Cobb, Anna L. (Department of Applied Art, Board of Education, Cleveland, OH)
Cohen, Lewis
Colgate and Company
College of the City of New York
Columbia University Faculty of Fine Arts
Consolidated Gas Co.
Croker National Fire Prevention and Engineering Co.
Crowley, Mrs. F.B. (Art Advisory Committee, Des Moines, IA)
Curtiss, J.P. (Marconi Wireless Daily Papers)
Davidge, Clara
Dion, F. L. (E.E. Vreeland, Advertising, Inc.)
Douglas, Mr. (F.W. Woolworth)
Druet, E. (Photographie D'Oeuvres D'Art)
du Bois, Guy Pène (see Ashwell, Thomas E.)
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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.
Collection Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
Bulliet, C.J. (Clarence Joseph), 1883-1952 Search this
Container:
Box 2, Folder 31
Type:
Archival materials
Date:
1928-1951
Scope and Contents note:
Williamson, Alix B.
Williamson, Anne
Winn, John E.
Winslow, Kathryn
Winston, Margaret Grover
Wisconsin Union
Wolf, Peggy
Wolfson, Flora J.
Woman's Home Companion Service Bureau
Wood, Betty
Woodpecker, A.
Woodward, Alice
Worcester Art Museum
Worcester, Charles H.
Works Project Administration
World-Herald
Worthingon, Everett
Wright, Edina
Wylie, E.
Yochim, Louise Dunn
Howard Young Galleries, Inc.
Zalewski, Leo L.
Zinn, Walter
Ziroli Studios
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
Woodhouse, Betty Burroughs (See also Burroughs, Betty)
Woodin, Mrs. William H.
Woodmere Art Gallery
Woodruff, Adele G.
Woodstock Artists Association
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art
Mora, F. Luis (Francis Luis), 1874-1940 Search this
Container:
Box 2, Folder 10
Type:
Archival materials
Date:
1911
Scope and Contents note:
Oversized item housed in OV 3
Collection Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
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:
F. Luis Mora papers, 1891-1986, bulk 1891-1922. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Mora, F. Luis (Francis Luis), 1874-1940 Search this
Container:
Box OV 3
Type:
Archival materials
Date:
1911
Scope and Contents note:
Oversized material scanned with Box 2, F10
Collection Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
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:
F. Luis Mora papers, 1891-1986, bulk 1891-1922. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Mora, F. Luis (Francis Luis), 1874-1940 Search this
Extent:
0.8 Linear feet (Boxes 1-2 and OV 3)
Type:
Archival materials
Date:
1895-1986
Scope and Contents note:
Printed materials includes clippings, brochures, programs, advertisements, exhibition catalogs, books, magazines. All of the magazines and books included in this collection were illustrated by Mora. These include the books The Man that Corrupted Hadleyburg and Other Essays and Stories, by Mark Twain (1917), and Birthright, by T.S. Stribling (1922), as well as magazines, including Art Digest, Colliers, Century, Harpers, Harpers Round Table, The Literary Digest, Red Cross, Ladies Home Journal, St. Louis Republic, and Woman's Home Companion. Preservation copies were made of the newspaper clippings.
Arrangement note:
The printed material is arranged in alphabetical order by title and chronologically thereafter. The series has been partially scanned; the cover, title page, and individual relevant pages have been scanned from published materials.
Collection Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
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:
F. Luis Mora papers, 1891-1986, bulk 1891-1922. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
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:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Gorrell, Edgar S. (Edgar Staley), 1891-1945 Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Text
Date:
1936
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Edgar S. Gorrell Collection, Acc. XXXX-0057, National Air and Space Museum, Smithsonian Institution.
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Periodicals, 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).
Consist of publications that created paper dolls. Most often the publications were women and children's magazines or periodicals and included a different paper doll in each issue. Some of the major publications included McCall's, Pictorial Review Playmate, Wee Wisdom, and Woman's Home Companion. Materials are arranged in alphabetical order followed by dolls from unidentified publications.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Carolyn and Donald Grepke Paper Doll Collection, 1800s-1998, undated, Archives Center, National Museum of American History.
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.
