Skip to main content Smithsonian Institution

Search Results

Collections Search Center
924,693 documents - page 500 of 500Result pages are truncated to 500.

Bennett Pottery Company Records

Creator:
Bennett, Edwin, 1818-1908 (potter)  Search this
Edwin Bennett Pottery Company  Search this
Former owner:
National Museum of American History (U.S.). Division of Ceramics and Glass  Search this
Names:
Bennett, Edwin Huston  Search this
Bennett, James  Search this
Extent:
4 Cubic feet (9 boxes, 2 map folders)
Type:
Collection descriptions
Archival materials
Business records
Photographs
Place:
Baltimore (Md.)
Date:
1844-1981
Scope and Contents note:
Early Bennett family histories, Edwin Bennett's autobiography, correspondence, 1914-1981, Bennett Pottery Company records, photographs, notebooks of clay and glaze formulae and other miscellaneous items, 1844-1981.
Includes 3 photographs related to the Baltimore fire, 1903-1905.
Arrangement:
Divided into 8 series: (1) Biographical, (2) Correspondence, (3) Bennett Pottery Co., (4) Catalogs, advertisements, stationary, etc., (5) Photographs, (6) Notebooks of formulae and receipts, (7)Printed Material, (8) Ledgers of the Seven Clay Co. (a subsidiary of Bennett Pottery Company).
Biographical/Historical note:
Edwin Bennett, 1818 1908, was the founder of the Edwin Bennett Pottery Company, Baltimore, Maryland, which operated between 1846 and 1936

He was born in Newhall, Derbyshire, England, where he worked as a potter before coming to the United States in 1841 to join his brother, James Bennett, also a potter, in East Liverpool, Ohio.

In order to have access to the railroads, which at that time did not extend beyond the Alleghany Mountains, he decided to move east, first to Pittsburgh and then to Baltimore, Maryland where he built a factory in 1846.

Among the first wares produced were those for utilitarian purposes, such as pitchers, mugs, plates, spittoons, etc. These were primarily yellow wares, referred to by Bennett as "caneware". Mention is also made, and examples are extant, of Rockingham & ironstone wares. One popular model was a "Rebekah at the Well" teapot which was produced in 1851.

Bennett continued to experiment with clay bodies and glazes for many years as his notebooks indicate. The company's general line of merchandise expanded to include decorated porcelain tableware, parlor and banquet lamps, clock cases and other items. Bennett also hired skilled potters who produced artistic wares which were shown at various state exhibitions.

The company received awards from the Maryland Institute in 1854 and 1856, and later at the Philadelphia Centennial of 1876 and the Columbia Exposition of 1893.

Examples of Bennett pottery are in the collections of the Maryland Historical Society, the Philadelphia Museum of Art, the Metropolitan Museum of New York, and the Smithsonian Institution.

Two fires, one in 1864 and the other in 1906, destroyed many of the company's records, but advertisements and other materials that were salvaged, give evidence of the growth of the company. Along with its subsidiaries, it became one of the largest suppliers in the United States of hotel kitchen and tableware, chemical containers, public restroom fixtures and roofing tiles. Edwin Bennett was a charter member of the United States Potters Association having aided in its formation in 1875. In 1903 he was honored by the association as America's oldest living potter.

His son, Edwin Huston Bennett, became president of the company in 1890 but Bennett remained active in it until his death in 1908.
Provenance:
Collection donated by Mrs. Portia M. Filbert, 1986, March.
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:
Pottery  Search this
Fires -- Maryland -- Baltimore  Search this
Disasters  Search this
Potters  Search this
Ceramics manufacturing  Search this
Artisans  Search this
Genre/Form:
Business records -- 19th century
Photographs -- 1900-1950
Citation:
Bennett Pottery Company Records, 1844-1881, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0213
See more items in:
Bennett Pottery Company Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c9b832b7-561b-4a98-b3c6-46b067089d5a
EDAN-URL:
ead_collection:sova-nmah-ac-0213
Online Media:

Cyrus Trobbe Music Collection

Collector:
Trobbe, Cyrus (musician)  Search this
Names:
Curran Theater  Search this
Geary Theater  Search this
KFRC (radio station)  Search this
San Francisco Light Opera  Search this
San Francisco Symphony Orchestra  Search this
Extent:
300 Cubic feet (322 record boxes, 1 map folder)
Type:
Collection descriptions
Archival materials
Scrapbooks
Programs
Disc recordings
Card catalog
Sheet music
Place:
San Francisco (Calif.)
Date:
ca. 1900-1982.
Scope and Contents:
Includes: published music scores (1920-1980) collected by Cy Trobbe, scrapbooks documenting his music career (1919-1980), programs from musical presentations in San Francisco (1913-1980), disc recordings of Trobbe's radio broadcasts on KFRC in 1938; and a card catalog assembled by Trobbe of his collection, arranged by type of music.
Arrangement:
Divided into 5 series: (1) Collected music, (2) Scrapbooks, (3) Printed Programs, (4) Disc Recordings, (5) Card Catalog.
Biographical / Historical:
Trobbe was a musician and a leader of musical groups in the San Francisco Bay area for some sixty years. He was born in London and came to the U.S. shortly before 1920. Trobbe found regular work as a violinist and a group leader, assembling musical groups varying in size from small dance orchestras to large theater orchestras. He became a faculty member of what is now San Francisco State University soon after WW II.
Provenance:
Collection donated by Mrs. Cyrus Trobbe, September 30, 1986.
Restrictions:
Collection is open for research but is 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:
Radio broadcasts  Search this
Sound Recordings and Reproductions  Search this
Musicians -- 20th century  Search this
Musical performances  Search this
Bands (Music) -- 20th century  Search this
Theater  Search this
Genre/Form:
Scrapbooks -- 20th century
Programs
Disc recordings
Card catalog
Sheet music
Citation:
Cyrus Trobbe Music Collection, 1913-1982, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0242
See more items in:
Cyrus Trobbe Music Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep839e1b882-c9ba-4f9b-8beb-891705e9828a
EDAN-URL:
ead_collection:sova-nmah-ac-0242

William J. Hammer Collection

Creator:
Hammer, William J. (William Joseph), 1858-1934 (electrical engineer)  Search this
Former owner:
National Museum of American History (U.S.). Division of Electricity and Modern Physics  Search this
Names:
Batchelor, George  Search this
Bell, Alexander Graham, 1847-1922  Search this
Berliner, Emile, 1851-1929  Search this
Curie, Marie  Search this
Curie, Pierre  Search this
Edison, Thomas A. (Thomas Alva), 1847-1931  Search this
Jehl, Francis  Search this
Johnson, Edward H.  Search this
Sprague, Frank J.  Search this
Tesla, Nikola, 1856-1943  Search this
Upton, Francis R.  Search this
Extent:
36 Cubic feet (124 boxes, 3 map-folders)
Type:
Collection descriptions
Archival materials
Correspondence
Photographs
Date:
circa 1847-1989
Summary:
Original documents and papers generated by William J. Hammer and by various companies and individuals with whom he was associated. Includes material related to the research and inventions of Edison, Bell, Tesla, the Curies, etc.
Scope and Contents:
This collection includes original documents and papers generated by Hammer and by various companies and individuals and various secondary sources assembled by Hammer between 1874 and 1934. Hammer's lifelong association with the foremost scientists of his day -- Edison, Bell, Maxim, the Curies, the Wright brothers, and others - afforded him a unique opportunity to collect materials about the development of science along many lines.

This collection, which includes rare historical, scientific, and research materials, was donated by the International Business Machine Corporation to the Museum of History and Technology in 1962 and held by the Division of Electricity. In 1983 it was transferred to the -Archives Center. The collection was badly disorganized when received and contained many fragile documents in poor condition. The collection was organized and arranged as reflected in this register.

The collection documents in photographs, manuscripts, notes, books, pamphlets, and excerpts, the beginnings of electrical technology. In its present state, it comprises four series: Series 1 contains twenty-two boxes of the William J. Hammer Papers, containing both biographical and autobiographical material; Series 2 has twenty boxes of material on Edison; Series 3 consists of thirty-three boxes of reference material; and Series 4 holds twenty-one boxes of photographs and portraits. See the container list beginning on page 39 for more detailed information on the contents of the collection.

Most of the material in the collection is chronologically arranged. However, in some cases alphabetical arrangement has been employed, for example, in the arrangement of portraits of eminent men of electrical science (Series 4, Boxes 78-80, 100-101), and the arrangement of publications (by authors' last names).

