115 Yellow Gal / Woody Guthrie, Cisco Houston, Lead Belly. Guitar.
116 Philadelphia Lawyer / Woody Guthrie, Cisco Houston. Guitar.
117 Ida Red / Woody Guthrie. Guitar.
118 On a Monday (ACT-2711) / Lead Belly. Guitar.
119 On a Monday (ACT-3234) / Lead Belly. Guitar.
120 Shorty George (ACT-3234) / Lead Belly. Guitar.
121 Shorty George (ACT-129) / Lead Belly. Guitar.
122 Duncan and Brady (ACT-129) / Lead Belly. Guitar.
123 Duncan and Brady (ACT-258) / Lead Belly. Guitar.
124 Duncan and Brady (ACT-3141) / Lead Belly. Guitar.
125 Old Riley (ACT-3141) / Lead Belly. Guitar.
126 Old Riley (ACT-299) / Lead Belly. Guitar.
127 Old Riley (ACT-129) / Lead Belly. Guitar.
128 Pigmeat (ACT-291) / Lead Belly. Guitar.
129 Pigmeat (ACT-252) / Lead Belly. Guitar.
Local Numbers:
FP-CDR-0053
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. rr.
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.
The Fletcher and Horace Henderson Collection contains original scores and band books, loose sheet music, both original and published, from both Fletcher and Horace's libraries, playlists, lyrics, photographs, personal papers and correspondences, newspaper clippings, jazz publications, an oral history manuscript of an interview with Horace, audio tapes, and other personal memorabilia documenting the lives and careers of the two brothers as pianists, band leaders, and arrangers. The majority of the material dates from the mid 1920s to the early 1980s.
Series 1: Fletcher and Horace Henderson's Music ca. 1930s - 1980s Boxes 1-68.
Original band books and scores, lyrics, playlists, loose music, and published music either arranged or used by Fletcher or Horace Henderson during their careers as pianists, band leaders, and arrangers. The series is organized into six subseries: Subseries 1A: Horace's Band Books, Subseries 1B: Loose Music, Subseries 1C: Original Scores, Subseries 1D: Lyrics, Suberies 1E: Playlists, and Suberies 1F: Published Music.
Suberies 1A, ca. 1940s -1980s, boxes 1-21. Horace Henderson Band Books. Each Band Book stands on its own, and is identified by the musician who used it or the location where the music was performed. Some performers include Gail Brochman, Eddie Calhoun, and George Reed. Many of the band books were used for performances at the Trianon Ballroom in Chicago.
Subseries 1B, ca. 1930s - 1980s, boxes 22-58. Music in boxes 22-54 comes from Horace Henderson's band library, and boxes 55-58 from Fletcher Henderson's band library. The music consists of full scores, piano scores, and parts arranged or used by Horace or Fletcher Henderson. Arranged alphabetically by title; FS - Full Score, PS - Piano Score, and P - Parts. * Indicates an overlap between loose music, and music known to have been performed at the Trianon Ballroom in Chicago. **Indicates an overlap between Horace and Fletcher's Libraries. The music is arranged alphabetically by music title.
Subseries 1C, ca. 1930s - 1940s, boxes 59-60. Original scores arranged by Fletcher Henderson, many for Benny Goodman and other bandleaders, including AHoneysuckle Rose@, AKing Porter's Stomp@, and AStealin' Apples@. There is also a complete band book written and arranged by Fletcher. Arranged alphabetically by title.
Subseries 1D, ca. 1940s - 1980s, box 61. Original lyrics used in performances by Horace Henderson's bands. Arranged alphabetically by title where identified.
Subseries 1E, ca. 1940s - 1980s, boxes 62-63. Playlists compiled in preparation for performances by Horace Henderson's orchestras, listing titles played at various performances. Un-arranged.
Subseries 1F, ca. 1920s-1980s, boxes 64-68. Published sheet music and books for piano/vocal parts. Includes art music, method books, popular music, fake books, and music book covers. Folders are arranged by type of publication, and the music is arranged alphabetically by title within each folder.
Series 2: Photographs, ca. 1920s - 1980s Boxes 69-70.
Photographs documenting the lives of both Fletcher and Horace Henderson's personal lives and careers. Photographs are arranged by category including Fletcher Henderson Candids with Friends, Horace Henderson Candids, Performance Marquees, and both brothers with their orchestra. Some unique pictures include portraits of Mr. and Mrs. Henderson (Fletcher and Horace's parents), candids of Fletcher with Benny Goodman, and Horace with Lena Horne.
Series 3: Personal Papers and Correspondences, ca. 1920s - 1980s Boxes 71-78. Programs and broadsides, newspaper articles, letters, essays, publications, and other personal documents tracing the lives of Horace and Fletcher, as well as some personal items of their parents. The series is divided into six subseries: Subseries 3A: Programs and Broadsides, Subseries 3B: Newspaper Articles and Clippings, Subseries 3C: Personal Papers and Correspondences, Subseries 3D: Miscellaneous Publishings, Subseries 3E: Transcript of an Oral History Interview, and Subseries 3F: Henderson Family Scrapbook.
Subseries 3A, ca 1930s - 1980s Boxes 71-72. Contains broadsides and ad clippings promoting both Horace and Fletcher's performances, along with programs for various jazz festivals. There are also three sets of Las Vegas Programs, advertising the weekly happenings during the years Horace was performing there, mainly at the Riviera Hotel and Casino (1959-1961). These include; Ken's Spotlight Las Vegas, Fabulous Las Vegas Magazine, On The Go, and other miscellaneous circulations. Arranged by category (Fletcher's broadsides, Horace's broadsides, Programs), and by date within each set of publications or programs.