Collection Citation:
The Carolyn and Donald Grepke Paper Doll Collection, 1800s-1998, undated, Archives Center, National Museum of American History.
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.
Collection Citation:
The Carolyn and Donald Grepke Paper Doll Collection, 1800s-1998, undated, Archives Center, National Museum of American History.
United States. Dept. of the Treasury. Section of Fine Arts Search this
Extent:
6.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Diaries
Photographs
Date:
1879-1967
Summary:
The papers of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other personal papers documenting Rush's education and career as an illustrator, portraitist, muralist, painter, teacher, and promoter of Native American art.
Scope and Contents note:
The records of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other records that document her education and career as an illustrator, portraitist, muralist, painter, and promoter of Native American art.
Biographical materials include several narratives written by Rush and others, as well as a few items related to Delaware artist Ethel Pennewill Brown Leach, Rush's close friend and colleague. Correspondence spans Rush's education and career, and documents her early career in illustration, purchases and exhibitions of her work, her efforts to secure exhibitions for Native American artists, and her dealings with administrators of Federal Art Projects of the 1930s.
Writings include diaries from Rush's early years, including an especially detailed diary from her Santa Fe Indian School mural project in 1932. Also found are lectures, talks, essays, notebooks with technical experiments and aesthetic ideas, and loose notes for her FAP project at the New Mexico College of Agricultural and Mechanical Arts.
Records of Rush's artwork include two record books, receipts for supplies and shipments, price lists, inventories, records of submissions, and a small number of similar records of artwork by Native American artists. Sketchbooks, loose sketches, and drawings by Rush span her entire career and include many studies and proposed designs for murals and frescoes.
Printed Materials consist of exhibition catalogs, clippings, and reproductions of artwork, especially illustration work from Rush's early career. Photographs include a class photograph from the Corcoran School of Art circa 1890 and many of Rush and her fellow artists in Wilmington, Delaware from around 1904 to 1910. Photographs of works of art document Rush's murals and frescoes in private homes, businesses, and public buildings.
Arrangement note:
The collection is arranged into seven series:
Series 1: Biographical Material, 1886-1966 (Box 1; 7 folders)
Series 2: Correspondence, 1889-1964 (Boxes 1-2, 8; 1.4 linear feet)
Series 3: Writings, 1886-1962 (Box 2; 0.6 linear feet)
Series 4: Records of Artwork, 1904-1956 (Box 3; 8 folders)
Series 5: Artwork, 1896-1957 (Boxes 3-4, 7, OV 8-12; 1 linear foot)
Series 6: Printed Materials, 1879-1967 (Boxes 4-5, 7, OV 13; 1.6 linear feet)
Series 7: Photographs, circa 1890-1966 (Box 6; 0.4 linear feet)
Biographical/Historical note:
Olive Rush was born in Fairmount, Indiana in 1875 to a Quaker farm family of six children, and attended nearby Earlham College, a Quaker school with a studio art program. Encouraged by her teacher, Rush enrolled in the Corcoran School of Art in Washington, D.C. in 1890, where she stayed for two years and achieved early recognition for her work. In 1893, Rush joined the Indiana delegation of artists to the World's Columbian Exposition in Chicago.
In 1894, she moved to New York City and continued her studies at the Art Students League with Henry Siddons Mowbray, John Twachtman, and Augustus St. Gaudens. She secured her first job as an illustrator with Harper and Brothers and quickly started doing additional illustration work for Good Housekeeping, Scribner's, The Delineator, Woman's Home Companion, Sunday Magazine and St. Nicholas Magazine. Rush also became a staff artist at the New York Tribune and illustrated several books.
In 1904, Rush sent an inquiry with samples of her work to master illustrator Howard Pyle, who had established what was then the only school of illustration in the country in Wilmington, Delaware. There he provided free instruction to a small number hand-picked artists culled from hundreds of applicants. Although Pyle did not admit women to his studio, he encouranged her to come and join the class for lectures and criticisms. Rush moved to Delaware later that year, joining a growing number of female illustrators there including Ethel Pennewill Brown (later Leach), Blanche Chloe Grant, Sarah Katherine Smith, and Harriet Roosevelt Richards, among others. Rush and her female colleagues lived together in a boarding house known as Tusculum, which became well-known as a gathering place for women artists.