Hammer did original laboratory work upon selenium, radium, cathode rays, x-rays, ultra-violet rays, phosphorescence, fluorescence, cold light, and wireless. These aspects of his career are reflected in many parts of the collection: in Series 1 there are articles, notes, diagrams, sketches, graphs,, and correspondence; in Series 3 articles, magazines, news clippings, and bound pamphlets. Tie contributed many technical writings, some of which are found in Series 1.

Papers detailing Hammer's aeronautical activities were transferred to the National Air and Space Museum. They consist of two scrapbooks and one cubic foot of aeronautical photographs of balloons, airplanes, and gliders and one-half cubic foot of correspondence. For further information contact the National Air and Space Museum Archives at (202) 357-3133.
Arrangement:
The collection is divided into four series.

Series 1: William J. Hammer Papers, 1851-1957

Series 2: Edisonia, 1847-1960

Series 3: Reference Materials, 1870-1989

Series 4: Photographs, 1880-1925
Biography of William J. Hammer:
William Joseph Hammer, assistant to Thomas Edison and a consulting electrical engineer, was born at Cressona, Schuylkill County, Pennsylvania, February 26, 1858, and died March 24, 1934. His parents were Martha Augusta Bech (1827-1861) and William Alexander Hammer (1827-1895). He attended private and public schools in Newark, New Jersey, and university and technical school lectures abroad.

On January 3, 1894, Hammer married Alice Maud White in Cleveland, Ohio. They had one daughter, Mabel (Mrs. Thomas Cleveland Asheton). Alice Hammer died in 1906.

In 1878 Hammer became an assistant to Edward Weston of the Weston Malleable Nickel Company. In December 1879 he began his duties as laboratory assistant to Thomas Edison at Menlo Park, New Jersey. He assisted in experiments on the telephone, phonograph, electric railway, ore separator, electric lighting, and other developing inventions. However, he worked primarily on the incandescent electric lamp and was put in charge of tests and records on that device. In 1880 he was appointed Chief Engineer of the Edison Lamp Works. In this first year, the plant under general manager Francis Upton, turned out 50,000 lamps. According to Edison, Hammer was "a pioneer of Incandescent Electric Lighting"! (Hammer's memoranda and notes, Series 2).

In 1881 Edison sent Hammer to London as Chief Engineer of the English Electric Light Co. In association with E. H. Johnson, general manager, Hammer constructed the Holborn Viaduct Central Electric Light Station in London. This plant included three, thirty-ton "Jumbo" steam-powered dynamos (generators), and operated 3,000 incandescent lamps. Holborn was the first central station ever constructed for incandescent electric lighting. Hammer began its operation on January 12, 1882, by lighting the Holborn Viaduct.

In 1882 Hammer also installed a large isolated lighting plant containing twelve Edison dynamos at the Crystal Palace Electric Exposition and the Edison Exhibit at the Paris Electrical Exposition.

At this time Hammer also designed and built the first electric sign. The sign spelled the name "Edison" in electric lights, and was operated by a hand controlled commutator and a large lever snap switch. It was erected over the organ in the Crystal Palace concert hall.

In 1883 Hammer became Chief Engineer for the German Edison Company (Deutsche Edison Gesellschaft), later known as Allegemeine Elektricitaets Gesellschaft. Hammer laid out and supervised the installations of all Edison plants in Germany. While in Berlin he invented the automatic motor-driven "flashing" electric lamp sign. The sign, which flashed "Edison" letter by letter and as a whole, was placed on the Edison Pavilion at the Berlin Health Exposition in 1883.

On his return to the United States in 1884, Hammer took charge of some of Edison's exhibits, including Edison's personal exhibit, at the International Electrical Exhibition held under the authority of the Franklin Institute in Philadelphia. There he built the first flashing "Column of Light." He also became confidential assistant to E. R. Johnson, president of the parent Edison Electric Light Company. Together with Johnson and Frank J. Sprague, he became an incorporator of the Sprague Electric Railway and Motor company. He also was elected a trustee and the company's first secretary.

Hammer installed an all-electric house at Newark, New Jersey in 1884 and he devised various electrical devices and contrivances for an unusual party for friends and colleagues. (See "Electrical Diablerie" beginning on page 6).