Subseries 3B, ca. 1950s - 1980s, Boxes 73 & 78. Contains newspapers, articles, and clippings, ranging from 1951 to 1986, documenting the lives of Fletcher, Horace, and some of their contemporaries (ie: Duke Ellington) through the eyes of the media. Arranged by categories; reference to Fletcher, Horace, or Miscellaneous. Box 73 contains the oversized articles.
Subseries 3C, ca. 1920s-1980s, Box 74. Contains letters, contracts, and other personal documents of Fletcher, Horace, and their parents. Also contains a copied photo collection of Horace, a manuscript of AHorace Henderson Presents his Interpretation of Jazz@, and an essay (author unknown) about Fletcher's influence on jazz.
Subseries 3D, ca. 1960s - 1980s, Box 75. Contains miscellaneous publishings collected from the various locations Horace lived and worked. Includes weekly circulations from Denver and the surrounding area where Horace lived from the mid sixties until his death, along with various music magazines that he subscribed to (ADownbeat@, AInternational Musician@). Arranged by date within each category.
Subseries 3E, ca. 1975, box 76. Contains the original transcript of the Oral History Interview of Horace Henderson, for the Smithsonian Institution, performed by Tom MacCluskey on April 9-12, 1975.
Subseries 3F, box 77. Contains a Henderson Family Scrapbook which includes photographs of Fletcher's and Horace's father and mother, and various newspaper clippings commending the careers of Mr. Henderson, Horace, and Fletcher. The scrapbook's original order has been maintained.
Series 4: Audio Tape Recordings ca.1970s - 1980s Boxes 79-80.
Contains a collection of recordings of live performances of Horace's orchestra in various Denver area locations such as the Esquire Supper Club and the Petroleum Club. Also includes a sample tape, a brief Atest@ recording by Horace and Angel, a radio tribute to Horace, and a few miscellaneous mix tapes. The tapes are arranged by date when available. Box 79 contains the original copies, and box 80 contains the duplicates.
Arrangement:
The collection is arranged into four series.
Series 1: Horace and Fletcher Henderson's Music, 1954-1955
Series 2: Photographs, 1942-1977
Series 3: Horace and Fletcher Henderson's Personal Papers, 1937-1987
Series 4: Horace Henderson Audio Tapes, 1978-1983, undated
Biographical / Historical:
Fletcher Hamilton Henderson, Jr. (a.k.a. Smack) was born on December 18, 1897 in Cuthbert, Georgia. He was born into a middle class black family, and as a child studied European art music with his mother, a piano teacher. His sister later became the head of the music department at the Tuskeegee Institute in Alabama, and his younger brother, Horace, would eventually follow in his footsteps as a jazz musician, arranger, and band leader. Horace W. Henderson (a.k.a. Little Smack) was born on November 22, 1904. He also studied piano with his mother and sister, and like his brother, began formal music training as a teenager. Fletcher Henderson attended Atlanta University where he earned a degree in chemistry and math in 1919.
In 1920, Fletcher Henderson moved to New York City to find a job as a chemist. Because employment in this field was hard to come by, especially for African Americans, he began working as a song demonstrator for the Pace Hardy Music Company. Shortly after Fletcher Henderson's arrival Harry Pace founded Pace Phonograph Corporation to produce records on the Black Swan label in 1921. Fletcher joined Pace's music team and was responsible for contracting and leading a jazz bands to accompany the label's singers.
In 1924, Fletcher's orchestra, under the direction of Don Redman, began to perform at Club Alabam (sic) on New York City's Broadway Avenue. That same year he and the band was offered a job performing at the Roseland Ballroom, where the band remained for ten years and gained national fame. His band was no different than the hundreds of dance bands, springing up across the country in response to the growing demand for social dance music, such as Count Basie's Orchestra, King Oliver and his Dixie Syncopators, and McKinney's Cotton Pickers. Don Redman left the Fletcher Henderson Orchestra in 1927 to direct McKinney's Cotton Pickers. However the music collaboration of Redman and Henderson had by then established what would become the "standard" big band arrangement for several decades, specifically the dynamic interplay between the brass and reed sections of the orchestra that included interspersed solos made famous by such esteemed soloists of the band as Louis Armstrong and Coleman Hawkins. Some of the band's most notable recordings made between 1924 and 1925 include Copenhagen and Sugarfoot Stomp.
By this time Horace Henderson had formed his own college jazz band in 1924, The Wilberforce Collegians, after transferring from Atlanta University to Wilberforce University to pursue a music degree. His older brother sent him arrangements and piano parts used by the Fletcher Henderson Orchestra for performances by the Collegians. Later that year Horace Henderson left the university to travel and perform with his band in New York City. His newly formed band included such notable musicians as Benny Carter and Ben Webster. While in New York he also began playing as a guest musician in his brother's band and learning from such legends of jazz as Coleman Hawkins, Buster Bailey, Louis Armstrong, and Don Redman that were working for the Fletcher Henderson Orchestra. During a Smithsonian Institution sponsored oral history interview with Tom MacCluskey, Horace recalled late night jam sessions at Hawkins' (Hawk) apartment where they would play through pieces from "Fletch's" library and analyze each individual's performance. We would "stop and discuss what had transpired during that session, you know, that particular tune. And man, that was a lesson...It was a session that was actually to help everybody, so that they would try things out and take another tune, and use these particular little points that Hawk would tell 'em.'"
