Search Results

Artist:

Unidentified Artist  Search this

Copy after:

Simon Chaudron  Search this

Sitter:

George Washington, 22 Feb 1732 - 14 Dec 1799  Search this

Medium:

Oil on glass

Dimensions:

67.7cm x 48.9cm (26 5/8" x 19 1/4"), Accurate

Type:

Painting

Date:

1800-10

Topic:

Exterior  Search this

Nature & Environment\Clouds  Search this

Symbols & Motifs\Symbolic Figure  Search this

Human Figures  Search this

George Washington: Male  Search this

George Washington: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this

George Washington: Politics and Government\Statesman\Colonial statesman  Search this

George Washington: Natural Resource Occupations\Agriculturist\Farmer  Search this

George Washington: Military and Intelligence\Army\Officer\General  Search this

George Washington: Politics and Government\President of US  Search this

George Washington: Science and Technology\Surveyor  Search this

George Washington: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

Owner: Winterthur Museum

Object number:

60.570 A

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4470be02e-3cf6-4e33-88cc-67d106e16c1b

EDAN-URL:

edanmdm:npg_60.570_A

Artist:

Unidentified Artist  Search this

Sitter:

Stephen Grover Cleveland, 18 Mar 1837 - 24 Jun 1908  Search this

James Gillespie Blaine, 31 Jan 1830 - 27 Jan 1893  Search this

Medium:

Chromolithograph on paper

Dimensions:

Image: 30.5 × 47.6 cm (12 × 18 3/4")

Sheet: 35 × 51.6 cm (13 3/4 × 20 5/16")

Type:

Print

Date:

1884

Topic:

Vehicle\Ship\Sailing ship  Search this

Symbols & Motifs\Flag\National\United States  Search this

Imaginary  Search this

Exterior\Cityscape  Search this

Food  Search this

Symbols & Motifs\Flag\National\British  Search this

Home Furnishings\Furniture\Seating\Chair\Rocking chair  Search this

Symbols & Motifs\Banner  Search this

Cartoon  Search this

Cartoon\Political  Search this

Symbols & Motifs\Symbolic Figure\Uncle Sam  Search this

Architecture\Building\Factory  Search this

Equipment\Walking stick  Search this

Stephen Grover Cleveland: Male  Search this

Stephen Grover Cleveland: Law and Crime\Lawyer  Search this

Stephen Grover Cleveland: Politics and Government\Governor\New York  Search this

Stephen Grover Cleveland: Law and Crime\Police\Sheriff  Search this

Stephen Grover Cleveland: Politics and Government\President of US  Search this

Stephen Grover Cleveland: Education and Scholarship\Administrator\University administrator\University trustee  Search this

Stephen Grover Cleveland: Politics and Government\Public official\Mayor\Buffalo, NY  Search this

James Gillespie Blaine: Male  Search this

James Gillespie Blaine: Politics and Government\Presidential candidate  Search this

James Gillespie Blaine: Politics and Government\US Congressman\Speaker of the House  Search this

James Gillespie Blaine: Journalism and Media\Newspaper editor  Search this

James Gillespie Blaine: Education and Scholarship\Educator\Teacher  Search this

James Gillespie Blaine: Politics and Government\Cabinet member\Secretary of State  Search this

James Gillespie Blaine: Politics and Government\US Senator\Maine  Search this

James Gillespie Blaine: Politics and Government\US Congressman\Maine  Search this

James Gillespie Blaine: Politics and Government\State Legislator\Maine  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Milton and Ingrid Rose

Object number:

NPG.96.137

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 141

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm46ec2a52b-1b75-44f2-9f37-4383c1ffb9b4

EDAN-URL:

edanmdm:npg_NPG.96.137

Creator:

Fulton, Garland, 1890-1974  Search this

Names:

United States. Navy -- Aviation  Search this

Extent:

20.8 Cubic feet (45 boxes)

Type:

Collection descriptions

Archival materials

Correspondence

Memorandums

Photographs

Technical reports

Date:

1914-1964

bulk 1918-1945

Summary:

This collection consists of material gathered by Captain Garland Fulton, USN. Comprising 20 cubic feet, the Fulton Papers includes correspondence and memoranda regarding the U.S. Navy's LTA program from the 1920s to the beginnings of the expansion of the Navy's LTA program prior to World War II. There is also extensive material on Naval airship policy, and on defense policy between the world wars. As head of the Lighter-than-Air Design Section of the Bureau of Aeronautics, Fulton was an insider in the art of defense procurement and spending - his memoranda and letters provide an illuminating look into defense policy and congressional affairs between the World Wars. Of particular interest is Fulton's correspondence from his service as Inspector of Naval Aircraft during the construction of the USS Los Angeles in Friedrichshafen, Germany, 1922-1924. His correspondence with other leading figures in LTA and naval affairs - William A. Moffett, Ernest J. King, Jerome Hunsaker, Karl Arnstein, Hugo Eckener, F. W. von Meister, and Charles E. Rosendahl are an invaluable resource of the heroic period of airship development. The collection also includes technical data on airships, airship design, and naval architecture. There are many photographs, including photos documenting the construction and the first flight of the Los Angeles.

Scope and Contents:

The Garland Fulton Collection consists of material gathered by Captain Garland Fulton, USN (1890-1975), naval officer and proponent of lighter than air (LTA) flight. The collection was originally donated by Fulton's estate to the U.S. Naval Historical Foundation of Washington D.C. in 1979, and was transferred to the National Air and Space Museum as a permanent deposit in 1982. The collection was formally donated to NASM in May of 2000. Comprising 16 cubic feet, the Fulton Papers includes correspondence and memoranda regarding the US Navy's LTA program from the 1920s to the beginnings of the expansion of the Navy's LTA program prior to World War II. There is also extensive material on Naval airship policy, and on defense policy between the world wars. As head of the Lighter-Than-Air Design Section of the Bureau of Aeronautics, Fulton was an insider in the art of defense procurement and spending --his memoranda and letters provide an illuminating look into defense policy and congressional affairs between the World Wars. Of particular interest is Fulton's correspondence from his service as Inspector of Naval Aircraft during the construction of the USS Los Angeles in Friedrichshafen, Germany, 1922-1924. His correspondence with other leading figures in LTA and naval affairs --William A. Moffett, Ernest J. King, Jerome Hunsaker, Karl Arnstein, Hugo Eckener, F.W. von Meister, and Charles E. Rosendahl are an invaluable resource of the heroic period of airship development.

The collection also includes technical data on airships, airship design, and naval architecture. There are many photographs, including photos documenting the construction of the Los Angeles.

The collection includes books on lighter-than-air history naval history, and engineering. A number of the books have been transferred to the NASM branch of the Smithsonian Institution Libraries; others were transferred with the permission of the Fulton family to other institutions. Several books with personal inscriptions were retained with the collection.

The collection also includes a series of photographs of airships, including many detailing the construction and first flight of the Los Angeles.