At the end of 1884 Hammer became chief inspector of central stations of the parent Edison Electric Light Company. For over two years he made financial, mechanical, and electrical reports on the various stations throughout the United States. During 1886-87 he was chief engineer and general manager of the Boston Edison Electric Illuminating Company. He also acted as contractor for the company. He laid $140,000 of underground tubing and installed Sprague Electric Motors.

In 1888, acting as an independent engineer, he was placed in charge of completing the 8,000 light plant of the Ponce de Leon Hotel in St.Augustine Florida. At the time this was the largest isolated incandescent lighting plant ever constructed. Also in 1888 Hammer was appointed consulting electrical engineer to the Cincinati Centennial Expostition, and as a contractor designed and installed over $40,000 worth of electrical effects.

Hammer was appointed Edison's personal representative remarked, "There are a lot of crowned heads in the Edison business. How many of them am I subservient to?" Mr. Edison answered "You take no instructions except from Thomas A. Edison." Hammer asked "What are your instructions?" Mr. Edison replied, 'Hammer, I haven't any. Go and make a success of it.' In Paris he set up and operated all of Edison's inventions, which embraced nineteen departments and covered 9,800 square feet of space. He also built a huge Edison lamp forty-five feet high employing 20,000 lamps. Edison remarked, 'He had entire charge of my exhibit at the Paris Exposition, which was very successful." This was the largest individual exhibit at the Exposition, costing $100,000. Mr. Edison replied, "I want you to go right out and have a card engraved William J. Hammer, Representative of Thomas A. Edison. You are the only representative I have here," and he complimented him on his work adding, "The French government will do something handsome for you for your work." Hammer replied that he would not raise his hand to get it and did not believe in giving such honors to people who seek them. Mr. Edison said, "You are wrong. You are a young man and such things are valuable. At any rate if there's anyone in this exhibition who deserves recognition, you do, and I'm going to see you get it' (Hammer's memoranda and notes, Series 2). Thirty-four years later, in 1925, through the personal influence of Edison, Hammer was made Chevalier of the Legion of Honor by the French government.

In 1890 Hammer returned to the United States and opened an office as a consulting electrical engineer. He was in private practice until 1925, making reports, conducting tests, and giving expert testimony in patent suits.

On January 31, 1890, Hammer formed the Franklin Experimental Club of Newark where boys could come and carry on experiments, build apparatus, and listen to lectures. Hammer equipped the laboratory at his own expense. One side was an electrical laboratory and the other a chemical laboratory. About forty-five boys joined. Each boy had a key to the club and a section of a bench with his own drawer for keeping notes, tools, and other equipment. In 1892 the structure was destroyed by fire from a saloon next door, ending Hammer's plans for a large and useful institution.

In 1896 Hammer was elected president of the National Conference of Standard Electrical Rules, which prepared and promulgated the "National Electric Code."

In 1902 in Paris, Hammer visited Pierre and Marie Curie, the discoverers of radium and polonium. They gave him nine tubes of radium and one of polonium to bring back to the United States. He also acquired some sulphide of zinc, with which he mixed radium carbonates, producing a beautifully luminous powder. This was the first radium-luminous material ever made. By mixing the powder with Damar varnish he produced the first radium-luminous paint. He was also the first person to make colored (and white) luminous materials. In 1907 he invented and patented a process for producing colored phosphorescent materials by combining phosphorescent and fluorescent substances.

Back in the United States in the fall of 1902 and into 1903, Hammer applied his radium-luminous materials to thirty different objects: luminous dials for clocks and watches, toys, artificial flowers, radium luminous gun sights, taps and pulls for lamp sockets, switches, keyholes, push buttons, telephone transmitters, poison bottle labels, a small plaster figure, push pins, and writing implements among others. He did not patent the invention due to the scarcity and high cost of radium, but later in an important suit involving foreign and American patents of radium-luminous materials, his testimony and that of other noted scientists and professionals of the day who had visited his home and laboratory proved that his work completely anticipated that of all inventors both in the United States and abroad. In 1902 he was one of the first persons to be burned with radium.