Until the 1930s, the Fletcher Henderson Orchestra was the principal model for big jazz bands. However, his management of the band and its finances led to frequent band break-ups. In 1934, severe financial problems forced Fletcher to sell some of his best arrangements to Benny Goodman. Horace Henderson and others suggested Goodman's rapid rise in popularity among swing bands for white audiences was largely due to Fletcher Henderson's innovative band arrangements. Fletcher Henderson continued to lead bands until 1939 when he joined Goodman's orchestra as a full time staff arranger. In 1941 he returned to band leading and arranging, but suffered a severe stroke in 1950. Fletcher was partially paralyzed from the stroke, and died on December 29, 1952.
Horace, also, formed many bands throughout the 1930s and 40s, and became a sideman for leaders such as Don Redman (1931-33) and, most notably, his brother. He was a pianist and arranger for Fletch's band intermittently between 1931 and 1947. During this time, Horace spent a lot of time in Chicago with Fletcher's band at the Grand Terrace, and formed his own band at Swingland. Horace also worked as a freelance arranger for Benny Goodman, Charlie Barnet, and Earl Hines3. From November 1942 through August 1943, Horace was the leader of the 732nd Military Police Band in Joliet, Illinois. The position was first offered to Louis Armstrong, who turned it down and recommended Horace for the position. After leaving the army, he played with Fletcher's band for two years. Horace began writing for Charlie Barnet in 1944, where he first came across Lena Horne. During a job at the Paramount, Charlie had Called Horace to say that his vocalist had laryngitis, and he needed a new singer. Horace went to the Apollo in Harlem in search of some talent, and they sent him to the Regent where he could find Lena Horne. She joined Charlie's show the next day, and from there went on to fame. Horace joined her for an extended tour as a pianist and arranger, and later worked with Billie Holiday3.
Horace moved to Denver with his wife, Angel, in the late 1960s. The Horace Henderson Combo performed at many nightclubs and resorts in the Denver area, including Estes Park, the Broadmoor Hotel, and the Petroleum Club. He began playing the organ in 1970 because the clubs didn't want to pay for four or five piece bands, and with an organ to replace the piano, a bass player was no longer necessary3. Horace continued to lead bands in the Denver area until his death on August 29, 1988.
Although both brothers had a major impact on the future of jazz, Horace is often thought of merely as a shadow to his more celebrated brother. Fletcher Henderson's career as a pianist, bandleader, and arranger is one of the most important in jazz history. Bands of leaders such as Count Basie, Charlie Barnet, Tommy and Jimmy Dorsey, and Benny Goodman all played arrangements, which were either written or influenced by Fletcher Henderson. Fletcher constantly surrounded himself with the most talented musicians of his era, and patterned the basic formula, which were imitated throughout the big band era.
However, at least thirty of Fletcher's arrangements, many for Benny Goodman, are accredited as Horace's work. His arrangement Hot and Anxious was based on the traditional riff that later became the basis for Glenn Miller's In the Mood. Christopher Columbus is the most notable example of Horace's potent piano style, which is often noted to be stronger than his brother's. Although the brothers had differences, Horace insists that they did not involve music. Fletcher's style and success had a huge influence on Horace's career, and he was incredibly grateful for all his brother taught him. In an interview in April of 1975, he was quoted as saying, "I idolize his way of thinking because he was successful. You don't fight success, you join it." 3
Sources
1. Biographical information derived from The New Grove Dictionary of Jazz, edited by Barry Kernfeld (New York: Macmillan Press Ltd, 1988).
2. The Pace Phonograph corporation was the first African-American-owned recording company in the United States. Historical information derived from The Greenwood Encyclopedia of Black Music; Biographical Dictionary of Afro-American and African Musicians, by Eileen Southern (USA: Greenwood Press, 1982).
3. Interview with Horace Henderson, April 2-12, 1975, Smithsonian Institution, Washington, DC.
Provenance:
The Fletcher and Horace Henderson collection was acquired by the museum in December of 2001, donated by Barbara and Barry Lewis.
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.
Topic:
Music -- 20th century -- United States Search this
Genre/Form:
Audiocassettes
Audiotapes
Manuscripts -- Music -- 20th century
Parts (musical)
Photographs -- 20th century
Citation:
Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History
An extensive collection of oral histories conducted by Lu Ann Jones throughout the southern United States between 1985-1991. A few oral histories were conducted by Pete Daniel in the early 1980s. Subjects include all facets of agriculture in the south.
Scope and Contents note:
The collection is divided into four series. Series 1: Oral History Transcripts, 1982-1991 are transcribed versions of the oral interviews. Correspondence and/or notes pertaining to the interviewed individual collected or written by the interviewer are filed in this series following the transcription. The majority of the oral histories were done by Lu Ann Jones between1985-1991. There are a few interviews done by Pete Daniel in the early 1980s and some reference copies of oral histories done elsewhere.
This series is divided into eight sub-series: Sub-series 1.1: Arkansas, Sub-series 1.2: Georgia, Sub-series 1.3: Louisiana, Sub-series 1.4: Mississippi, Sub-series 1.5: North Carolina (including transcripts of the Mexican Workers Project in English and Spanish), Sub-series 1.6: South Carolina, Sub-series 1.7: Tennessee, and Sub-series 1.8: Virginia. Files are arranged alphabetically by state and there under by name; within the file materials are arranged chronologically. Interview files may contain transcribed copies of the oral history interviews and subsequent draft copies with corrections by the interviewer or subject. The file also may contain distillations or edited versions of the interview done by the researcher for possible publication. Correspondence and notes files may include Life History Forms, correspondence, newspaper articles, interviewer's notes, business cards, and paper copies of photographs. Signed releases are on file in the registrar's office, NMAH, with copies in the control file of the Archives Center.