Arrangement:

The Garland Fulton Collection is arranged in the following series:

Series I: Personal Files, Correspondence, Fulton's Writings

Subseries 1 --Biography, personal papers

Subseries 2 --Correspondence

Subseries 3 --Papers, articles, and notes by Garland Fulton

Series II: Lighter Than Air (LTA)

Subseries 1 --Navy airships; Navy LTA policy and doctrine

Subseries 2 --Civilian and foreign airships

Subseries 3 --LTA, general

Subseries 4 --LTA articles, papers and data

Subseries 5 --LTA general publications

Subseries 6 --LTA gases

Series III: Aeronautics, general

Series IV: Publications, Papers, Reports, Journals

Subseries 1 --Arranged by organization and/or individuals

Subseries 2 --Technical papers, reports, journals

Subseries 3 --Magazines, journals, papers, reports

Subseries 4 --Newspapers, clippings

Series V: US Navy, general

Series VI: Miscellaneous documents

Series VII: Photographs

Series VIII: Books

Series IX: Oversized Material

Biographical / Historical:

Captain Garland Fulton, USN, one of the U.S. Navy's leading proponents of lighter-than-air (LTA) flight, was born in University, Mississippi on May 6, 1890. He was appointed to the U.S. Naval Academy in 1908. His roommate at the Academy was Richard E. Byrd (1888-1957), and another classmate was Donald W. Douglas, later founder of the Douglas Aircraft Company. Serving at the Academy during Fulton's career as a midshipman was Lieutenant Ernest J. King, later head of the Bureau of Aeronautics (BuAer), 1933-1937, and Commander in Chief, U.S. Fleet (COMINCH) during World War II. An early advocate of naval aviation, King sparked Fulton's interest in aeronautics. Fulton graduated from the Naval Academy in 1912. Following duty with the fleet, Fulton attended the Massachusetts Institute of Technology (MIT), studying naval architecture and, under Commander (and Dr.) Jerome C. Hunsaker, aeronautical engineering. Fulton received his master's degree in 1916. Fulton entered the Naval Construction Corps in 1915, serving in the Industrial Department at the New York Navy Yard, where, during World War I, he was in charge of mounting guns on armed merchant ships. In May 1918, Fulton asked to be assigned to aeronautical engineering duties in the Aviation Section of the Navy's Bureau of Construction and Repair. Fulton transferred to the Bureau of Aeronautics when that organization was founded in 1921. In 1922, now a lieutenant commander, Fulton was sent to Europe to assist in the negotiations for the purchase of the "Reparations Airship" to replace the German rigid airships that had been awarded to the United States by the Versailles Treaty but were destroyed by their crews before transfer to the US. As Inspector of Naval Aircraft (INA), Fulton served at the Zeppelin works (Luftschiffbau-Zeppelin) at Friedrichshafen, Germany during the construction and flight trials of the rigid airship LZ 126. Assigned the service designation ZR-3, the airship was christened the USS Los Angeles upon its delivery to the US Navy at the Lakehurst Naval Air Station, NJ in 1924. Fulton resumed his service at the Bureau of Aeronautics in Washington DC after the completion of Los Angeles. As head of the Bureau's Lighter-Than-Air Design Section until his retirement, Fulton oversaw the design and construction of the USS Akron (ZRS-4) and the USS Macon (ZRS-5), and worked actively to help further the acceptance of large airships in both the Navy and in commerce. Under Fulton's guidance, expansion of the Navy's non-rigid airship (blimp) program was initiated in the years prior to the United States' entry into World War II.

Garland Fulton retired from the Navy with the rank of captain in 1940 and joined the Cramp Shipbuilding Company of Philadelphia as a director. After retirement from Cramps as vice president in charge of engineering in 1947, Fulton served on several corporate boards of directors. In later years, Fulton was a frequent unofficial consultant to the Navy and industry on LTA issues. He continued to correspond with other participants of the airship age, including Admiral Thomas G.W. "Tex" Settle, Admiral C.E. Rosendahl, Commodore George H. Mills (NASM Collection 1994-0022), Jerome C. Hunsaker (NASM Collection XXXX-0001), Karl Arnstein, and F.W. "Willy" von Meister. As the dean of American airshipmen, Fulton frequently served as a source of information to airship historians like Douglas Robinson, Richard Smith, Robin Hingham, and William Althoff. Fulton wrote extensively on LTA and aeronautical history, and planned to write a history of U.S. Naval Aviation until prevented by failing health. Garland Fulton died on October 24, 1974 --the same day as his friend George Mills. They were buried on the same day in Arlington National Cemetery.

Provenance:

Naval Aviation History Foundation, Gift, 1981

Restrictions:

No restrictions on access.

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 http://airandspace.si.edu/permissions

Topic:

USS Los Angeles ( ZR-3)  Search this

Aeronautics  Search this

USS Akron (ZRS-4)  Search this

Airships  Search this

USS Macon (ZRS-5)  Search this

Genre/Form:

Correspondence

Memorandums

Photographs

Technical reports

Citation:

Garland Fulton Collection, Accession XXXX-0101, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.XXXX.0101

See more items in:

Garland Fulton Collection

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg219885ad7-0ab6-4bd1-97eb-2da9e486e6b9

EDAN-URL:

ead_collection:sova-nasm-xxxx-0101

Physical Description:

cotton (overall material)

plastic (overall material)

Measurements:

average spatial: 28 in x 12 1/2 in; x 71.12 cm x 31.75 cm

Object Name:

Hip Pads, Pair of

hip pads, football

Associated Place:

United States: New York, Islip Terrace

Date made:

1930s

ca 1947

Subject:

Sports  Search this

Football  Search this

semi-pro  Search this

Credit Line:

Christopher and Richard E. Repetti in memory of Ernest Repetti

ID Number:

1981.0472.04

Catalog number:

1981.0472.04

Accession number:

1981.0472

See more items in:

Culture and the Arts: Sport and Leisure

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a9-0b1e-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1066236

Creator:

Poor, Henry Varnum, 1887-1970  Search this

Names:

Montross Gallery  Search this

Skowhegan School of Painting and Sculpture  Search this

Benton, William, 1900-1973  Search this

Biddle, George, 1885-1973  Search this

Billing, Jules  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Caniff, Milton Arthur, 1907-1988  Search this

Ciardi, John, 1916-  Search this

Czebotar, Theodore  Search this

Deming, MacDonald  Search this

Dickson, Harold E., 1900-  Search this

Dorn, Marion, 1896-1964  Search this

Duchamp, Marcel, 1887-1968  Search this

Esherick, Wharton  Search this

Evergood, Philip, 1901-1973  Search this

Garrett, Alice Warder  Search this

Houseman, John, 1902-1988  Search this

Marston, Muktuk  Search this

Meredith, Burgess, 1907-1997  Search this

Mumford, Lewis, 1895-1990  Search this

Padro, Isabel  Search this

Poor, Anne, 1918-  Search this

Poor, Bessie Breuer  Search this

Poor, Eva  Search this

Poor, Josephine Graham  Search this

Poor, Josephine Lydia  Search this

Poor, Peter  Search this

Sargent, Elizabeth S.  Search this

Smith, David, 1906-1965  Search this

Steinbeck, John, 1902-1968  Search this

Watson, Ernest William, 1884-1969  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Date:

1873-2001

bulk 1904-1970

Summary:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Scope and Content Note:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)

Biographical Note:

Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.

Related Material:

An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.

Provenance:

Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.

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. Use of audiovisual recordings with no duplicate access copy requires advance notice.

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.