Rush traveled to Europe in 1910, embarking on a period of intense study and travel which would mark a steady transition from illustration to painting. She studied at Newlyn in Cornwall, England and then in France with the American impressionist Richard E. Miller. She returned to Wilmington in 1911, where she moved into Pyle's studio with Ethel Pennewill Brown. Rush bounced to New York, Boston, and back to France, where she lived for a time with fellow artists Alice Schille, Ethel Pennewill Brown, and Orville Houghton Peets. Her reputation grew, and she began to exhibit regularly in major national and regional juried exhibitions including the Carnegie, Pennsylvania Academy, and Corcoran annual exhibitions, as well as the Hoosier Salon.
In 1914, Rush made her first trip to Arizona and New Mexico. Passing through Santa Fe on her return trip, Rush made contact with the artists community at the Museum of New Mexico, where she secured an impromptu solo exhibition after showing her new work, inspired by the landscape of the Southwest. She made Santa Fe her permanent home in 1920 in an adobe cottage on Canyon Road, which became a main thoroughfare of the Santa Fe artists' community.
Rush began to experiment with fresco painting, and developed her own techniques suitable to the local climate. She became a sought-after muralist and was asked to create frescoes for many private homes and businesses. In her painting, she often depicted the Native American dances and ceremonies she attended. She exhibited these paintings around the country, including with the Society of Independent Artists in New York, and in the Corcoran Annual Juried exhibition, where Mrs. Herbert Hoover and Duncan Phillips both purchased her work.
In 1932, Rush was hired to teach at the Santa Fe Indian School. Rush's enthusiastic work in the 1930s with the young pueblo artists is credited with helping to bring about a flourishing of Native American visual art in New Mexico. Rush continued to work with native artists throughout her life, and many of her associates went on to gain national reputations, including Harrison Begay, Awa-Tsireh, Pop Chalee, Pablita Valerde, and Ha-So-De (Narciso Abeyta).
From 1934 to 1939, Rush executed murals for the Public Works of Art Project (PWAP) and the Federal Art Project (FAP) of the Works Progress Administration (WPA). Rush's federal art projects included murals for the Santa Fe Public Library (1934), the Biology Building of the New Mexico Agricultural College (1935), the Pawhuska, Oklahoma Post Office (1938), and the Florence, Colorado Post Office (1939). Rush was also asked to join the Advisory Committee on Indian Art created by the PWAP in 1934, to help administer a segment of the program aimed at employing Native American artists.
In her later years, Rush's artwork became increasingly experimental, incorporating the ideas of Chinese painting, Native American art, and her contemporaries, the modernists, especially Wassily Kandinsky. She continued painting and exhibiting until 1964, when illness prohibited her from working. She died in 1966, leaving her home and studio to the Santa Fe Society of Friends.
Sources consulted for this biography include Olive Rush: A Hoosier Artist in New Mexico (1992) by Stanley L. Cuba, and Almost Forgotten: Delaware Women Artists and Arts Patrons 1900-1950 (2002) by Janice Haynes Gilmore.
Related Archival Materials note:
The Archives of American Art holds a brief oral history interview with Olive Rush concerning her involvement with Federal Art Projects.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming (reel SW4) including scrapbooks, photographs, clippings, and exhibition catalogs. Most of this material was later donated, but some items remain with the lender and are not described in the collection container inventory.
Provenance:
Olive Rush donated the bulk of her papers to the Archives of American Art in 1963 and 1964. Additional exhibition catalogs and photographs were added to the collection upon her death in 1966. An anonymous donation of diaries, sketchbooks, and a photograph was received by the Archives in 1970. Also in 1970, the Olive Rush Memorial Studio lent papers for microfilming. Many, but not all, of the loaned materials were later donated.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
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.
Topic:
Women painters -- New Mexico -- Santa Fe Search this
0.01 Items (ca. 600 items (on 3 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1848-1947
Scope and Contents:
Scrapbooks, clippings, photograph, letters, and drawings.