Series 2: Project Files and Reference Materials, 1928-2004 contain notes and correspondence kept by Jones in support of the oral history project. This series is divided into four sub-series: Sub-series 2.1: State Files, Sub-series 2.2: Project and Reference Files, 1985-1991, Sub-series 2.3: Reference Publications, Pamphlets and Articles, 1928-2004 and Sub-series 2d: Computer Floppy Disks, 1985 and undated. This series include bills, receipts, photo orders, travel brochures, reference materials, articles, correspondence, fundraising proposals and materials, USDA Extension Service bulletins, product cookbooks, and ephemera. These materials are valuable in documenting the methodology of the oral history project. They are also valuable in detailing the funding and maintenance of the project over its five-year lifespan. There is also a great deal of information on black farmers. This series is arranged alphabetically by state and county or by article/publication title and within the file chronologically.
Series 3: Photographic Prints and Slides, 1987-1991 documenting the individuals interviewed, their homes and businesses, and geographic locations that were studied as part of the oral history project. The series is arranged numerically then chronologically by year. This series is followed by detailed photographic descriptions arranged alphabetically by state then subject. Photograph files contain photographs taken by a Smithsonian photographer or Jones and any copies of photographs supplied by the subject. Most of the photographs are black and white.
Series 4: Original Interview Tapes and Reference Compact Discs (CD), 1986-1991 are the original tapes of the individual interviews conducted by Jones. This series is divided into eight sub-series. Reference numbers for CDs matching the original tapes are noted after the tapes. CDs 495-497 are for the Smithsonian Photographer's Show: Sub-series 4.1: Arkansas, Sub-series 4.2: Georgia, Sub-series 4.3: Louisiana, Sub-series 4.4: Mississippi, Sub-series 4.5: North Carolina (within this sub-series are the transcripts of the Mexican Workers Project there may be an English language transcription as well as one in Spanish), Sub-series 4.6: South Carolina, Sub-series 4.7: Tennessee and Sub-series 4.8: Virginia and Sub-series 4.9: Miscellaneous and Duplicates, within the sub-series tapes are arranged alphabetically by subject.
Arrangement:
The collection is divided into four series:
Series 1, Oral History Transcript
Series 2, Project Files
Series 3, Photographic Prints and Slides
Series 4, Original Oral History Interview Tapes and Reference Compact Discs (CDs) are the original interview tapes and the accompanying reference copy cds.
History:
The history of the American South is intricately entwined with the history of agriculture in North America. Until very recently, post 1950, the South was predominately rural and agricultural in both its production and culture. By the 1980s American agriculture, and particularly agriculture in the south, was under attack on various fronts especially cultural, financial, and technological. This assault threatened the very existence of the small and family farm. Many small farming operations went bankrupt and the face of American agriculture was becoming more corporate. It was amidst these troubling times that the Agricultural Division of the Smithsonian's National Museum of American History undertook a massive project to document southern agriculture through oral history.
Through the efforts of NMAH staff, Pete Daniel, curator and project director, LuAnn Jones, researcher, and with countless support from staff photographers and personnel, Jones conducted approximately 159 interviews of individual persons, couples and sometimes small groups, in eight southern states over a five year period, 1986-1991. The project was funded by a series of grants from various sources. Not only were oral histories taken but also substantial documentary photographs and slides of the many interviewees. The interviews ranged from individual farmers to individuals at companies and corporations involved with agriculture. The range of crops discussed included tobacco, cotton and rice. The project interviewed a wide range of subjects: male, female, black, white, and Mexican. The project has contributed to at least two books, Mama Learned Us to Work: Farm Women in the New South by LuAnn Jones and Like a Family: The Making of a Southern Cotton Mill World by Jacquelyn Dowd Hall and others of which Jones was a contributing author.
Related Collections:
Materials in the Archives Center
Warshaw Collection of Business Americana (NMAH.AC.0060)
Kulp Collection of Account Books, 1755-1904 (NMAH.AC.0149)
Robinson and Via Family Papers (NMAH.AC.0475)
William C. Kost Farm Records (NMAH.AC.0481)
Timothy B. Bladen, Southern Maryland Photoprints (NMAH.AC.0767)
Provenance:
A transfer from the Division of History of Technology (Agriculture), NMAH, July 2001
Restrictions:
Collection is open for research. Unprotected photographs must be handled with gloves.
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.
