Scattered biographical material includes Elyse Grinstein's 1980 passport, three awards Elyse received, and a demonstration flight certificate for Stanley Grinstein. Also found are Elyse Grinstein's undergraduate and graduate transcripts, and documentation of her application to the Graduate program in Architecture and Urban Design at UCLA, with a recommendation from Frank O. Gehry.
Event records include catering menus, invoices, and receipts for parties, fundraisers, and receptions held primarily at the Grinstein home. One menu is signed by attendees at a restaurant in Taos, New Mexico, in December 2006. Also found are printouts of an email about a 2007 party for Vija Celmins including photos of the party, and a photo of a mock cover of Architectural Digest featuring the Grinsteins.
School ephemera consists of Elyse Grinstein's copies of an elementary school publication and a 1948 sorority pledge publication.
Two folders of letters document support of political candidates with thank you cards and letters from Barbara Boxer, Michael Dukakis, and Sheila Kuehl, and a letter from California Governor Edmund G. Brown, Jr., inviting people to a meeting at the Grinstein home. Also found is a letter from Newport Harbor Art Museum thanking the Grinsteins for their support, and other letters and cards from friends and family. Of note is a photocopy of a letter, probably from Walter Hopps to Betty Asher, recording the writer's impressions of the 1962 Venice Biennale.
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Sponsor:
Funding for the processing of this collection was provided by The Walton Family Foundation.
Exhibition Collectors Historical Organization Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.) Search this
Extent:
130 Cubic feet (417 boxes, 25 map-folders)
Type:
Collection descriptions
Archival materials
Souvenirs
Photographs
Pamphlets
Guidebooks
Exhibition posters--1930-1940
Diaries
Ephemera
Film transparencies
Motion picture film
Posters
Place:
Flushing Meadows Park (New York, N.Y.)
New York (N.Y.)
Date:
1835-2000, undated
Summary:
Collection documents the 1939 New York World's Fair in Flushing Meadows, New York. Also includes material relating to other fairs, the Exhibition Collectors Historical Organization (ECHO), New York City tourism and The Walt Disney Company.
Scope and Contents:
Collection primarily documents the conception, planning, construction, management, and operations of the 1939 New York World's Fair located in Flushing Meadows, New York. Materials provide historical context and cultural significance as recorded in publications, artwork, photographs, ephemera, postcards, maps, plans, exhibitor's literature, souvenirs, and motion picture film. Most of the materials were primarily created for people who attended the fair. Some of the materials include scrapbooks created by fair visitors to document their experiences. There is a significant amount of material relating to other fairs, New York tourism, the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society. Other forms of entertainment such as festivals, the Olympic games, and Disney World are also found among these materials. There is little information relating to Edward Orth's personal and professional life as a city planner. The collection is arranged into eleven series.
Arrangement:
The collection is arranged into eleven series.
Series 1, Edward J. Orth Personal Papers, 1915-1989, undated
Subseries 1.1, Correspondence, 1939-1989
Subseries 1.2, Other Materials, 1915-1989, undated
Series 2, Exhibition Collectors Historical Organization (ECHO) and World's Fair Collector's Society, Incorporated Records, 1942-1990, undated
Subseries 2.1, General Information, 1960-1988, undated
Subseries 2.2, Correspondence, 1942-1990, undated
Subseries 2.3, Classified and Wanted Advertisements, 1956-1988, undated
Edward Joseph Orth grew up with a strong interest in history, particularly the history of the 1939 New York World's Fair. Orth's visit to the fair as a twelve-year-old boy led to a life-long passion of collecting. At the time of his death, he had amassed enough materials to fill two homes in California. Orth also collected materials from several other fairs. In addition, he saved some of the records of the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society.
Orth was born April 19, 1927, to Andrew Joseph Orth and Florence Minnie Gordon Orth in Glendale, New York. In the 1930s, the Orth family lived in several locations in New York including Ridgewood, Brooklyn, Glendale, and Queens. The home that made the most impact in young Orth's life came in 1935 when the family moved to St. Albans, Queens seven miles from Flushing Meadow Park, the future site of the 1939 fair. Sadly in 1939 there were several deaths in the family including three grandparents. The severe loss of life limited family social activities but a drive by the future site of the fair provided Orth a glimpse of the Trylon and Perisphere. He would later remark that the sight appeared to be magic. In the summer of 1939, he went to the fair with his classmates from Public School 136. The next summer Orth and his father purchased a 10-admission ticket from an elementary school in Hollis, Queens, New York. He saved every souvenir and any information he could find about the fair. He filled scrapbooks with images from newspapers and postcards from the Curt Teich and Manhattan Postcard companies. When his family moved from an apartment to a house, he acquired a fair bench which was kept in the backyard.