Occupation:

War artists  Search this

Educators -- New York (State) -- New York  Search this

Ceramicists -- New York (State) -- New York  Search this

Muralists -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Designers -- New York (State) -- New York  Search this

Topic:

Architects -- New York (State) -- New York  Search this

World War, 1914-1918  Search this

Pottery -- New York (State) -- New York  Search this

Genre/Form:

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Citation:

Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.poorhenr

See more items in:

Henry Varnum Poor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96265d653-098f-4ccc-abed-0bc649c50516

EDAN-URL:

ead_collection:sova-aaa-poorhenr

Creator:

Alexander, John White, 1856-1915  Search this

Names:

MacDowell Club of New York  Search this

Abbey, Edwin Austin, 1852-1911  Search this

Alexander, Elizabeth A., d. 1947  Search this

Carnegie, Andrew, 1835-1919  Search this

Chase, William Merritt, 1849-1916  Search this

Gibson, Charles Dana, 1867-1944  Search this

James, Henry, 1843-1916  Search this

La Farge, John, 1835-1910  Search this

Levy, Florence N. (Florence Nightingale), 1870-1947  Search this

Millet, Francis Davis, 1846-1912  Search this

Remington, Frederic, 1861-1909  Search this

Stevenson, Robert Louis, 1850-1894  Search this

Whistler, James McNeill, 1834-1903  Search this

Extent:

11.9 Linear feet

Type:

Collection descriptions

Archival materials

Awards

Interviews

Photographs

Sketchbooks

Scrapbooks

Medals

Date:

1775-1968

bulk 1870-1915

Summary:

The papers of the painter, muralist, and illustrator John White Alexander measure 11.9 linear feet and date from 1775 to 1968, with the bulk of materials dating from 1870 to 1915. Papers document Alexander's artistic career and many connections to figures in the art world through biographical documentation, correspondence (some illustrated), writings, 14 sketchbooks, additonal artwork and loose sketches, scrapbooks, photographs, awards and medals, artifacts, and other records. Also found is a souvenir engraving of a Mark Twain self-portrait.

Scope and Contents:

The papers of the painter, muralist, and illustrator John White Alexander measure 11.9 linear feet and date from 1775 to 1968, with the bulk of materials dating from 1870 to 1915. Papers document Alexander's artistic career and many connections to figures in the art world through biographical documentation, correspondence (some illustrated), writings, 14 sketchbooks, additonal artwork and loose sketches, scrapbooks, photographs, awards and medals, artifacts, and other records. Also found is a souvenir engraving of a Mark Twain self-portrait.

Biographical Information includes multiple essays related to Alexander, his family, and others in his circle. Also found is an extensive oral history of Alexander's wife Elizabeth conducted in 1928. Correspondence includes letters written by Alexander to his family from New York and Europe at the start of his career, and later letters from fellow artists, art world leaders, and portrait sitters of Alexander's. Significant correspondents include Charles Dana Gibson, Florence Levy, Frederick Remington, Robert Louis Stevenson, Henry James, John La Farge, Francis Davis Millet, and Andrew Carnegie. Correspondence includes some small sketches as enclosures and illustrated letters.

Certificates and records related to Alexander's career are found in Associations and Memberships, Legal and Financial Records, and Notes and Writings, which contain documentation of Alexander's paintings and exhibitions. Scattered documentation of Alexander's memberships in various arts association exists for the American Academy of Arts and Letters, the American Academy in Rome, the National Academy of Design, the Onteora Club in New York, the Royal Academy of Fine Arts in Munich, Germany, the Ministère de L'Instruction Publique et des Beaux-Arts, the Union Internationale des Beaux Arts et des Lettres, and the Metropolitan Museum of Art. Notes and Writings include speeches written by Alexander, short stories and essays written by his wife, and articles by various authors about Alexander. Extensive documentation of the planning and construction of the Alexander Memorial Studio by the MacDowell Club is found, along with other awards, medals, and memorial resolutions adopted by arts organizations after Alexander's death.

Artwork includes fourteen sketchbooks with sketches related to Alexander's commercial illustration and cartooning, murals, paintings, and travels. Dozens of loose drawings and sketches are also found, along with two volumes and several dozen loose reproductions of artwork, among which are found fine prints by named printmakers. Many sketches are also interspersed throughout the correspondence. Eight Scrapbooks contain mostly clippings, but also scattered letters, exhbition catalogs, announcements, invitations, and photographs related to Alexander's career between 1877 and 1915. Additional Exhibition Catalogs and later clippings, as well as clippings related to the career of his wife and other subjects, are found in Printed Materials.

Photographs include many portraits of Alexander taken by accomplished photographers such as Zaida Ben-Yusuf, Aimé Dupont, Curtis Bell, Elizabeth Buehrmann, and several signed Miss Huggins, who may have been Estelle Huntington Huggins, a New York painter and photographer. Portraits of others include Alexander's friends William Merritt Chase and Edward Austin Abbey. Also found are photographs of groups, juries, family, friends, and studios in New York, Paris, and New Jersey, and a handful of scenic photographs of Polling, Bavaria, where Alexander had an early studio. A large number of photographs of works of art are found, many with annotations. Among the photographs of murals are a small collection of snapshots of the Carnegie Institute murals in progress. Miscellaneous artifacts include a palette, several printing plates, and an inscribed souvenir engraving of a self-portrait caricature of Mark Twain.

Arrangement:

The collection is arranged into 11 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Information, circa 1887-1968 (Box 1, OV 23; 0.1 linear feet)

Series 2: Correspondence, circa 1870-1942 (Box 1; 0.7 linear feet)

Series 3: Associations and Memberships, circa 1897-1918 (Box 1; 2 folders)

Series 4: Legal and Financial Records, 1775, 1896-1923 (Box 1; 5 folders)

Series 5: Notes and Writings, circa 1875-1943 (Boxes 1-2; 0.3 linear feet)

Series 6: Awards and Memorials, circa 1870-1944 (Box 2, OV 24; 0.8 linear feet)

Series 7: Artwork, circa 1875-1915 (Boxes 2-3, 6, 14-16, OV 23; 1.5 linear feet)

Series 8: Scrapbooks, circa 1877-1915 (Boxes 17-22; 1.8 linear feet)

Series 9: Printed Materials, circa 1891-1945 (Boxes 3-4, OV 23; 1.5 linear feet)

Series 10: Photographs, circa 1870-1915 (Boxes 4-8, MGP 1-2, OV 25-43, RD 44-45; 4.2 linear feet)

Series 11: Artifacts, circa 1899-1915 (Box 6, artifact cabinet; 0.4 linear feet)

Biographical / Historical:

John White Alexander was born in 1856 in Allegheny City, Pennsylvania. He was orphaned at age five and taken in by relatives of limited means. When Alexander left school and began working at a telegraph company, the company's vice-president, former civil war Colonel Edward Jay Allen, took an interest in his welfare. Allen became his legal guardian, brought him into the Allen household, and saw that he finished Pittsburgh High School. At eighteen, he moved to New York City and was hired by Harper and Brothers as an office boy in the art department. He was soon promoted to apprentice illustrator under staff artists such as Edwin A. Abbey and Charles Reinhart. During his time at Harpers, Alexander was sent out on assignment to illustrate events such as the Philadelphia Centennial celebration in 1876 and the Pittsburgh Railroad Strike in 1877, which erupted in violence.

Alexander carefully saved money from his illustration work and traveled to Europe in 1877 for further art training. He first enrolled in the Royal Art Academy of Munich, Germany, but soon moved to the village of Polling, where a colony of American artists was at its peak in the late 1870s. Alexander established a painting studio there and stayed for about a year. Despite his absence from the Munich Academy, he won the medal of the drawing class for 1878, the first of many honors. While in Polling, he became acquainted with J. Frank Currier, Frank Duveneck, William Merritt Chase, and other regular visitors to the colony. He later shared a studio and taught a painting class in Florence with Duveneck and traveled to Venice, where he met James Abbott McNeill Whistler.

Alexander returned to New York in 1881 and resumed his commercial artwork for Harpers and Century. Harpers sent him down the Mississippi river to complete a series of sketches. He also began to receive commissions for portraits, and in the 1880s painted Charles Dewitt Bridgman, a daughter of one of the Harper brothers, Parke Godwin, Thurlow Weed, Walt Whitman, and Oliver Wendell Holmes. Alexander met his wife Elizabeth, whose maiden name was also Alexander, through her father, James W. Alexander, who was sometimes mistaken for the artist. Elizabeth and John White Alexander married in 1887 and had a son, James, in 1888.