Hammer gave eighty-eight lectures on the Curies' work and on radium and radioactive substances. He wrote the first book published on radium, Radium and other Radioactive Substances, 1903. Hammer proposed and used radium for cancer and tumor treatment, successfully treating and curing a tumor on his own hand in July 1903. Tie also supplied several hospitals with radioactive water he had made and conducted extensive experiments with x-rays, cathode-rays, radium-rays, ultraviolet lights, phosphorescence, fluorescence, and cold-light. He was probably the first to suggest many wartime uses for radium-luminous materials, such as airplanes, instruments, markers, barbed-wire, and landing fields.

Hammer also did important work with selenium, a nonmetallic element that resembles sulphur and tellurium chemically. It is obtained chiefly as a by-product in copper refining, and occurs in allotropic forms. A grey stable form varies in electrical conductivity depending on the intensity of its illumination and is used in electronic devices. Hammer invented selenium cells and apparatus, and suggested industrial uses for selenium and other light-sensitive cells.

In 1886 Hammer devised a system for automatically controlling street and other lights by use of a selenium cell. In 1892 he designed a torpedo that could be steered by searchlight and selenium cell. In the early 1900s he suggested many other uses for "light" cells, including burglar alarms, dynamo control, buoy, railroad signaling, automatic gun firing, transmission of music, stethoscope recorder, automatic operating shutters, automatic boiler feed, snow recorder, and electric motor control.

At the St. Louis Exposition of 1904 Hammer was Chairman of the Jury for Telegraphy, Telephony, and Wireless. He was also a member of the "Departmental" Jury ("Applied Science: Electricity") and of the committee appointed to organize the International Electrical Congress at St. Louis in 1904.

In 1906 Hammer received the "Elliott Cresson" gold medal from the Franklin Institute for his "Historical Collection of Incandescent Electric Lamps," accumulated over thirty-four years. This collection received a special silver medal at the International Electrical Exposition at the Crystal Palace, London, England, in 1882, and "the Grand Prize" at the St. Louis Exposition of 1904.

During the First World war Hammer served as a major on the General Staff of the, Army War College, Washington, D.C., where he was attached to the Inventions Section of the War Plans Division and later to the operations Division at the war Department in charge of electrical and aeronautical war inventions. He did special work at the U.S. Patent office, marking and delaying patents that might be useful to the enemy and served on the Advisory Board of Experts attached to the Alien Property Commission. He was elected Historian general of the Military order of the World War (1926-1928) and was a member of the Society of American Military Engineers.

Hammer was an early aeronautics enthusiast and became the owner of one of the first airplanes sold in the United States to an individual. Even in his last few years of his life, Hammer's interest in airplanes did not wane. In 1931, by the permission of the Secretary of the -Navy, Hammer made a twelve-hour flight in the Los Angeles dirigible from the Lakehurst, New Jersey airdrome along the coast of the Atlantic Ocean to New York, flying over New York City at night.

Hammer served on numerous committees. In 1916 he was a member of a special committee, appointed by the Aeronautical Society of America. one of his responsibilities on this committee was to recommend methods for the formation of a reserve force of civilian aviators for the Army. At the start of World War I, Hammer was appointed chairman of a committee on camouflage by the Aeronautical Society. During the war, he flew airplanes and tested sound devices and was also among the first five selected out of thousands for the dissemination of propaganda into many countries. He also examined documents and papers captured from spies and prisoners of war to see if these material contained any technical matter of value to the U. S. Army.

Hammer traveled extensively as a delegate of the Military Order of World War I. For example, in 1922 he attended the aeronautical Congress and Flying Meet in Detroit, Michigan. In the same year he also attended Immigration Conferences of the National Civic Federation in New York.

Between 1922 and 1928 Hammer intensified his efforts in collecting and organizing autographed portraits of eminent scientific men, a project he had been working on for over forty-five years. Tie displayed many of these portraits with his Historical Collection of Incandescent Electrical Lamps in -his New York home. At this time he also prepared an elaborate bibliography on selenium and its industrial and scientific applications.