In 1941, Orth attended Newton High School in Elmhurst, and Queens, New York. The high school offered a college preparatory program with heavy emphasis on mathematics, science, mechanical drawing, and workshop courses. Orth's education and training combined with the knowledge he gained from motion picture films viewed at the fair, including Thomas Edison's "The City of Light," Ford Motor Company's "Road of Tomorrow," "Democracy," and General Motors' "Futurama" provided the foundation and inspiration for a career in architecture and landscaping. He ultimately became a city planner for the state of California. By 1943, Orth was exploring used magazine and bookstores in New York City to acquire more fair materials before enlisting in the United States Army in 1945. Upon his discharge he resumed buying and trading fair postcards. From 1948-1953, Orth attended the University of California and the University of Connecticut where he studied architecture and landscape design. During these years he posted advertisements in various publications in his continued pursue for fair materials.
In March 1953, Mr. Orth moved to Los Angeles, California. There he formed lasting friendships with other collectors. By 1967, Orth and several of his closest friends including Peter Warner, Oscar Hengstler, David Oats, Larry Zim, and Ernest Weidhaas conceived the idea of a fair collector's organization. By the summer of 1968, the group had formally created the Exhibition Collectors Historical Organization (ECHO).
As time passed Orth became increasing concerned about the welfare of his collection. He wanted it to go to a museum rather than be sold in parts. In his will he stipulated that the collection would be given to the Smithsonian Institution upon his death. Jon Zackman, former Smithsonian employee, interviewed Orth's brother George and fair collector Peter Warner. Orth and Warner corresponded and traded objects over many years. Mr. Orth primarily covered the west coast area while Peter Warner was his east coast counterpart. Edward Orth died on September 6,1989 in Los Angeles, California at the age of sixty-two.
Related Materials:
Materials in the Archives Center
New York World's Fair Collection, NMAH.AC.0134
Landor Design Collection, NMAH.AC.0500
Warshaw Collection of Business Americana, Subject Category, World Expos, NMAH.AC.0060
Larry Zim World's Fair Collection, NMAH.AC.0519
Alice R. Hillis World's Fair Film, NMAH.AC.0531
Borden Company 1939 New York World's Fair Collection, NMAH.AC.1063
Memories of the New York World's Fair, NMAH.AC.0592
Archives Center World Expositions Collection, NMAH.AC.0825
Daniel H. Meyerson World's Fair Collection, NMAH.AC.0745
Division of Community Life World's Fairs Collection, NMAH.AC.1132
Princeton University Posters Collection, NMAH.AC.0433
Smithsonian Speech Synthesis History Project, NMAH.AC.0417
Messmore and Damon Company Records, NMAH.AC.0846
Thomas Norrell Railroad Collection, NMAH.AC.1174
William L. Bird Holidays on Display Collection, NMAH.AC.1288
Wurlitzer Company Records, NMAH.AC.0469
Victor A. Blenkle Postcard Collection, NMAH.AC.0200
Materials at Other Organizations
New York Public Library The New York World's Fair 1939 and 1940 Incorporated Records, 1935-1945, MssCol 2233.
New York City 1939 World's Fair architectural drawings, circa 1935. Museum of the City of New York. Museum of the City of New York.
New York City 1939 World's Fair Collection, 1939-1940. Museum of the City of New York. New York World's Fair 1939/40 Collection. Queens Museum.
1939 New York World's Fair Postcards, Identifier: 1972-320, Audiovisual Collections Repository, Hagley Museum & Library
Separated Materials:
Materials at the National Museum of American History
Artifacts from the collection include several thousand souvenirs and examples of memorabilia commemorating the fair to include buttons and badges, ceramics, glassware, clothing, costume jewelry, coins and medals, commemorative spoons and flatware, toys and games, and philatelic material which are all part of the Division of Home and Community Life's holdings (now Division of Cultural and Community Life).
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes.
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:
Exhibitions -- 1930-1940 -- New York (State) -- New York Search this
Citified: Arts and Creativity East of the Anacostia River
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The 2012 Citified program looked at creativity, identity, and community in Far Southeast Washington, D.C., neighborhoods. Presented in collaboration with the Smithsonian's Anacostia Community Museum, it highlighted the connections among residents of urban communities as expressed through arts and creativity. The title alluded to the fact that many African American residents living east of the Anacostia River have parents or grandparents who migrated from the rural South, particularly North and South Carolina, and who continue to maintain connections with their southern (although often no longer rural) heritage.
Citified also referred to the ongoing transition from cultural and performance traditions shaped primarily by rural agrarian environments to those shaped primarily by wage work in urban industrial environments. Here, in place of rural quilting bees, quilters such as the Daughters of Dorcas & Sons get together in churches and community recreation centers to pass on shared traditions. It is here, too, that the sounds of rural church choirs and musicians, as well as blues and country music traditions, transform into urban popular music and become the foundation of go-go music.
The Citified program was part of a long-term Anacostia Community Museum initiative, Call and Response, which explores arts and creativity through exhibitions and installations, museum collections, and community-focused programs. The Anacostia Community Museum is dedicated to a mission centered upon contemporary urban communities, and to research, documentation, and programming that are community-focused. At the core of the museum's work is the belief that active citizen participation in the recovery and preservation of community historical assets, cultural and arts activities, and community advocacy are important and powerful instruments for creating and maintaining a sense of community and civic ownership.