Alexander and his family sailed for France in 1890, where they became a part of the lively literary and artistic scene in Paris at the time. Among their many contacts there were Puvis de Chavannes, Auguste Rodin, and Whistler, who arrived in Paris shortly thereafter. Alexander absorbed the new aesthetic ideas around him such as those of the symbolists and the decorative style of art nouveau. Critics often note how such ideas are reflected in his boldly composed paintings of women from this period, who titles drew attention to the sensual and natural elements of the paintings. His first exhibition in Paris was three paintings at the Société Nationale des Beaux Arts in 1893, and by 1895 he has become a full member of the Société.

Independent and secession artist societies emerged throughout Europe during this period, and Alexander exhibited with several of them, including the Société Nouvelle in Paris, the Munich Secession, and the Vienna Secession. He was also elected an honorary member of the Royal Society of Belgian Artists and the Royal Society of British Painters in London. His exhibited works sold well, and his influence began to be felt back in the United States. Andrew Carnegie and John Beatty of the Carnegie Institute consulted closely with Alexander in the planning and execution of the first Carnegie International Exhibitions. Alexander also became active in supporting younger American artists who wanted to exhibit in Europe, a stance which resulted in his resignation from the Society of American Artists in Paris, which he felt had become a barrier to younger artists. His promotion of American art became an central aspect of his career for the remainder of his life, most visibly through his presidency of the National Academy of Design from 1909 until shortly before his death in 1915. He also served frequently on juries for high-profile exhibitions, and was a trustee at the Metropolitan Museum of Art, the New York Public Library, and the national Institute of Arts and Letters. Around 1912, he helped to form the School Art League in New York, which provided art instruction to high school students.

Alexander returned to the United States nearly every summer while based in Paris, and among his commissioned paintings were murals for the newly-constructed Library of Congress, completed around 1896. In 1901, the Alexanders returned to New York permanently. The demand for portraits continued, and he had his first solo exhibition at the Durand-Ruel Galleries in 1902. Around 1905 he received a commission for murals at the new Carnegie Institute building in Pittsburgh for the astounding sum of $175,000. He created 48 panels there through 1908. During this period, the Alexanders spent summers in Onteora, New York, where Alexander painted his well-known "Sunlight" paintings. There they became friends and collaborators with the actress Maude Adams, with Alexander designing lighting and stage sets, and Elizabeth Alexander designing costumes for Adams' productions such as Peter Pan, the Maid of Orleans, and Chanticleer. The couple became known for their "theatricals" or tableaux, staged at the MacDowell Club and elsewhere, and Elizabeth Alexander continued her design career when her husband died in 1915.

Alexander left several commissions unfinished upon his death at age 59, including murals in Wisconsin, Ohio, and Harrisburg, Pennsylvania. Elizabeth Alexander held a memorial exhibition at Arden Galleries a few months after his death, and a larger memorial exhibition was held by the Carnegie Institute in 1916. Alexander won dozens of awards for artwork in his lifetime, including the Lippincott Prize at the Pennsylvania Academy of the Fine Arts in 1899, the Gold Medal of Honor at the Paris Exposition Universelle in 1900, the Gold Medal at the Panama Pacific Exposition of 1901, and the Medal of the First Class at the Carnegie Institute International Exhibition in 1911. In 1923, the Alexander Memorial Studio was built at the MacDowell colony in New Hampshire to honor his memory.

Provenance:

Papers were donated in 1978 and 1981 by Irina Reed, Alexander's granddaughter and in 2017 by Elizabeth Reed, Alexander's great grandaughter.

Restrictions:

Use of the original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.

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:

Muralists -- New York (State) -- New York  Search this

Portrait painters -- New York (State) -- New York  Search this

Works of art  Search this

Portrait painting -- 20th century  Search this

Portrait painting -- 19th century  Search this

Illustrators -- New York (State) -- New York  Search this

Portrait painting, American  Search this

Genre/Form:

Awards

Interviews

Photographs

Sketchbooks

Scrapbooks

Medals

Citation:

John White Alexander papers, 1775-1968, bulk 1870-1915. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.alexjohn

See more items in:

John White Alexander papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw917c89625-97e2-4dce-a5e6-4cbf6627b78e

EDAN-URL:

ead_collection:sova-aaa-alexjohn

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Collector:

National Museum of American History (U.S.). Division of Musical History  Search this

Extent:

400 Cubic feet

Type:

Collection descriptions

Archival materials

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks

Music

Clippings

Awards

Audiotapes

Place:

New York (N.Y.) -- 20th century

Harlem (New York, N.Y.) -- 20th century

Washington (D.C.) -- 20th century

Date:

1903 - 1989

Summary:

The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.

Scope and Contents:

Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.

Arrangement:

Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974

Biographical / Historical:

A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.

Related Materials:

Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Separated Materials:

Artifacts related to this collection are in the Division of Culture and the Arts (now Division of Cultural and Community Life) and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

"

Provenance:

The collection was purchased through an appropriation of Congress in 1988.

Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

Jazz -- 20th century -- United States  Search this

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

Music -- 20th century -- United States  Search this

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep850a376a1-6b6d-48bc-9076-cffef76fea2c

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Creator:

Bergman, Harry M.  Search this

Kahn family  Search this

Kahn, Kimberly  Search this

Names:

Chrysler Building (New York, N.Y.) -- Pictorial works  Search this

Godwin Construction Company.  Search this

Bergman family  Search this

Extent:

3 Cubic feet (5 document boxes

)

Type:

Collection descriptions

Archival materials

Home movies

Motion pictures (visual works)

Travelogs

Videotapes

Place:

New York (N.Y.)

Date:

1926-1957

Summary:

A collection of films shot by Harry B. Bergman documenting Bergman's New York City, New York construction firm Godwin Construction Company. Films document construction of landmark buildings such as The Chrysler Building, New York Port Authority and others. Films also document company "beefsteaks", and Bergman's numerous vacations and pursuits.

Scope and Contents:

The Kahn Family Films document the activities of the Godwin Construction Co. of New York City from 1928-1934. The films also document more than twenty-five years of the Bergman and Kahn family life and travel. The films are silent, 16mm black and white reversal and Kodachrome. Unless otherwise noted, films were arranged in the Archives Center on compilation reels by subject. Some images are deteriorated because of age and film conditions, most noticeably on 722.39. A detailed description of each reel is included under each film title. The collection is divided into five series and arranged in chronological order; Series 1, Godwin Construction Company, 1927-1934; documents the digging, structural support and daily site activities at various Godwin construction jobs around New York City. In the footage taken at the Chrysler Building site, Bergman documented many of the workers who worked on the job as well as the secretaries in the main offices with filmed portrait shots. While the films are primarily focused on documenting construction practices and procedures at the sites, there is also footage of workmen and machinery. The films also document the company=s annual ABeefsteak@ that eventually moved from a banquet hall to one of the islands in Jamaica Bay.

Series 2, Rockaway Park Yacht Club, 1927-1929; documents many of Bergman's yachting activities on the yacht Thora and events at the Rockaway Park Yacht Club (RPYC) from family related activities to some of the Godwin Company's Beefsteaks.