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "A 1 Sen. Senegal. Near Dakar. Men on the beach by fishing boats. 7/1970. EE. neg.no. V-22, 3A." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts Dolo, the blacksmith and wood carver of Ogol du Haut village, using a traditional adze to make a Kanaga mask. "Dogon masks are carved from the wood of male trees, a practice consistent with the association of the Awa society, masks, and Dama performances, with men. Wood from the togolo tree (Bumbax buonopozente) is most often used for the masks, and it is characterized by a red sap that oozes from its cut surfaces. When the carving is complete, the masks are prevented from drying by applications of sesame oil, and are painted with pigments from natural sources." [Harris M., 1989: Visual tropes: The Kanaga Mask of the Dogon people of West Africa, Yale University]. During his trip to Mali, Elisofon visited the Dogon people in the Sanga region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-IV-22, 3A.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "H 1 Dgn. Dogon. Mali, Ogol du Haut. In a cave outside the village, Dolo, a blacksmith/carver, uses a traditional adze to make a Kanaga mask. 6/1970. EE. neg.no. IV-22, 3A." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"Both Hausa men and women are profoundly shaped by their agricultural subsistence economy. From early childhood girls anticipate a productive domestic role. Women contribute significantly to labor-intensive food preparation as mothers of numerous children and also as farmers on their husbands' or their own personal plots." [Stephens Connie, 1991: Marriage in the Hausa Tatsuniya Tradition: A Cultural and Cosmic Balance; Hausa Women in the Twentieth Century. the University of Wisconsin Press]. During his trip to Niger, Elisofon visited the Hausa people in the Chadawanka village. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
EENG-VII-22, 3A.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "J 1 Hsa. Hausa. Niger, Chadawanka village. Millet in a calabash. 1/1971. EE. neg.no. VII-22, 3A." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the first quarter of the twentieth century, Efon-Alaiye was the center of carving in southern Ekiti. Its most famous workshop was in the compound of the Adesina family, which was widely known not only for its carvers but also for its beadworkers. The various images for mothers, hunters, warriors, and their gods express historical and cultural themes central to the development of Yoruba civilization. The equestrian figures evoke the impact of warfare in the formation of Yoruba kingdoms from the sixteenth to the nineteenth centuries, while the maternity image signals one of the many roles of women. Women and men are the pillars, opo, of society, both literally and figuratively as seen in veranda posts. They sustain society and, at the same time, shape and re-create it through the efficacy of their actions and the power of their aesthetic visions." [Drewal H. J., Pemberton J. III, Rowland Abiodun, 1989: Yoruba. Nine Centuries of African Art and Thought; The Carvers of the Northeast. Harry N. Abrams Inc.]. This work may be attributed to a member of the Adesina family, probably the master carver Agbonbiofe, who died in 1945. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-II-22, 3A.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "T 2 Yrb. Yoruba, Ekiti. Nigeria, Efon Alaye. Veranda post in the impluvial courtyard of the palace. 5/1970. EE. neg.no. II-22, 3A." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
002 TUTANKHAMEN SERIES; THE VALLEY OF THE KINGS; Copyright Publication by the Bruce Co., London; POST CARD; Printed[,] in[,] England. Published by Bruce Co., London
Series Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Item Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, C-3A, 22.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "U 5 Rho. Rhodesia. North of Bulawayo. Strip road. 3/1947. EE. neg.no. 24658, C-3A, 22." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Myhra and Walter discuss a photo of a Horten aircraft - not identified; Walter discusses air battle with a Spitfire; Galland ordered Walter to escape [6:30]; [22:58] They talk about a Messerschmitt Gigant seen in a photo; [26:04] Horten IX V1 found at Brandeis, aircraft moved there as Russians secured Oranienburg, Walter thinks it was towed there by a He III aircraft, probably in beginning of April 1945; Walter talks about cockpit noise levels in Horten IX V2; photos of Horten IX V3 with discussion; [41:00] Myhra and Walter discuss Horten IX V3 at NASM. Aircraft related to Horten IX talked about - Horten IX b and c, not handed over to RLM; [45:05] Walter apparently wanted a fin on the Horten IXc, Reimar did not want a fin; Horten XI, delta wing sailplane, never built, only preliminary sketches [53:56]; [57:41] Horten XII mockup discussed, this was intended to be a postwar sport trainer, keep his team busy [61:37].
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:
Walter and Reimar Horten Interviews [Myhra], Acc. 1999-0065, National Air and Space Museum, Smithsonian Institution.
Curtiss P-3A Power Plant, L. H. Side, 9-8-28. [Close up view of left side of nose of aircraft from slightly to the rear showing engine installed in skeleton fuselage; note fire extinguished mounted at center.]
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:
Curtiss-Wright Corporation Records, Acc. XXXX-0067, National Air and Space Museum, Smithsonian Institution.
"A great deal of fishing is at the subsistence level or on a small commercial level. There were some commercial fishing operations by European-owned companies on the great lakes, but these virtually disappeared after Zairanization (between 1973 and 1975). [F. Scott Bobb, 1999: Historical Dictionary of Democratic Republic of Congo, The Scarecrow Press]. During his trip to Congo (now Democratic Republic of Congo), Elisofon visited Mundrov Fishery in Lake Albert, called Lake Mobutu by Congolese cartographers during the 1970s and 1980s. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-I-22, 3A.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "Q 3 Zai. Zaire. Lake Mobutu (Lake Albert). Mundrov Fishery. Drying salt fish. Tilafia, capitame, most common fish. 4/1970. EE. neg.no. I-22, 3A." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to Congo (now Democratic Republic of Congo), Elisofon visited the village of Bungamba (Bongamba, Bongaam) between Mweka and Luebo, in the Kuba region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-I-35, 3A.
General:
Title source: Index card based on photographer's notes.
Exhibitions Note:
"Changing Place: Spatial Effects of African Art," held by the Fogg Art Museum, 2001.
Local Note:
Typed index card reads, "F 3 Kba. Kuba. Zaire, Bungabo. Children dancing at royal visit of Nyim Kot aMbweeky III. 4/22/1970. EE. neg.no. I-35, 3A." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
This collection consists of the records of the Waco Aircraft Company. The material includes office files of the company, marketing and sales information, and design data. Also included are original engineering drawings and report files.
Scope and Contents note:
In 1920 Clayton J. Bruckner, Elwood "Sam" Junkin and George "Buck" Weaver formed Weaver Aircraft Co. In April of 1923, they renamed the company Advanced Aircraft Co. and, in May of 1929, Waco Aircraft Co. By the 1930s the company was a leader in the design of wood and fabric aircraft. At their most widespread use, Waco aircraft were operated by public, private, military and corporate owners in thirty-five countries. During World War II, Waco devoted itself entirely to war production, manufacturing large numbers of troop- and cargo-carrying gliders. Following the war Waco attempted to market a wholly new design, but the post- war slump in the private aviation market and the high development costs of the aircraft forced Waco to withdraw from aircraft manufacture in June 1947. During its twenty-seven year existence Waco produced sixty-two different aircraft models and led all its competitors in the number of aircraft registered.
