum of American Art.

1987 -- Vesta Award for outstanding scholarship.

1989 -- Award from the Historical Society of Southern California.

1989 -- Award from the City of Los Angeles Department of Cultural Affairs.

1989 -- Blueprints for Modern Living: History and Legacy of the Case Study House exhibition at the Museum of Contemporary Art, Los Angeles. Died in Santa Monica, California, December 30.
Related Material:
Also in the Archives of American Art are eight sound cassettes of a transcribed interview with Esther McCoy conducted by Joseph Giovannini, June 8-November 14, 1987.
Provenance:
The collection was given to the Archives of American Art by Esther McCoy in 1986. Before her death in 1989, McCoy assisted in the organization and identification of the papers. Original pre-print film elements for Dodge House 1916 were donated to the Archives of American Art by the Academy Film Archive in 2018.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Rights:
The Esther McCoy papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art critics -- California  Search this
Topic:
Architecture, Modern -- 20th century -- Mexico  Search this
Architectural historians -- California  Search this
Architects -- Italy  Search this
Architecture, Domestic -- California  Search this
Authors -- California  Search this
Architecture, Modern -- 20th century -- California  Search this
Architecture, Modern -- 20th century -- Europe  Search this
Architects -- California  Search this
Feminism  Search this
Genre/Form:
Diaries
Etchings
Photographs
Sound recordings
Interviews
Video recordings
Slides (photographs)
Transcripts
Drawings
Memoirs
Citation:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccoesth
See more items in:
Esther McCoy papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mccoesth
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