Series 3, Travel and Leisure, 1926-1957, undated; documents many of the Bergman and Kahn family trips to various locations in the United States and Europe. The 1927 trip to Canada and the American West has footage of Hollywood, then just on the verge of adding sound to motion pictures. The 1929 trip to Europe occurred not only during the first year of the Great Depression but is a wonderful travelogue of Europe in the years before WWII. On reel 722.27 there is an interesting shot of a poster, "Ethel et Julius Rosenberg Que Les Assassins, Soient Maudits A Jamais" [trans: Ethel and Julius Rosenberg let the assassins be cursed/condemned forever.] showing a young boy throwing mud on the poster - presumably in protest.

Series 4, Family and Home Life, 1928-1958; Titles of the footage are taken directly from the original film containers. There is footage of many family members and gatherings. There is footage shot at Bergman's onetime home at 120-18 Newport Ave., Rockaway Park, Long Island. There is footage of tennis great Bill Tilden giving a small exhibition match in Florida in 1946 on 722.25.

Series 5, Papers, 1927-1958; are selections of the original paper containers for some of the films with the original notes and identifications written on them. This series also contains a copy of Bergman's 1907 thesis and related papers and architectural drawings.

Arrangement:

5 series.

Biographical / Historical:

Harry Montefiore Bergman (1885-1971) was born on August 3, 1885 in Elmira, New York. He graduated from college in 1907 with a degree in Applied Science from Columbia University's School of Engineering. After graduation, he went to work for Godwin Construction Co. He specialized in structural foundations and was an authority on the soil and bedrock of Manhattan Island, New York. Beginning his employment as a superintendent, he rose to the position of Secretary and General Superintendent of Civil Engineering in June, 1927. In January 1932, Bergman was elevated to Vice-President and finally attained the presidency of the company in 1957. Bergman retired from the company in 1967. He was a member of the Association of American Society of Civil Engineers.

Godwin Construction Company was founded by Philander Hanford Godwin (1877-1936) in the early 20th century. Godwin was one of the pre-eminent civil engineering firms in New York City primarily involved in constructing foundations for large public building projects. The company was responsible for digging and construction of the foundations for the Chrysler Building, 176th St. Telephone Building, the old New York Port Authority Truck Terminal, the old Madison Square Garden at 8th Ave. and 50th St., the Hudson River Bridge, New York Hospital, Knickerbocker Village and others. Godwin Construction Co. was located in New York City, through the years at various locations: by 1915 at 251 4th Ave., by 1932 at 370 Lexington Ave., Rm. 1201 and later at 130 East 44th St.

Bergman, a lifelong bachelor, developed a love of motion picture photography and pursued this hobby with great enthusiasm. He photographed not only Godwin's construction work and work sites at various foundation projects throughout New York City in the 1920s and 1930s but filmed the company picnics, called "Beefsteaks", family leisure time activities and vacations as well. Bergman was also an avid yachtsman and filmed many hours of footage while sailing on Samuel Lauterbach's yachtThora , (the Thora may also have been owned in a partnership between Lauterbach and Bergman) and at the Rockaway Park Yacht Club (RPYC) in Rockaway Park, New York. Bergman, along with Lauterbach, was one of the founders of the RPYC and it was reportedly founded because Jews were not allowed membership in any of the "exclusive" yacht clubs surrounding Manhattan. The yacht club was destroyed during the hurricane of 1938. Many films feature Ruth Perl who was Bergman's favorite niece. They took numerous trips to California, Canada, and Europe. Perl seems to also have taken an interest in motion picture photography as well, often operating the camera herself. Perl married Irving Kahn and had three sons, Donald Kahn, Alan R. Kahn and Thomas G. Kahn, who figure prominently in the later films. Bergman was a lifelong resident of New York. As of 1916, his address was 615 W. 143rd St., New York, NY. For a time he lived at 120-18 Newport Ave. in Rockaway Park, NY. In 1951 he bought a home at 143-17 Cronston Avenue in Belle Harbor. At the end of his life, Bergman is noted as living at 1 Fifth Avenue, New York, NY. Bergman died on August 3, 1971. At the time of his death Bergman was staying at the Florence Nightingale Nursing Home, 175 East 96th St. in New York, New York.

Bergman's employer and the founder of Godwin Construction Co., Philander H. Godwin, was born on September 30, 1877 in New York City, NY. Godwin graduated from Columbia University's School of Engineering with a degree in Applied Science in 1899. After graduation, he married Carrie L. Pye and they had two children. Godwin founded the Godwin Construction Co. in the early 20th century and was the company's president until his death in 1936. As of 1916, his residence address was Cedar and Arch Avenues in Larchmont, NY and by the time of his death he was living at 26 Willow Avenue in Larchmont. He was a member of the Larchmont Yacht Club and perhaps had a great influence on Bergman's taking up the sport. He was an active member of St. John's Episcopal Church, Larchmont and a member of the Union League. Godwin died on March 27, 1936 in Larchmont.

Sources: Records of Columbia University, New York, New York "City Sells 2 Plots for Factory Sites", New York Times, June 6th, 1951, pg. 64. Newspaper Obituary of Harry N. Bergman, Archives Center Control File Conversation and correspondence with Alan and Kimberly Kahn My Life: Edward du Moulin

Provenance:

Donated to the National Museum of American History, Archives Center in 2000 by Kimberly R. Kahn, great-great niece of Harry M. Bergman.

Restrictions:

Collection is open for research but the original and master (preservation) films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

The National Museum of American History may not authorize publication, reproduction, or distribution by a commercial, for-profit publisher, distributor, media producer, or film maker without the express permission of the Donors.

The term of the requirement for written authorization prior to third party, for-profit, commercial use will last 50 (fifty) years unless agreed to in writing by both the National Museum of American History and the Donors.

Topic:

Travel photography  Search this

Travelogues (Motion pictures)  Search this

Family -- 20th century  Search this

Travel -- Europe  Search this

Construction  Search this

Architecture -- New York (State) -- New York  Search this

Amateur films  Search this

Genre/Form:

Home movies

Motion pictures (visual works)

Travelogs

Videotapes

Citation:

Kahn Family Film Collection, Archives Center, National Museum of American History, Smithsonian Institution.

Sponsor:

Generous support for this collection has come from the National Film Preservation Foundation and Mr. Alan R. Kahn.

Identifier:

NMAH.AC.0722

See more items in:

Kahn Family Film Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85e4873d5-0bf6-43c5-a386-a71df5bcd106

EDAN-URL:

ead_collection:sova-nmah-ac-0722

Creator:

Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.  Search this

Guha, Subhendu  Search this

Names:

United Solar Systems Corporation.  Search this

Berger, Sondra  Search this

Extent:

0.5 Cubic feet (3 boxes)

Type:

Collection descriptions

Archival materials

Oral history

Videotapes

Interviews

Photographs

Date:

1998

Summary:

This collection contains original, master, and reference videos documentingSubhendu Guha, inventor of the solar shingle.

Scope and Contents:

This collection contains original, master, and reference videos and photographs and transcripts for select footage from the Subhendu Guha Innovatibve Lives Presentation.

Arrangement:

Collection divided into three series.

