12.77 Cubic feet (consisting of 26.5 boxes, 1 folder, 7 oversize folders, 2 map case folders, 1 flat box (partial), plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Print advertising
Periodicals
Publications
Advertising cards
Advertising mail
Printed ephemera
Patterns
Catalogues
Designs (textile)
Sales catalogs
Business cards
Legal records
Contracts
Textiles
Trade catalogs
Exhibition catalogs
Advertising
Advertisements
Mail order catalogs
Business records
Designs
Printed material
Labels
Instructional materials
Trademarks
Legal documents
Trade cards
Legislation (legal concepts)
Ephemera
Samples
Manuals
Sample books
Design patents
Advertising fliers
Illustrations
Catalogs
Sales letters
Business letters
Correspondence
Manufacturers' catalogs
Commercial correspondence
Letterheads
Invoices
Photographs
Sales records
Printed materials
Fabrics
Trade literature
Business ephemera
Receipts
Commercial catalogs
Date:
1784-1970
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This material is concentrated on the 19th century United States textile manufacture and trade, and the sale of textiles in the form of bale, bolt, roll, and fabric to commercial vendors or consumers as source material to make other goods. The first series contains day-to-day records of dealers and vendors, plus advertising and marketing material. Artisan and home production of goods are virtually not covered but are a couple of incidental publications related to arts, crafts (rugs, weaving, looms), and more refined work such as tapestry. The import/export of textiles is well represented with a large volume of records, which may also provide some insight into the shipping industry.
There is not much on the infrastructure of the industry in the way of directories, trade journals, trade associations, along with manufacturing and plants, though there are a few examples of each. There are virtually no catalogues, except for a few thin ones that were filed by company name. While not extensive, the sample books and swatches offer a glimpse into product lines. Material types offers limited, specific information on certain varieties such as cotton, wool, linen, rayon, etc. Thread might be incidentally present but is not specifically included since there is already a dedicated subject category for it.
There is a healthy sampling of product labels. A handful of intellectual property related documents cover protections of designs, plus patents and trademarks. There is a small bulk of publications related to tariffs and the wool industry.
Clothing patterns, home economics, sewing and seamstresses, household use of textiles (furniture covering, as a cleaning tool, bedding/pillows, etc.) are not covered within this category. Researchers should also look at any of a number of other Warshaw categories, particularly those related to clothing, hosiery, dry goods, furniture, curtains, etc. for period popularity of certain materials and patterns.
Arrangement:
Textiles is arranged in three subseries.
Business Records and Marketing Material
Genre
Subject
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Textiles is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Warshaw Collection of Business Americana Subject Categories: Textiles, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Philippine folk artists who participated in the 1998 Festival shared a common involvement in elaborate systems of exchange, reciprocity, and gift-giving that characterize Filipino society - a theme that was chosen to structure the Festival program. Their lives could be read as essays on gift-giving: mentors of younger generations, diplomatic representatives to worlds outside their communities, custodians of artistic creation, performers and makers of the implements of celebrations. They represented the spirit of pahiyas, a word that collects notions of gem-like treasures and blessings. Pahiyas is a shower of gifts and blessings in the celebratory abundance of a harvest. Through these artists, the Philippines celebrated the centennial of its declaration of independence by asserting its freedom to construct the future with the culture of gift-giving.
At the start of work on the Philippine Festival program, the first order of business was to define an approach that engaged not only how intricately Filipinos articulate identity and reweave tradition with 20th-century passions, but also how they do so while simultaneously expressing delight and dignity, vivacity and solemnity. The demand for accuracy of representation was extraordinarily high. The project was negotiated by the Philippine Centennial Commission with the Smithsonian in the context of the Philippine Centennial celebrations in the Philippines and of the associated events planned in many cities in the United States.
It was clear to the project team from the outset that during these celebrations, Filipinos wished to signal their arrival at a juncture in history where they could enjoy a complex understanding of the deepest sources of cultural pride. The project's goal was to express a sophisticated sense of the dynamics of folklife in a national formation. Thus, the Cultural Center of the Philippines (CCP), the implementing agency for the project on the Philippine side, assembled a project team of independent cultural workers and worked with the Smithsonian to create a Festival concept - pahiyas - and corresponding presentation to communicate that sense of arrival and to register that refined understanding.
The 80 Philippine master artists honored by the Smithsonian Institution and their nation have in common - aside from their levels of achievement - a strength of character that has enabled them to meet the challenge of modernity by accepting and reworking certain aspects of it. Many of the artists were savvy about recordings and other forms of documentation, marketing techniques, alliances with other communities and countries, public presentations, discussions, and political action. Individually and as a group they laid to rest the weary stereotypes of the primitive or the abject rural peasant. Although many of them were poor by the standards of urban society, they all projected to Festival visitors a grace, a pride, and a sense of assurance that seemed to issue from the aesthetic pleasure and wisdom inherent in their chosen art forms.
Richard Kennedy and Marian Pastor Roces were Curators, with Ramon Obusan as Program Director and Eva Mari G. Salvador and Andrea Yangas as Program Coordinators. Flora Elena R. Mirano was Research Director and Ricardo Trimillos was Research Associate.
The Philippines program was produced in collaboration with the Cultural Center of the Philippines and the Philippine Centennial Commission and was supported by the American International Group, Inc., The Starr Foundation, Bell Atlantic, the Asian Cultural Council, and the Philippine Centennial Foundation/USA.