REEL D10: Note to Miss Fry, 1903, from Elliott and an article, "The Red Rose" by Mary Tracy Earle, reprinted from "The Lamp," May 1903, about the studio which Elliott shared with Jesse Wilcox Smith and Violet Oakley.
REELS P4-P5: Scrapbooks, 1848-1947, containing reproductions of Elliott's illustrations from THE TIMES, LADIES HOME JOURNAL, HARPER'S WEEKLY, SATURDAY EVENING POST, WOMAN'S HOME COMPANION, GOOD HOUSEKEEPING, and other publications; clippings about Elliott; sketches; a photograph of Elliott; and 4 drawings by her father, Jasper Green.
Biographical / Historical:
Illustrator; Philadelphia, Penn. Died 1954.
Provenance:
Materials on reel D10 donated 1955-1962 by Charles E. Feinberg, an active donor and friend of AAA; materials on reels P4-P5 lent for microfilming 1954 by the Free Library of Philadelphia.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Illustrators -- Pennsylvania -- Philadelphia Search this
Topic:
Women artists -- Pennsylvania -- Philadelphia Search this
The papers of photographer Nickolas Muray measure 1.5 linear feet and date from 1910 to 1978. Found within the papers are biographical materials; business and personal correspondence, including a handful of letters from Frida Kahlo; writings; teaching files, primarily of photography courses taught at New York University; printed material; artwork; and photographic materials of Muray, his family and friends, and his work.
There is a 0.6 linear feet Unprocessed Addition which includes biographical material, correspondence, photographs, research notes and a diary about Africa, and a subject file on the book The Revealing Eye, Personalities of the 1920s, written by Paul Gallico with photographs taken by Muray, 1967.
Scope and Contents:
The papers of photographer Nickolas Muray measure 1.5 linear feet and date from 1910 to 1992. Found within the papers are biographical materials; business and personal correspondence, including a handful of letters from Frida Kahlo; writings; teaching files, primarily of photography courses taught at New York University; printed material; artwork; and photographic materials of Muray, his family and friends, and his work.
There is a 0.6 linear feet Unprocessed Addition which includes biographical material, correspondence, photographs, research notes and a diary about Africa, and a subject file on the book The Revealing Eye, Personalities of the 1920s, written by Paul Gallico with photographs taken by Muray, 1967.
Arrangement:
The collection is arranged as 2 series.
Series 1: Nickolas Muray papers, 1910-1978 (0.9 linear feet; Boxes 1-2, OV 3)
Series 2: Unprocessed Addition, 1927-1992 (0.6 linear feet; Boxes 4-5)
Biographical / Historical:
Photographer Nickolas Muray (1892-1965) lived and worked in New York, New York and was known for his portrait, fashion, and advertising photography and for his mastery of the carbro color printing process.
Born in Szeged, Hungary, Muray spent time in Budapest as an engraver's apprentice and moved to Germany at the age of 16 to expand his technical knowledge of photo-engraving and photography. In 1913, Muray immigrated to America where he worked as a photo engraver at Stockinger Engraving Co. and eventually opened his own photography studio in 1920. After successfully completing a commission to photograph Broadway star Florence Reed, Muray continued to build his portfolio with regular commissions for Harper's Bazaar and Vanity Fair to photograph movie stars, artists, musicians, artists, and models. In the 1930s, Muray mastered the carbro printing process and established one of the first color labs in America. His color fashion and advertising work continued to appear regularly in Vogue, Ladies' Home Journal, Woman's Home Companion, McCall's and other periodicals.
In addition to his professional work, Muray wrote reviews for Dance magazine and represented the United States in 1928 and 1932 as a member of the Olympic fencing team. He maintained a long distance affair with artist Frida Kahlo throughout the 1930s, eventually ending the relationship but remaining friends until her death in 1954. In 1942, Muray married his fourth wife, Margaret (Peggy) Schwab, with whom he had a daughter, Mimi. Muray died of a heart attack in 1965.
Provenance:
The papers were donated in 1988 and 2019 by Muray's daughter, Mimi Murray.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
United States Women in Aviation 1940-1985 Research Materials, NASM.1995.0062, National Air and Space Museum, Smithsonian Institution.