Series 1: Original videos, 1998

Series 2: Master videos, 1998

Series 3: Reference videos, 1998

Series 4: Photographs, 1998

Biographical / Historical:

Subhendu Guha was born in Calcutta, India. He studied physics at Presidency College and later did graduate work at the University of Calcutta. Guha earned his Ph.D from the University of Calcutta in 1968 and joined the Tata Institute of Fundamental Research in Bombay, India. At the Tata Institute, Guha investigated certain properties of semiconductors. He became interested in the use of semiconductors to convert sunlight into electricity. The conversion of sunlight to electricity is known as photovoltaics. Guha's concern for environmental and societal problems led him to focus on amorphous silicon, an element found in sand that can be applied as a thin film to produce photovoltaic material. This research led Guha to add hydrogen in the production process, which made a more useful amorphous silicon . Practical applications for Guha's work led him to Energy Conversion Devices (ECD) in the United States. ECD promoted the use of solar energy for a variety of applications. Ultimately, Guha joined an ECD joint company, United Solar Systems to manufacture solar cells. His research led him to produce a photovoltaic panel that is seven feet long and a foot wide, is lightweight, flexible, rugged, durable, and is easy to install with conventional panels. The panels were innovative because of their design, materials, and production process. Manufacturing begins with stainless steel that is washed to remove surface dirt. Two layers of reflective coating are then applied followed by layers of amorphous silicon and amorphous silicon-germanium alloys. Each layer absorbs a different photon-energy wave length. The panels can be mounted on a roof with nails. Wires are then dropped from the panels into a building where they are hooked to the buildings electrical boxes to channel energy to circuits. The flexible solar shingle is manufactured by United Solar Systems Corporation of Troy, Michigan.

Provenance:

This collection was created by the Innovative Lives Program of the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation on October 21, 1998. The Innovative Lives series brings young people and American inventors together to discuss inventions and the creative process and to experiment and play with hands-on activities related to each inventor's product.

Restrictions:

Collection is open for research but the original videos are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Photovoltaic cells -- 1960-2000  Search this

Solar energy -- 1960-2000  Search this

Solar energy  Search this

Shingles -- 1960-2000  Search this

Photovoltaic power generation -- 1960-2000  Search this

Electricity -- 1960-2000  Search this

Inventions -- 1950-2000  Search this

Genre/Form:

Oral history -- 1990-2000

Videotapes -- 1990-2000

Interviews -- 1980-2000

Photographs

Citation:

Subhendu Guha Innovative Lives Presentation, 1998, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0668

See more items in:

Subhendu Guha Innovative Lives Presentation

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8be76a066-57f3-4622-b57c-4c801020a420

EDAN-URL:

ead_collection:sova-nmah-ac-0668

Photographer:

Wendt, Julius (Albany, N.Y.)  Search this

Publisher:

Underwood & Underwood  Search this

Names:

United States Capitol (Washington, D.C.)  Search this

United States. Department of Agriculture  Search this

Cleveland, Frances Folsom, 1864-1947  Search this

Cleveland, Grover, 1837-1908  Search this

Garfield, James A. (James Abram), 1831-1881  Search this

Grant, Ulysses S. (Ulysses Simpson), 1822-1885  Search this

Harrison, William Henry, President, 1773-1841 -- Photographs  Search this

Lincoln, Abraham, 1809-1865  Search this

McKinley, William, 1843-1901  Search this

Roosevelt, Theodore, 1858-1919  Search this

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

45 Items

Container:

Box 5

Type:

Archival materials

Photographs

Stereographs

Phantom leaf stereographs

Place:

Yosemite National Park (Calif.) -- Stereographs

Washington (D.C.) -- Stereographs.

Date:

ca. 1870s-1905

Scope and Contents:

Group includes "phantom leaf" arrangements with photographs of Lincoln, Garfield, and Cleveland; Theodore Roosevelt on Glacier Point, Yosemite, by Underwood & Underwood; two views of what may be a campaign meeting; a view of U.S. Grant's funeral procession by Julius Wendt; and several White House interior and exterior views.

Related Materials:

Forms part of the photographs division of the Warshaw Collection of Business Americana.

Restrictions:

Unrestricted research use on site. Photographs must be handled with white cotton gloves, unless protected by plastic sleeves.

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.

Topic:

Politics and government -- Stereographs  Search this

Presidents -- United States  Search this

Funeral rites and ceremonies -- Stereographs  Search this

Capitols -- United States -- Stereographs  Search this

Politicians -- Stereographs  Search this

Genre/Form:

Stereographs -- 1880-1900

Phantom leaf stereographs

Series Citation:

Warshaw Collection of Business Americana, 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).

See more items in:

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.2: Stereographs / Politics and Presidents

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e93ef9d3-71bd-4e1b-a785-db8875ec1330

EDAN-URL:

ead_component:sova-nmah-ac-0060-s02-ref2818

Creator:

Nixdorff, Louis S., 1906-1992 (Olympic athlete)  Search this

Names:

Baltimore Sun  Search this

Johns Hopkins University  Search this

Olympic Games (9th : 1928 : Amsterdam, Netherlands)  Search this

Properties Incorporated  Search this

Anderson, Harry  Search this

Biddison, Tom  Search this

Eagan, James  Search this

Fairinholt, Larkin  Search this

Hamm, Ed  Search this

Helfrich, George  Search this

Kegan, Bill  Search this

Lang, John  Search this

Logan, William  Search this

MacArthur, Douglas, 1880-1964  Search this

Mallonee, C. Gardner  Search this

McKim, Josephine  Search this

Meany, Helen  Search this

Merrill, Vale  Search this

Nice, Deely  Search this

Owens, Helen  Search this

Ray, Joie  Search this

Robinson, Elizabeth (Babe)  Search this

Schwarz, Bill  Search this

Weismuller, Johnny  Search this

Wingate, W. Wilson  Search this

Extent:

1 Cubic foot (3 boxes )

Type:

Collection descriptions

Archival materials

Diaries

Photographs

Postcards

Clippings

Place:

Thousand Islands

Mohawk Trail

Europe -- description and travel -- 1910-1950

Chesapeake Bay

Virginia Beach

St. Lawrence River

Amsterdam (Netherlands)

Cherbourg (France)

Switzerland

Marken (Holland)

Scheueningue (Holland)

Fontainebleau (France)

Volendam (Holland)

New York (N.Y.)

Québec (Québec)

Paris (France)

Reims (France)

Date:

1926 - 1987

Summary:

The collection documents Louis S. Nixdorff's participation in the 1928 Olympic Games in Amsterdam. He was a member of the University lacrosse team that represented the United States.

Scope and Contents:

This collection contains an oversize scrapbook of newspaper clippings, loose clippings from a Baltimore newspaper Sunday supplements, a diary recorded by Nixdorff, and an album of photographs that Nixdorff took on the Amsterdam visit and several other trips.

The newspaper clippings in an oversize scrapbook follow the fortunes of the Johns Hopkins University lacrosse team, national champions for 1926 and 1927, through its 1928 season, a post-season series, the playoffs to represent the United States at the Olympic Games in the summer of 1928, and the Olympic lacrosse games in Amsterdam. Newspaper clippings years later reminisce about the 1928 lacrosse team at the Olympic games in Amsterdam.

The newspaper clippings recounting various games are seldom identified and most of the articles are not dated. Some are from the Baltimore Post, later taken over by the News and were written by Yale Merrill. Others are from the Sunpapers, morning and evening. Some carry an Associated Press identification. Many of the accounts of the 1928 intercollegiate season prior to the Olympic Games were written by W. Wilson Wingate. Some of the news clippings are incomplete.

The trip of the 268 Olympic athletes to Amsterdam on the S.S. President Roosevelt is described graphically by Louis S. Nixdorff in his diary. The diary transcript included later in this Register has been transcribed exactly as written by the author, regardless of omissions of obvious words or occasional misspellings. The diary entries relating to the voyage clearly depict the boredom of the long voyage for young athletes eager to get to Amsterdam and compete in the Olympics. Training was continued during the trip insofar as it was possible on shipboard. Training and meals represented welcome relief from the monotony of the journey.