Major William Joseph Hammer, described by Edison as "my most valuable assistant at Menlo Park" died of pneumonia March 24, 1934.
'Electrical Diablerie':
"ELECTRICAL DIABLERIE"

N.Y. World, January 3, 1885 and Newark, N.J. Daily Advertiser and Journal, January 3, 1885

Some years ago, (1884) on New Year's eve, an entertainment was given at the home of Mr. William J. Hammer, in Newark, N.J., which, for the display of the powers of electricity has seldom, if ever, been equaled. Mr. Hammer, who has for years been associated with Mr. Edison, both in this country and in Europe, desiring to give his old classmates, the "Society of Seventy-Seven," a lively and interesting time, invited them to "an electrical dinner"at his home.

The invitations which were sent out were written upon Western Union telegram blanks with an Edison electric pen. When the guests arrived and entered the gate, the house appeared dark, but as they placed foot upon the lower step of the veranda a row of tiny electric lights over the door blazed out, and the number of the house appeared in bright relief. The next step taken rang the front door bell automatically, the third threw open the door, and at the same time made a connection which lit the gas in the hall by electricity.

Upon entering the house the visitor was invited to divest himself of his coat and hat, and by placing his foot upon an odd little foot-rest near the door, and pressing a pear-shaped pendant hanging from the wall by a silken cord, revolving brushes attached to an electric motor brushed the mud and snow from his shoes and polished them by electricity. As he was about to let go of the switch or button, a contact in it connected with a shocking coil, caused him to drop it like a hot potato. Up-stairs was a bedroom which would be a fortune to a lazy man; he had only to step on the door sill and the gas was instantly lighted. The ceiling was found to be covered with luminous stars, arranged to represent the principal constellations in the heavens-while comets, moons, etc., shone beautifully in the dark. By placing one's head on the pillow, the gas, fifteen feet away, would be extinguished and the phosphorescent stars on the ceiling would shine forth weirdly, and a phosphorescent moon rose from behind a cloud over the mantel and slowly describing a huge arch disappeared behind a bank of phosphorescent clouds on the other side of the room; by pressing the toe to the foot-board of the bed the gas could again be relit.

Pouring a teacup of water into the water clock on the mantel and setting the indicator would assure the awakening of the sleeper at whatever hour he might desire. There was also in the hall outside the room a large drum, which could be set to beat by electricity at the hour when the family wished to arise. The whole house was fitted throughout with electric bells, burglar alarms, fire alarms, telephones, electric cigar lighters, medical coils, phonographs, electric fans, thermostats, heat regulating devices, some seven musical instruments, operated by electricity, etc.

Upon the evening referred to nearly every. piece of furniture in the parlor was arranged to play its part. Sit on one chair and out went the gas, take another seat and it would light again; sitting on an ottoman produced a mysterious rapping under the floor; pressure on some chairs started off drums, triangles, tambourines, cymbals, chimes and other musical instruments; in fact, it seemed unsafe to sit down anywhere. The quests stood about in groups and whispered, each hoping to see his neighbor or a new comer caught napping.

One visitor (Brown) secured an apparently safe seat, and was telling a funny story--he had left electricity far behind--but just as he reached the climax, a pretty funnel-shaped Japanese affair like a big dunce cap, that seemed but a ceiling ornament which was held in place by an electromagnet, dropped from overhead and quietly covered him up, thus silently extinguishing the story and the story-teller.

A big easy chair placed invitingly between the folding doors joining the double, parlors sent the unwary sitter flying out of its recesses by the sudden deafening clamor of twenty-one electric bells hidden in the folds of the draperies hanging in the doorway. In a convenient position stood the silver lemonade pitcher and cup, the former was filled with the tempting beverage, but no matter how much a guest might desire to imbibe one touch convinced him that the pitcher and cup were so heavily charged with electricity as to render it impossible for him to pour out a drink or even to let go until the electricity was switched off from the hidden induction coil.

Some one proposed music, and half a selection had been enjoyed when something seemed to give way inside the piano, and suddenly there emanated from that bewitched instrument a conglomeration of sounds that drowned the voices of the singers, and the keys seemed to beat upon a horrible jangle of drums, gongs and various noise-producing implements which were fastened inside of and underneath the piano.