The Waco collection is divided into two parts. Part One comprises 24,855 drawings. The locations and descriptive information of these drawings are listed on an electronic database entitled the Waco Aircraft Engineering Drawings Data Base. The drawings vary greatly in size from small drawings of 4x5" to large sheets of over 150" in length. The majority of the drawings included in Part One are numbered, but many of the drawings are unnumbered. These drawings span most of the Company's existence and depict many of its powered and glider aircraft. There are several smaller sets of drawings which include layout drawings, tool drawings and stress analyses. Production charts and data charts are also among these drawings.
Part Two includes the business records of the Waco Aircraft Company. These documents can be generally divided between the engineering and sales departments. Most of the drawings within Part Two are from sub-contractors and U.S. Government agencies.
Waco aircraft company designations are confusing. Many variations exist regarding the practice of assigning model designations. Despite these exceptions, some basic rules serve as a guideline. Prior to 1930, Waco models were designated by a single number, 1 through 10. The last aircraft designated in this manner, the Waco 10, became the Waco Model O under the new scheme of designation.
Waco early models were additionally referred to by their horsepower. This may have been a practice of distributors and salesmen.
Since 1930, The Waco Aircraft Company used a combination of three letters with which to name its models. An example would be the Model ASO. The letters are best read from right to left. The letter on the right represents the fuselage, i.e. Model O. The middle letter represents a modification to the basic model, i.e. CSO for straight wing or CTO for tapered wing. The letter on the left represents the engine, i.e. CSO for Wright J-6, 225 horse power engine. Additionally, Waco models were often followed by a number indicating the year in which the aircraft was built. A YPF-6, for example, was manufactured in 1936.
Waco World War II gliders, designed for the U.S.A.A.F, were designated by an alpha-numeric combination. The four unpowered gliders produced shared the same letter prefixes of CG, which stood for cargo glider. The numeric suffix distinguishes the aircraft. They were the Models CG-3A, CG-4A, CG-13A and CG-15A. An X preceding the designation denotes experimental, i.e. XCG-4A. An addition of two letters denotes the manufacturer, i.e. CG-4A- TI for Timm Aircraft Co. Many of the Waco designed gliders were constructed by various companies. Powered versions of the gliders were referred to by the prefix PG for powered gliders.
Arrangement note:
Series 1: Numbered Engineering Reports
Series 2: Model Engineering Reports
Series 3: Engineering Documents
Series 4: Government Contracts
Series 5: Contractor Reports
Series 6: Correspondence
Series 7: Publications
Series 8: Sales
Series 9: Blueprints & Drawings
Series 10: Drawings Lists
Series 11: Model Indexes
Series 12: Contractor Drawings
Biographical/Historical note:
In 1920 Clayton J. Bruckner, Elmwood "Sam" Junkin, and Buck Weaver formed an aircraft company known as the Weaver Aircraft Company in Troy, OH. By the 1930s the company, known as Waco Aircraft Co. since 1929, was a leader in the design of wood and fabric aircraft, with Waco aircraft being operated by public, private, and corporate owners in thirty-five countries. During World War II Waco devoted itself entirely to war production, manufacturing large numbers of troop- and cargo-carrying gliders. Following the war Waco attempted to market a wholly new design but the postwar slump in the private aviation market and the high development costs of the aircraft forced Waco to withdraw from aircraft manufacture in June 1947. During its twenty-eight year existence Waco produced sixty-two different aircraft models and led all its competitors in number of aircraft registered.
Related Archival Materials note:
Other collections within the Archives Division of the National Air and Space Museum which are relevant to Waco are as follows:
The Hattie Meyers Junkin Papers(1906-1982), Accession #XXXX-0171. Junkin was married first to George Weaver and later to Elwood Junkin, both founders of the Waco Aircraft Company.
The A. Francis Arcier(1890-1969) Collection, Accession #XXX-0072. Arcier was one of the leading engineers with the Waco Aircraft Company.
The National Air and Space Museum Archival Video Discs. Included in this collection are three blocks of Waco Aircraft photographs; prints listed by model type under the Company name in the Aircraft Finding Aid, prints listed under "Glider Aircraft" in the U.S. Air Force Collection finding aid and prints listed under the Company name in the "General Subjects" of the U.S. Air Force Collection Finding Aid.
The NASM Archives Technical Files. The documents filed under "Waco" include mostly photographs and newspaper articles. Information about some of the individual Waco employees, including Hattie Junkin and George Weaver, can be found filed under the individual's name in the biographical section of the Technical Files.
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.
1 Volume (Sketchbook (24 pages), 12.1 cm. x 25.1 cm.)
Type:
Archival materials
Volumes
Sketchbooks
Drawings
Sketches
Place:
Asia
Iran
Date:
undated
Scope and Contents:
(Numbers in black refer to entries in Herzfeld's Inventory. The pieces in the Hahn Coll. are so marked)
(see also SK-XXVI, "Sammlung Hahn, etc.")
- SK-30 is the thirtieth of a series of thirty-five sketchbooks (Skizzenbücher), in which Ernst Herzfeld recorded his observations on archaeological remains, prehistoric artifacts and decorative motifs related to Babylon (Iraq), Harsin (Iran), and the prehistoric mound of Tepe Giyan (Iran).