The diary is written in a clear hand in a soft-cover, lined notebook. Nixdorff presumably purchased it specifically to put his thoughts and observations down on this exciting and, to him, historic trip. The diary covers the period from the departure of the lacrosse team from the Baltimore and Ohio railroad station in Baltimore for New York on July 10, 1928, to the departure from Cherbourg for home on August 15, 1928. It includes Mr. Nixdorff's accounts of shipboard life, the game against the Canadians that the Americans won and their loss to the English team on the following day. England's subsequent loss to Canada meant that each team had a win and a loss. No team was declared a victor. The diary also covers a one-week stay in Paris, including a trip to the nearby World War I battlefields.

The collection contains snapshots that Nixdorff took on the S.S. President Roosevelt en route to Amsterdam, and images of Olympic events and of sightseeing in and around Amsterdam and Paris. These photographs mounted in an album portray an individual's effort to document his travels in a meaningful way.

Other material in the collection includes copies of three reminiscent articles published in the Baltimore Sun magazine section on April 5, 1951, June 26, 1955, and April 23, 1978; photogravure pictures of a Hopkins University of Virginia game and a Hopkins-University of Maryland game without attribution or date; Mr. Nixdorff's visa for France; Gen. Douglas MacArthur's report on the ninth Olympiad to the president of the United States; the official program for August 5, 1928; the passenger list for the S.S. President Roosevelt's return to New York; a cloth Olympic blazer patch; and two cloth lacrosse numbers.

This collection represents a contribution to both sports history and the history of the Olympics. The collection complements several Archives Center photographic collections, emphasizing international travel and touring by an American between the two World Wars.

Arrangement:

The collection is divided into five series.

Series 1: Correspondence, 1926-1987

Series 2: Diary, 1928

Series 3: Photographs, 1928

Series 4: Newspaper clippings/Scrapbook, 1928, 1951, 1955, 1978

Series 5: Programs, Awards, Invitations, 1928

Biographical / Historical:

Louis S. Nixdorff (October 1, 1906-January 23, 1992), a native Baltimorean, spent his life there. He graduated from the Polytechnic Institute in 1924 and from the Johns Hopkins University in 1928 with a degree in business administration. While attending Johns Hopkins he was a member of the University lacrosse team that represented the United States at the 1928 Olympic Games in Amsterdam. He later became a real estate executive and president of Properties Incorporated in Baltimore. Mr. Nixdorff continued to make real estate appraisals and to manage properties after retirement. He belonged to the Johns Hopkins Club, the Baltimore City Real Estate Brokers Round Table and the Maryland Historical Society. He also was an enthusiastic golfer.

The tremendous interest and excitement generated by lacrosse in Baltimore in 1928 is clear from the press coverage of intercollegiate lacrosse for that year. Stories on important games began at least a day before the event, continued during the day of the game in morning and evening papers and lasted for at least a day afterward.

The process that culminated in the selection of the Johns Hopkins University team to represent the United States in the Olympic games in Amsterdam was a formal one. The lacrosse ladder selected by the Intercollegiate Lacrosse Association to place before the Olympic Committee included ten teams. Of these, six were chosen by the Olympic Lacrosse Committee for national playoffs: the Mount Washington Club, Army, Navy, the University of Maryland, Rutgers and the Johns Hopkins University. In the playoffs the University of Maryland defeated Rutgers 7-2 and Navy 6-2. Hopkins defeated Mt. Washington 6-4 and Army 4-2. In ever-mounting excitement, Hopkins on June 23, 1928, overwhelmed Maryland 6-3. The executive committee of the American Olympics Commission formally ratified this selection of the Johns Hopkins University lacrosse team to represent the United States at the 1928 Olympics. Four members of that team are in the Lacrosse Hall of Fame: C. Gardner Mallonee, John Lang, Tom Biddison, and Bill Logan.

Related Materials:

Materials in the Archives Center, National Museum of American History

George W. Sims Collection (AC0127)

Clyde W. Stauffer Photographic Album (AC0139)

Donald Sultner-Welles Collection (AC0145)

Separated Materials:

An Olympic blazer patch and two lacrosse numbers are in the Division of Community Life (now Division of Cultural and Community Life).

Provenance:

The collection was donated to the Archives Center by Mrs. Anne Byrd Nixdorff, January 1992.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Photographers (amateur)  Search this

Olympics  Search this

Sailing  Search this

Travel photography -- 1910-1950  Search this

Travel  Search this

Sports  Search this

Genre/Form:

Diaries -- 20th century

Photographs -- 20th century

Postcards

Clippings

Citation:

Louis S. Nixdorff 1928 Olympic Games Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0443

See more items in:

Louis S. Nixdorff 1928 Olympic Games Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8773e0336-e9e7-46e0-857f-330cdcdae694

EDAN-URL:

ead_collection:sova-nmah-ac-0443

Creator:

Warshaw, Isadore, 1900-1969  Search this

Names:

Wilson, Woodrow, 1856-1924  Search this

Extent:

3.66 Cubic feet (consisting of 5.5 boxes, 1 folder, 9 oversize folders.)

Type:

Collection descriptions

Archival materials

Lectures

Fliers (printed matter)

Booklets

Advertisements

Broadsides

Fans

Realia

Poems

Clippings

Printed ephemera

Songs

Pamphlets

Correspondence

Ephemera

Newsclippings

Poetry

Programs

Posters

Newspaper clippings

Date:

1811-1937

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:

Temperance contains material documenting perspectives on alcohol use and regulation as well as the impact of various temperance movements on society and the government. The collection covers the issues related to these movements through multiple eras and social lenses, and addresses both pro and anti-temperance perspectives though there is significantly more material that supports the temperance and prohibition movements.

Materials represent a sampling of newsclippings, realia (ribbons, fans, and pendants), artwork in various mediums, and educational resources. No extensive records of any particular group or region exist, and no particular depth is present for any singular subtopic. The subject of temperance often overlaps with news and developments about the women's suffrage movement, elections, and wars.

While newsclippings are divided into specific subject categories, there may be significant overlap between regional issues and files pertaining to legislation and elections due to newsclippings frequently addressing multiple issues.

Arrangement:

Temperance is arranged in four subseries.

Perspectives

Organizations

Regional Issues

Political Parties

Individuals

Genre

Cigarette and Tobacco Documentation

Event Documentation

Images, Writings, and Music

Realia

Serial Publications

Subject

Medicinal Uses

Temperance and Government

Temperance and Religion

Temperance and Society

Temperance and War

Oversize

Miscellaneous

Related Materials:

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:

Temperance 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.

Topic:

War  Search this

Women's suffrage -- United States  Search this

Clergy  Search this

Suffragists  Search this

Women -- Suffrage  Search this

Government and politics  Search this

Presidential campaigns  Search this

Presidents -- United States  Search this

Elections  Search this

Political literature  Search this

Political cartoons  Search this

Political activists -- New York (State) -- New York  Search this

Political activists  Search this

Cigarette industry -- 20th century  Search this

Temperance  Search this

Political clubs  Search this

Tobacco  Search this

Alcohol  Search this

Alcoholism  Search this

Fraternal organizations  Search this

Drinking of alcoholic beverages -- Law and legislation  Search this

Politics -- New York (N.Y.)  Search this

Legal History, U.S.  Search this

Tobacco -- 20th century  Search this

Cigarettes -- 20th century  Search this

Genre/Form:

Lectures

Fliers (printed matter)

Booklets

Advertisements

Broadsides

Fans

Realia

Poems

Clippings

Printed ephemera

Songs

Pamphlets

Correspondence

Ephemera

Newsclippings

Poetry

Programs

Posters

Newspaper clippings

Citation:

Warshaw Collection of Business Americana Subject Categories: Temperance, 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).