After the guest were treated to a beautiful display of electrical experiments, under the direction of Mr. Hammer, and Professor George C. Sonn, they were escorted to the dining-room, where an electrical dinner had been prepared and was presided over by 'Jupiter," who was in full dress, and sat at the head of the table, where by means of a small phonograph inside of his anatomy he shouted, "Welcome, society of Seventy-Seven and their friends to Jove's festive board." The menu was as follows: "Electric Toast," "Wizard Pie," "Sheol Pudding," "Magnetic Cake," "Telegraph Cake," "Telephone Pie," "Ohm-made Electric Current Pie," "Menlo Park Fruit," "Incandescent Lemonade," "'Electric Coffee" and "Cigars," etc., and music by Prof. Mephistopheles' Electric Orchestra.

About the table were pretty bouquets, and among the flowers shone tiny incandescent lamps, while near the center of the table was placed an electric fan which kept the air cool and pure, and at each end was a tiny Christmas tree lighted with small incandescent lamps, planted in a huge dish of assorted nuts and raisins. Each lamp had a dainty piece of ribbon attached to it upon which the initials of the Society and the date were printed, and each guest received a lamp to take away with him as a souvenir of the occasion. Plates of iced cakes made in the form of telephones, switches, bells, electric lamps, batteries, etc., stood on each side of the center piece.

Promptly at 12 o'clock, as the chimes of the distant churches came softly to the ears of the assembled quests, pandemonium seemed to change places with the modest dining-room. A cannon on the porch, just outside the door, and another inside the chimney, were unexpectedly discharged; and at this sudden roar, every man sprang back from the table; the lights disappeared; huge fire-gongs, under each chair beat a tattoo. The concussion produced by the cannon in the fireplace caused several bricks to come crashing down the chimney, and as the year of 1884 faded away, the table seemed bewitched. The "Sheol Pudding" blazed forth green and red flames illuminating the room, tiny tin boxes containing 'Greek" fire which had been placed over each window and door were electrically ignited by spirals of platinum iridium wire heated by a storage battery and blazed up suddenly; the "Telegraph Cake" clicked forth messages said to be press reports of the proceedings (it was also utilized to count the guests and click off the answers to various questions put to it); bells rang inside the pastry; incandescent lamps burned underneath the colored lemonade; the thunderbolt pudding discharged its long black bolts all over the room (long steel spiral springs covered with black cloth) and loud spirit rapping occurred under the table. The silver knives, forks and spoons were charged with electricity from a shocking coil and could not be touched, while the coffee and toast (made by electricity) were made rapidly absorbed; the "Magnetic Cake' disappeared; the "Wizard" and "Current Pies' vanished, and 'Jupiter" raising a glass to his lips began to imbibe.

The effect was astonishing! The gas instantly went out, a gigantic skeleton painted with luminous paint appeared and paraded about the room, while Jupiter's nose assumed the color of a genuine toper! His green eyes twinkled, the electric diamonds in his shirt front (tiny lamps) blazed forth and twinkled like stars, as he phonographically shouted "Happy New Year'. Happy New Year!" This "Master of Cererionies' now becoming more gentle, the guests turned their attention to the beautiful fruit piece, over four feet high, that stood in the center of the table. From the fruit hung tiny electric lamps, and the whole was surmounted by a bronze figure of Bartholdils "Statue of Liberty;" uplifted in "Miss Liberty's" right hand burned an Edison lamp no larger than a bean.

The dinner finished, and there was much that was good to eat, notwithstanding the "magical" dishes which they were first invited to partake of, speeches were delivered by Messrs. Hammer, Rutan, McDougall, 'Brown, Duneka, and Dawson, and an original poem was read by Mr. Van Wyck. Upon repairing to the parlors the guest saw Mr. Hammer's little sister, May, dressed in white and mounted upon a pedestal, representing the "Goddess of Electricity:" tiny electric lamps hung in her hair, and were also suspended as earrings, while she held a wand surmounted by a star, and containing a very small electric lamp.

Not the least interesting display of electricity took place in front of the house, where a fine display of bombs, rockets, Roman candles, Greek fire and other fireworks were set off by electricity, which was by the way, the first time this had been accomplished. The guests were requested to press button switches ranged along the front veranda railing thus causing electricity from a storage battery to heat to a red heat tiny platinum iridium spirals attached to each fuse of the various pieces of fireworks thus sending up rocket after rocket, as well as igniting the other pieces which had been placed in the roadway in front of the house.