- Original handwritten title on cover reads: "Ernst Herzfeld; Skizzenbuch XXX: Antiken IV."
- In Finding Aid, caption for pg. 1 reads, "fourteen Sasanian button [(stamp)] seals, one Islamic, [see N-89, inventory number 246], [see N-91, inventory number 2251]."
- In Finding Aid, caption for pg. 2 reads, "[nine] Sasanian and Achaemenian seals, [see N-89, inventory number 797; inventory number 272; inventory number 250; inventory number 243; inventory number 276]; and three "cat's eye" pieces, [see N-89, inventory number 233], [see N-91, inventory number 2213], [see FSA A.6 04.GN.0496)]."
- In Finding Aid, caption for pg. 3 reads, "twelve seal stones, including one cuneiform roll [(cylinder)] seal, most are pre-Sasanian, [see N-89, inventory number 248; inventory number 249; inventory number 271; inventory number 275; inventory number 274], [3.01.1930]."
- In Finding Aid, captions for pg. 3a and 4 reads, "twenty-three Achaemaenian stamp seals, [see N-89, inventory number 264; inventory number 263; inventory number 257; inventory number 262; inventory number 259; inventory number 258; inventory number 269; inventory number 261; inventory number 268; inventory number 253; inventory number 2223; inventory number 273; inventory number 251]."
- In Finding Aid, caption for pg. 5 reads, "twenty Sasanian seal stones, four with inscriptions, [see N-91, inventory number 2815], [3.01.1930]."
- In Finding Aid, caption for pg. 6 reads, "twenty-nine Sasanian seal stones, animals, birds, three with inscriptions, [see N-89, inventory number 350; inventory number 798; inventory number 1964], [see N-91, inventory number 2249 and inventory number 2874]."
- In Finding Aid, caption for pg. 7 reads, "nineteen Sasanian seal stones and one Arabic, five with inscriptions, [see N-89, inventory number 1865; inventory number 1965], [see N-91, inventory number 2303; inventory number 2304; inventory number 2305; inventory number 2306; inventory number 2307; inventory number 2308; inventory number 2410; inventory number 2665], [TG 163], [3.01.1930]."
- In Finding Aid, caption for pg. 8 reads, "twenty-four haematite weights (frogs, ducks, etc.), some with human figure or motif, [Hamadan], [3.01.1930], [see N-89, inventory number 109; inventory number 110; inventory number 158; inventory number 159; inventory number 160; inventory number 162; inventory number 163; inventory number 164; inventory number 165; inventory number 166; inventory number 167; inventory number 168; inventory number 170; inventory number 107 or inventory number 171; inventory number 185], [see N-91, inventory number 2296 or inventory number 2298; inventory number 2650], [TG 151; TG 190], [see FSA A.6 04.GN.1141; FSA A.6 04.GN.0146; FSA A.6 04.GN.0147]."
- In Finding Aid, caption for pg. 9 reads, "twenty-two stone weights and small figurines of animals, [see N-89, inventory number 108; inventory number 171; inventory number 173; inventory number 175; inventory number 176; inventory number 188; inventory number 189; inventory number 191; inventory number 192; inventory number 1505; inventory number 1726], [see N-91, inventory number 2663; inventory number 2813; inventory number 2837], [TG 106; TG 147; TG 155], [see FSA A.6 04.GN.0145; FSA A.6 04.GN.1141]."
- In Finding Aid, caption for pg. 10 reads, "eighteen small [carved] stone figures, some from Baghdad, Tabriz, or Tello, [see N-89, inventory number 153; inventory number 196; inventory number 197], [see N-91, inventory number 2294; inventory number 2295; inventory number 2297; inventory number 2298; inventory number 2301; inventory number 2836; inventory number 2839], [TG 147; TG 156; TG 173 or TG 143], [see FSA A.6 04.GN.0138; FSA A.6 04.GN.0145]."
- In Finding Aid, caption for pg. 11 reads, "thirteen small stone figures of animals or birds, [3.01.1930], [see N-89, inventory number 145; inventory number 146; inventory number 147; inventory number 148; inventory number 771], [see N-91, inventory number 2671], [TG 144], [see FSA A.6 04.GN.0138; FSA A.6 04.GN.0140; FSA A.6 04.GN.0142; FSA A.6 04.GN.0144]."
- In Finding Aid, caption for pg. 12 reads, "[ten] small [stone and bone inlays], as well as [pendants] with [animal design], [see N-89, inventory number 149], [see N-91, inventory number 2215; inventory number 2216; inventory number 2293; inventory number 2666; inventory number 2670; inventory number 2822], [TG 145; TG 146], [see FSA A.6 04.GN.0138; FSA A.6 04.GN.0142; FSA A.6 04.GN.0738]; two stamp seals, [see FSA A.6 04.GN.0144]."
- In Finding Aid, caption for pg. 13 reads, "fifteen small stone or metal objects; ring bezels, stamp seals, Tepe Giyan beads, [see N-91, inventory number 2283; inventory number 2284; inventory number 2285; inventory number 2286; inventory number 2401; inventory number 2650; inventory number 2659; inventory number 2662; inventory number 2672; inventory number 2823; inventory number 2824], [TG 121; TG 123; TG 140; TG 141 or TG 160; TG 142; TG 143; TG 158(?); TG 175; TG 176; TG 177; TG 190], [see FSA A.6 04.GN.0139; FSA A.6 04.GN.0252; FSA A.6 04.GN.0254; FSA A.6 04.GN.0506; FSA A.6 04.GN.0823; FSA A.6 04.GN.0831]."