Identifier:

NMAH.AC.0060.S01.01.Temperance

See more items in:

Warshaw Collection of Business Americana Subject Categories: Temperance

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a5453985-1d66-4fe8-9049-a58dbd598ecb

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-temperance

Artist:

Nam June Paik, born Seoul, Korea 1932-died Miami Beach, FL 2006  Search this

Medium:

fifty-one channel video installation (including one closed-circuit television feed), custom electronics, neon lighting, steel and wood; color, sound

Dimensions:

approx. 15 x 40 x 4 ft.

Type:

Media Arts

Date:

1995

Topic:

Landscape\United States  Search this

Object\written matter\map  Search this

Object\furniture\television  Search this

Credit Line:

Smithsonian American Art Museum, Gift of the artist

Copyright:

© Nam June Paik Estate

Object number:

2002.23

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Time-Based Media Art

On View:

Smithsonian American Art Museum, 3rd Floor, East Wing

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7ca9af991-d106-41a1-b9c9-c14272c32cc1

EDAN-URL:

edanmdm:saam_2002.23

Physical Description:

ink (overall material)

paper (overall material)

Measurements:

overall: 17 in x 11 in; 43.18 cm x 27.94 cm

Object Name:

drawing

Place made:

United States: Michigan, Detroit

Associated Place:

China

Date made:

2010-11-24

Subject:

Philanthropy  Search this

Credit Line:

The Kresge Foundation

ID Number:

2017.0301.01

Accession number:

2017.0301

Catalog number:

2017.0301.01

See more items in:

Work and Industry: Philanthropy

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b4-c23e-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1865802

Physical Description:

paper (overall material)

ink (overall material)

Measurements:

overall: 11 in x 17 in; 27.94 cm x 43.18 cm

Object Name:

drawing

Place made:

United States: Michigan

Associated Place:

China

Date made:

2015-03-02

Subject:

Philanthropy  Search this

Credit Line:

The Kresge Foundation

ID Number:

2017.0301.02

Accession number:

2017.0301

Catalog number:

2017.0301.02

See more items in:

Work and Industry: Philanthropy

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b4-c147-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1865810

Measurements:

overall: 10 in x 4 1/4 in; 25.4 cm x 10.795 cm

Object Name:

bottle, commemorative

Place made:

United States: Maryland, Baltimore

Date made:

ca 1972

Credit Line:

Gift of Ernest E. Dimler

ID Number:

2018.0111.01

Catalog number:

2018.0111.01

Accession number:

2018.0111

See more items in:

Medicine and Science: Medicine

Health & Medicine

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-dc48-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1887950

Associated person:

Burroughs, Nannie Helen  Search this

Maker:

National Cash Register Company  Search this

Physical Description:

glass (overall, case, keystems, interior material)

wood (overall, drawer material)

marble (overall, drawer top material)

Measurements:

overall: 31 in x 24 in x 17 in; 78.74 cm x 60.96 cm x 43.18 cm

Object Name:

cash register

Place made:

United States: Ohio, Dayton

Associated place:

United States: District of Columbia

Date made:

1904

Subject:

History, Women's, Equal Rights  Search this

African American History  Search this

Credit Line:

Nannie Helen Burroughs School

ID Number:

1978.0342.009

Accession number:

1978.0342

Catalog number:

1978.0342.009

See more items in:

Political and Military History: Political History

Exhibition:

My Computing Devices

Exhibition Location:

National Museum of American History

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-c638-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_532988

Pilot:

Capt. Edward V. Rickenbacker  Search this

Materials:

Overall: Wool

Buttons and Insignia: Blackened Bronze

Dimensions:

Clothing: 85.1 x 55.9cm (33 1/2 x 22 in.)

Type:

PERSONAL EQUIPMENT-Uniforms: Military

Country of Origin:

United States of America

Credit Line:

Donated by Capt. Edward V. Rickenbacker

Inventory Number:

A19530058000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv94d65ce52-2fb1-4c0b-92ed-77aa0474e538

EDAN-URL:

edanmdm:nasm_A19530058000

Garden designer:

Leaf, Ralph Mrs  Search this

Provenance:

Magnolia Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Garden of Mrs. Ralph Leaf (Beaumont, Texas)

United States of America -- Texas -- Jefferson County -- Beaumont

Scope and Contents:

The folder contains a work sheet and site plan.

General:

This twenty year old small house and garden on a 62'x150' lot in a gated community has a Charleston-style side courtyard entered through two large mahogany black painted doors. Outside the kitchen window is a wrought iron screen covered in vines and a birdbath. Continuing through another pair of mahogany doors, one enters the potting and work area and exits through a gate to the rear driveway area and back gardens. An area of the driveway is planted with a crepe myrtle and a large salix under planted with dwarf mondo grass bordered with St. Augustine grass and low wrought iron fencing. The main garden is situated on the back of the house with views from the master bedroom and library. The master bedroom window frames a large crepe myrtle and a round brick fountain. Large wax myrtle trees anchor each back corner, under planted with President Clay azaleas. All beds are bordered in clipped Asian jasmine. Espaliered pyracantha in a diamond pattern mirrors the fork pattern on the opposite wall, giving three seasons of change--flowers, berries and green. The twelve-columned brick wall surrounding the garden gives privacy and a sense of tranquility.

People associated with this property include: Mrs. Ralph Leaf (garden designer, 1983) and Hermes Mallea (architect of garden walls, 1989).

Related Materials:

Garden of Mrs. Ralph Leaf related holdings consist of 1 folder (11 35 mm. slides)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Texas -- Beaumont  Search this

Formal gardens  Search this

Walled gardens  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File TX078

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Texas

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6e6a333c8-c4fa-446f-b539-fa8e4be1cb6b

EDAN-URL:

ead_component:sova-aag-gca-ref13458

Landscape architect:

Page, Benjamin G. Jr  Search this

Fields, Paul  Search this

Provenance:

Founders Garden Club of Dallas  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

The Mulford Family Garden (Dallas, Texas)

United States of America -- Texas -- Dallas

Scope and Contents:

The folder includes worksheets and plans.

General:

The Mulford Family Garden, located on two acres, was purchased in 1998 by the current owner. At the time, the house was surrounded by giant oak trees and a garden had so completely overgrown that the creek was not visible. The owners envisioned its potential and hired Nashville landscape architect Benjamin G. Page, Jr. (ASLA) to design an extensive garden renovation.The garden is now a special refuge for wildlife and a place of adventure and discovery for their children and their friends. Features include a tree house, forts and secret paths cut behind the hedges. The design incorporated the view of the creek, but rather than make it the focal point of the garden its view is meant to be a surprise. The final landscaping phase was the construction of a bridge to connect the property to the home of the owner's sister across the creek. Each summer, the property serves as a day camp for about fifty young children, organized in different areas of the garden.

Other properties designed by Benjamin Page include the residence of the Vice President of the United States at the Naval Observatory in Washington, D.C., The Dixon Gallery and Gardens in Memphis, Tennessee. The design for the Mulford house was implemented by Paul Fields (ASLA), President and Director of Design for Lambert's Landscape Company of Dallas.

Persons associated with the garden include Benjamin G Page, Jr. (landscape architect, 1998), Paul Fields (landscape architect, 2000),Schoelkopf family (1933), Shelby family (dates unknown) and Perrin family (dates unknown).

Related Materials:

The Mulford Family Garden related holdings consist of 1 folder (27 35 mm. slides (photographs) + 1 photographic print)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Texas -- Dallas  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File TX095

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Texas

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb68098f6f9-36da-4a88-8394-c944803d79ed

EDAN-URL:

ead_component:sova-aag-gca-ref13482