The Festival program celebrated the creativity and cultural expression found in schools, churches, community organizations, businesses, and other venues in East-of-the-River neighborhoods. Visitors could meet master artists and creative, inspiring residents from this part of Washington, D.C.; enjoy performances by line dancers, African dancers and drummers, church choirs, hip-hop artists, comedians, and go-go bands; listen to storytellers; watch demonstrations of tattoo art; learn how to make quilt blocks from members of a multi-generational quilting guild; and participate in craft activities.
Portia James was Curator, with a Curatorial Team consisting of Olivia Cadaval, Robert Hall, and Diana N'Diaye; Sheila Reinckens was Program Coordinator.
The program was produced in collaboration with the Smithsonian Anacostia Community Museum.
Presenters:
Khadijah Al-Amin-El, Marcia Baird Burris, Camila Bryce Laporte, Jenelle Cooper-Tolson, Eduardo Diaz, James Early, Joshua Gorman, Robert Hall, Pat Lindsey, Linda Maxwell, Diana N'Diaye, Shelia Parker, Mark Puryear, Maria Smith, Tony Thomas, and Ranald Woodaman
Participants:
Individual Artists
Abdul Aleem Bilal "AB The Pro", rapper, producer, singer, Washington, D.C.
Bryant K. "BK" Adams, 1972-, visual artist, Washington, D.C.
Charles "Coco" Bayron, tattoo artist, Washington, D.C.
Christylez Bacon, progressive hip-hop artist and musician, Washington, D.C.
Vance Levy "Head-Roc", hip-hop artist, Washington, D.C.
Jay Coleman, visual artist, Washington, D.C.
Melani N. Douglass, poet and arts educator, Washington, D.C.
Baba C. (Lorenzo Calender), storyteller, Washington, D.C.
Allen "AJ n Company" Johnson, Jr., 1980-, urban designer, Washington, D.C.
Da' Originalz, beat ya feet hip-hop dance -- Da' Originalz, beat ya feet hip-hop danceJohn E. Pearson, III, Washington, D.C.Keiron Brown (Kay-K)Kevin Davis (NOODLEZ)Sha'Quiel JenkinsRobert Lewis Jr. (GoGo Rob)Shawn Murchinson (GET DOWN)Herbert Murray (Herb)Erich RobinsonJerell Silvers (JAY ARUH)Davon ThompsonBernard Trowell (McLovin)
Dancing with a Purpose Ministries, Inc., liturgical dancers -- Dancing with a Purpose Ministries, Inc., liturgical dancersLois Void, Pastor, Washington, D.C.Faye Johnson, ministerJoVan Lucas-Wills, ministerAlexandraDeQuanDyQuanJaylaKaylaMalachiNyaSeanShannon
Daughters of Dorcas & Sons Quilters -- Daughters of Dorcas & Sons QuiltersAnnie Strivers, Washington, D.C.Barbara AlfordNancy BerryToni E. DiarraJanice L. DoughertyMaxine DoughertyAlice DoveAlyce FosterCamille GorhamLinda Hamilton-GilbertJocelyn HerbertPatsy HuffPansy LovelaceMaxine MorganRuth StokesGeraldine Whitley
East of the River Boys and Girls Steelband, steel pan ensemble -- East of the River Boys and Girls Steelband, steel pan ensembleGladys Bray, Executive Director, Washington, D.C.Roger Greenidge, musical directorKevin AndersonNina AndersonAtiya ArtisMeccah BurchArnézjah CrawfordAisha DozierAyana DozierAshley GaskinsHorus PlazaJeffrey PlazaDonté RobinsonGeonte StevensonShayla Washington
Fayzez U Know, soul and funk group -- Fayzez U Know, soul and funk groupKenneth Hughes, leader, Manassas, VirginiaKah-el Gross, vocals/writerHalima Peru, vocals/writerDwayne Lee, guitarLoyde Lucus, guitarAndrew Woolfolk, guitarCraig Clipper (Clip), percussionQuentin McNair, percussionScott Carter, spoken word & rapMario Ennis "Rio," drumsDoc Hughes, bassAndrew Parker, sound engineerAnthony Talley "Tom Tom," keyboard
Iverson Mall Line Dancers -- Iverson Mall Line DancersMildred Johnson, 1935-, President, Clinton, MarylandDaisy ArringtonLaura I. BrownYvonne ConteeThelma EvansLillian GreenRita HarrisonEsther HodgesDorothy HughleyJean JacksonErnesteen JohnsonGertrude W. JohnsonDwight R. JonesDorothy Lee SwinsonHelen LeePeggy MaskeBrenda MatthewsJanice MeadowsPhyllis W. SettlesBenjamin StevensonConstance StevensonBertley B. ThomasMarydot ThomasElaine E. TuckerAmelia Yarbrough
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2012 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.