- In Finding Aid, caption for pg. 14 reads, "Twenty small stone or metal objects: beads, stamp seals, [see N-89, inventory number 187; inventory number 724; inventory number 770], [see N-91, inventory number 2210; inventory number 2211; inventory number 2299; inventory number 2328; inventory number 2329; inventory number 2407; inventory number 2651; inventory number 2653; inventory number 2664; inventory number 2669; inventory number 2683; inventory number 2841], [TG 27; TG 151; TG 157], [see FSA A.6 04.GN.0139; FSA A.6 04.GN.0325; FSA A.6 04.GN.0823; FSA A.6 04.GN.0831; FSA A.6 04.GN.1082]."
- In Finding Aid, caption for pg. 15 reads, "Tepe Giyan, twenty-two steatite (stone) beads, [toogles], buttons, and [amulets], [see N-91, inventory number 2371; inventory number 2386; inventory number 2387; inventory number 2391; inventory number 2392; inventory number 2393; inventory number 2394; inventory number 2395; inventory number 2396; inventory number 2397; inventory number 2398; inventory number 2399; inventory number 2400; inventory number 2402; inventory number 2403; inventory number 2654; inventory number 2655; inventory number 2656], [TG 66; TG 79; TG 84; TG 94], [see FSA A.6 04.GN.0823; FSA A.6 04.GN.0826]."
- In Finding Aid, caption for pg. 16 reads, "Tepe Giyan, fifteen stone buttons and seals, [see N-91, inventory number 2383; inventory number 2385; inventory number 2388; inventory number 2389; inventory number 2390; inventory number 2404; inventory number 2405; inventory number 2406; inventory number 2656; inventory number 2658; inventory number 2661; inventory number 2679; inventory number 2680; inventory number 2681; inventory number 2682], [TG 23; TG 43; TG 75; TG 88; TG 103], [see FSA A.6 04.GN.0823; FSA A.6 04.GN.0829; FSA A.6 04.GN.0833; FSA A.6 04.GN.0831; FSA A.6 04.GN.1082]."
- In Finding Aid, caption for pg. 17 reads, "[stone] buttons, beads, seals, [see N-91, inventory number 2384; inventory number 2678; inventory number 2684; inventory number 2686], [TG 65; TG 105; TG 106; TG 108; TG 109], [see FSA A.6 04.GN.0823; FSA A.6 04.GN.0826]."
- In Finding Aid, caption for pg. 18 reads, "four stone pendants (Tepe Giyan), clay masque and carved stone, [see N-89, inventory number 156; inventory number 227], [see N-91, inventory number 2613; inventory number 2614; inventory number 2618; inventory number 2621], [TG], [see FSA A.6 04.GN.0496; FSA A.6 04.GN.0506]."
- In Finding Aid, caption for pg. 19 reads, "eight Sasanian button seals, silex object from Pasargadae, and two beads [(ornaments of onyx)] (Tepe Giyan), [see N-91, inventory number 2615; inventory number 2616], [TG], [see FSA A.6 04.GN.0496, FSA A.6 04.GN.0506]."
- In Finding Aid, caption for pg. 20 reads, "eight small bronze objects, mostly Babylonian, [see N-89, inventory number 205; inventory number 902], [see N-91, inventory number 2208], [see FSA A.6 04.GN.0154; FSA A.6 04.GN.0159; FSA A.6 04.GN.1140]."
- In Finding Aid, caption for pg. 21 reads, "three small bronze animals and snake (Tepe Giyan), [see N-89, inventory number 210], [TG], [see FSA A.6 04.GN.0152; FSA A.6 04.GN.0022; FSA A.6 04.GN.0159]."
- In Finding Aid, caption for pg. 22 reads, "seven small bronze [objects with animal design]: mostly Tepe Giyan, one possibly Achaemenian, [see N-89, inventory number 723], [see N-91, inventory number 2270; inventory number 2282; inventory number 2287], [TG], [see FSA A.6 04.GN.0150; FSA A.6 04.GN.0155; FSA A.6 04.GN.0158; FSA A.6 04.GN.0159]."
- In Finding Aid, caption for pg. 23 reads, "Bronze human figure from Birs, [see N-89, inventory number 104]; votive figure from Harsin, [see FSA A.6 04.GN.0022; FSA A.6 04.GN.1142]."
- In Finding Aid, caption for pg. 23a reads, "Confronted Ibex, bronze, Harsin, [see FSA A.6 04.GN.0396]."
- In Finding Aid, caption for pg. 24 reads, "four bronzes, including pendant with Pahlavi inscription, [see N-91, inventory number 2280], [TG], [see FSA A.6 04.GN.0155; FSA A.6 04.GN.0290; FSA A.6 04.GN.1142]."
Ernst Herzfeld Papers, Series 2: Sketchbooks; Subseries 2.12: Antiquities 4: Sketchbook 30
Arrangement:
Sketchbooks, housed in document boxes and stored on shelves, are organized by Joseph Upton into 13 subject categories.
Local Numbers:
Ernst Herzfeld Papers; SK-30
FSA A.06 02.12.30
Former Title or Title Variations:
Ernst Herzeld; Skizzenbuch XXX: Antiken IV
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Herzfeld's original sketchbook title and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
"Summary of official performance test of Consolidated PT-3A." Source: Wright Field
Collection Creator:
Wright-Patterson Air Force Base (Ohio) Search this
Container:
Box D571, Folder D52.1 Consolidated / 22
Type:
Archival materials
Date:
Feb. 6, 1929
Scope and Contents:
Airplanes - Consolidated PT 3A - Performance
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