Researchers:
Marialita Yraola (supervising researcher), Edna Marcil M. Martinez (senior researcher), Eduardo Borbon, Ricardo Cruz, Leonido Gines, Jr., Maria Patricia B. Silvestre, Dennis Julio Y. Tan
Presenters:
Paulo Alcazaren, Carmencita J. Bernardo, Eduardo Borbon, Joseph Cristobal, Ricardo Cruz, Frank I. Depakakibo, Leonido Gines, Jr., Pacita O. Ignacio, Amelio B. Manzano, Edna Marcil M. Martinez, Jojo Mata, Flora Elena Mirano, Oliver Patino, Maria Patricia B. Silvestre, Dennis Julio Y. Tan, Marialita Yraola, Consuelo Zapata
PASIKING (KALINGA ENSEMBLE), KALINGA-APAYAO PROVINCE -- PASIKING (KALINGA ENSEMBLE), KALINGA-APAYAO PROVINCEBenicio D. Sokkong, leader, Kalinga-Apayao Province, PhilippinesDamaso L. Balway, Kalinga-Apayao Province, PhilippinesCalixto B. Cabannag, Kalinga-Apayao Province, PhilippinesInocencio L. Damagon, Kalinga-Apayao Province, PhilippinesJose Marie K. Felipe, Jr., Kalinga-Apayao Province, PhilippinesImelda S. Polittude, Kalinga-Apayao Province, PhilippinesBenedicto L. Damagon, dancer, Kalinga-Apayao Province, PhilippinesFidel P. Tayawa, dancer, Kalinga-Apayao Province, Philippines
TALAANDIG ENSEMBLE, BUKIDNON PROVINCE -- TALAANDIG ENSEMBLE, BUKIDNON PROVINCEVictorino Saway, leader, Bukidnon Province, PhilippinesJean S. Gangga, Bukidnon Province, PhilippinesMarlon P. Necosia, Bukidnon Province, PhilippinesAdolino L. Saway, Bukidnon Province, PhilippinesRodelio L. Saway, Bukidnon Province, PhilippinesLiza L. Saway, Bukidnon Province, PhilippinesOrlanda P. Saway, Bukidnon Province, PhilippinesNarita T. Sihagan, Bukidnon Province, Philippines
Chapel
CHORAL ENSEMBLE, BACONG, NEGROS ORIENTAL PROVINCE -- CHORAL ENSEMBLE, BACONG, NEGROS ORIENTAL PROVINCEExuferio V. Tinguha, choirmaster & parol maker, Bacong, Negros Oriental Province, PhilippinesGlenn S. Aurea, parol-makingassistant, Bacong, Negros Oriental Province, PhilippinesLeona R. Aurea, cantora, soprano, Bacong, Negros Oriental Province, PhilippinesSimplicia V. Baro, cantora, soprano, Bacong, Negros Oriental Province, PhilippinesCatalina T. Gajilomo, cantora, soprano, Bacong, Negros Oriental Province, PhilippinesAngel M. Honculada, parol-making assistant, Bacong, Negros Oriental Province, PhilippinesGenoveva T. Sagarino, cantora, alto, Bacong, Negros Oriental Province, PhilippinesSylvia T. Vendiola, cantora, soprano, Bacong, Negros Oriental Province, Philippines
MUSICONG BUMBONG, -- BULACAN PROVINCE -- MUSICONG BUMBONG, BULACAN PROVINCEAlfredo C. Anastacio, snare drum, Bulacan Province, PhilippinesAntonio A. Anastacio, harmonica, Bulacan Province, PhilippinesRodrigo C. Anastacio, bass drum, Bulacan Province, PhilippinesAntonio D. Bautista, trombone, Bulacan Province, PhilippinesRoberto C. Capiral, trumpet, Bulacan Province, PhilippinesEmesto B. de Dios, trombone, Bulacan Province, PhilippinesRoderic C. Garcia, cymbals, Bulacan Province, PhilippinesMelchor F. Gimenez, clarinet, Bulacan Province, PhilippinesBernabe A. Ignacio, bamboo bass, Bulacan Province, PhilippinesZosimo B. Miday, trumpet, Bulacan Province, PhilippinesRizalino A. Remigio, saxophone, Bulacan Province, PhilippinesDomingo M. Rosco, saxophone, Bulacan Province, PhilippinesRoman A. Santa Ana, bamboo bass, Bulacan Province, PhilippinesMaximo C. Santiago, harmonica, Bulacan Province, Philippines
RONDALLA MARIKINA, MARIKINA CITY, MANILA -- RONDALLA MARIKINA, MARIKINA CITY, MANILAMarcial R. de Jesus, Marikina City, Manila, PhilippinesArcadio R. dela Cruz, Marikina City, Manila, PhilippinesEdgardo G. Labrado, Marikina City, Manila, PhilippinesRodolfo T. Poblea, Marikina City, Manila, PhilippinesMontano M. Santos, Marikina City, Manila, PhilippinesTeofilo M. Santos, Marikina City, Manila, Philippines
SUBLI -- ENSEMBLE, BATANGAS PROVINCE -- SUBLI ENSEMBLE, BATANGAS PROVINCEAbdon O. Cruzat, leader, Batangas Province, PhilippinesRufina V. Boongaling, dancer, Batangas Province, PhilippinesBeda M. Dimayuga, dancer, Batangas Province, PhilippinesBibiana C. Escalona, dancer, Batangas Province, PhilippinesMiguela C. Maquimot, dancer, Batangas Province, PhilippinesSimeon C. Maquimot, dancer, Batangas Province, PhilippinesLeonardo E. Valdez, dancer, Batangas Province, PhilippinesFelix C. Cruzat, drummer, Batangas Province, PhilippinesSeverino D. Cruzat, drummer, Batangas Province, PhilippinesJose E. Manalo, drummer, Batangas Province, Philippines
Collection Restrictions:
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: 1998 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Landscape painting now from pop abstraction to new romanticism edited by Todd Bradway ; essay by Barry Schwabsky ; contributions by Robert R. Shane, Louise Sørensen, and Susan A. Van Scoy