The numbered note cards in this folder correspond with the numbered list in Box 2, Folder 5 ("Bibliography").
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
United States Women in Aviation 1940-1985 Research Materials, NASM.1995.0062, National Air and Space Museum, Smithsonian Institution.
Mann, Lucile Quarry, 1897-1986, interviewee Search this
Extent:
10 audiotapes (Reference copies). 12 digital .mp3 files (Reference copies).
Type:
Collection descriptions
Archival materials
Audiotapes
Transcripts
Date:
1977
Introduction:
The Smithsonian Institution Archives began its Oral History Program in 1973. The purpose of the program is to supplement the written documentation of the Archives'
record and manuscript collections with an Oral History Collection, focusing on the history of the Institution, research by its scholars, and contributions of its staff. Program
staff conduct interviews with current and retired Smithsonian staff and others who have made significant contributions to the Institution. The collection also contains interviews
conducted by researchers or students on topics related to the history of the Smithsonian or the holdings of the Smithsonian Institution Archives.
Lucile Quarry Mann was interviewed for the Oral History Collection because of her long association with the Smithsonian Institution and National Zoological Park spanning
58 years.
Descriptive Entry:
Lucile Mann was interviewed on June 9 and 22, July 14 and 20, and August 11 and 16, 1977 by Pamela M. Henson. The interviews cover Lucile Mann's education; editorial
and administrative careers with the Bureau of Entomology and National Zoological Park; marriage to William M. Mann and life as wife of the NZP Director; travels and expeditions
for the Zoo; animals raised in their home; famous residents of the Zoo, such as N'Gi, the zoo's first gorilla, and Smokey the Bear; and reminiscences about famous scholars
and personalities, such as Austin H. Clark, Leonhard Stejneger, Noel Coward and Alexander Woollcott.
Historical Note:
Lucile Quarry Mann (1897-1986) was an editor and staff member of the National Zoological Park (NZP). She was born in Ann Arbor, Michigan, and received the B.A. in English
from the University of Michigan in 1919. During World War I, she worked in Washington, D.C., with Military Intelligence. After the war, she was appointed assistant editor
of the Bureau of Entomology of the United States Department of Agriculture. Lucile Quarry left the bureau in 1922 and became an editor for The Woman's Home Companion.
In 1926 she married William M. Mann (1886-1960), an entomologist specializing in ants and termites.
After receiving the Sc.D. from Harvard University in 1915, William Mann collected insects in Fiji and the Solomon Islands as the Sheldon traveling fellow. From 1917 to
1925, he was a specialist in ants for the Bureau of Entomology and, during 1921-1922, participated in the Mulford Biological Exploration of the Amazon Basin. In 1925, he was
appointed director of the National Zoological Park, and in 1926 led the Smithsonian Institution-Chrysler Expedition to Africa to collect animals for the NZP. Both the Manns
traveled extensively for the NZP: to European zoos in 1929, 1938, and 1948, Central America in 1930, British Guiana in 1931, the National Geographic Society-Smithsonian Institution
Expedition to the East Indies in 1937, Argentina in 1939, and the Firestone-Smithsonian Institution Expedition to Liberia in 1940. William Mann represented the Explorers Club
and Lucile Mann the Society of Women Geographers in their travels.
Lucile Mann began work in the administrative offices of the NZP in 1951, continuing after William Mann's retirement in 1956 and death in 1960. She was primarily responsible
for the NZP's annual report until her retirement in 1971.
Both the Manns published about their lives and interests. In addition to his many scientific monographs, William Mann published Wild Animals in and Out of the Zoo
(1929) and Ant Hill Odyssey (1948). Lucile Mann published From Jungle to Zoo, Adventures of a Naturalist's Wife (1934), Tropical Aquarium Fishes (1934),
and Friendly Animals, A Book of Unusual Pets (1935). The Manns had a wide circle of friends in many walks of life. William Mann was a circus fan as well as an opera
enthusiast.
Lucile Mann kept tropical aquarium fishes and published about her hobby. William Mann founded the Vivarium Society, a group of individuals interested in keeping cold-blooded
pets. Many animals born in the NZP were raised in the Manns' home across the street.