An attempt was made to send up a large hot air balloon to which was attached a tiny storage battery and an incandescent signal lamp but a sudden gust of wind caused the ballon to take fire as it rose fr(xn the ground. This constituted the only experiment made during the evening which was not an unqualified success. The innumerable electrical devices shown during the progress of the dinner were all operated by Mr. Hammer, who controlled various switches fastened to the under side of the table and attached to a switchboard, which rested on his lap, while the two cannons were fired by lever switches on the floor, which he operated by the pressure of the foot. Electricity was supplied by primary and storage batteries placed under the table. After an exhibition of electrical apparatus and experiments with a large phonograph, the guests departed with a bewildered feeling that somehow they had been living half a century ahead of the new year."
Expositions and Exhibitions:
The many Expositions held at the end of the 19th and the beginning of the 20th centuries were important for the Edison Electric Company's future business. In particular the Paris Electrical Exposition, 1881, and the Crystal Palace Exposition in London in 1892 were introductions for the company's international business enterprises. Edison, therefore, sent his ablest men from the Menlo Park staff (Batchelor, Hammer, Jehl, Johnson) to Europe to oversee the installation and promotion of the company's exhibits.

THE INTERNATIONAL PARIS EXPOSITION OF 1881

The International Paris Electrical Exposition was held during the summer of 1881. Many of Edison's electric lighting systems, ranging from arc lights to incandescent devices, were exhibited. A model of the Edison central-station lighting system showed an arrangement of incandescent lights within a complete electrical distributing system, including novel appliances and controls of the Edison system. "The completeness of its conception made a profound impression on the foremost European electrical engineers of that era." (Josephson, Matthew. Edison, A Biography. p. 252). Edison also exhibited his first "Jumbon generator. It was "direct-connected" to its driving engine, another area in which Edison pioneered. Edison improved upon the original design of William Wallace's "Telemachon' - a generator coupled to a water-powered turbine. Wallace had earlier in the decade produced the first dynamo in America.

Charles Batchelor headed the Edison exhibits within Paris. Edison received many gold medals and diplomas and was awarded the ribbon of the Legion of Honor.

The William J. Hammer Collection contains various reports and catalogues exhibited at the International Exposition of Electricity. (Series 3, Box 44, Folders 1-4)

THE CRYSTAL PALACE EXHIBITION OF 1882

At the Crystal Palace Exhibition of 1882 in London, Edison displayed a great many of his inventions, including: the steam dynamo; specimens of street pipes and service boxes used in the Edison underground system of conductors, and the system of house conductors with devices for preventing abnormal increase of energy in house circuits; apparatus for measuring the resistance of his lamps, for measuring the energy consumed in lamps, and rheostats for restoring currents; also thermogalvano-meters, carbon rheostats, dynamometers, photometers, carbon regulators, Weber meters,, current regulators, and circuit breakers for controlling electric light circuits; the carbon relay, the pressure relay, and the expansion relay; the telegraph system in Morse characters; and the Roman character automatic telegraph.

Thomas Edison also exhibited the carbon telephone, the musical telephonograph, telephone repeater, and numerous apparatus for demonstrating the method of varying the resistance of a closed circuit by contact with carbon, illustrative of the experimental factors of the Edison carbon transmitter. Incandescent lamps, the process of the manufacture of lamps, and various designs of electric light chandeliers were also on display.

Hammer won the silver medal at the exposition for the first complete development of the incandescent electric lamp from its initial stages to date. At the exhibition the first hand-operated flashing electric lamp sign was displayed, which was invented and built by Hammer.

The collection contains photographs of the Edison dynamo, and the Edison Electric Lighting Plant of 1882 erected by Hammer. The official Catalogue of the International Electric and Gas Exhibition, and various articles from the Daily Telegraph, Daily Chronicle, and Daily News are also included within the collection (Series 4, Box 99 and Series 3, Box 42, Folder 1-2).

THE BERLIN EXPOSITION OF 1883.

The Berlin Exposition of 1883 had the first motored flashing electric sign designed, built and operated by Hammer. The electric sign spelled out the word "Edison" letter by letter and was used on the Edison pavilion in the Health Exposition. It has most features of today's flashing sign.

The collection contains two photographs of the first flashing sign (Series 4, Box 99).

THE FRANKLIN INSTITUTE INTERNATIONAL ELECTRICAL EXHIBITION OF 1884

The Franklin Institute International Electrical Exhibition was held in Philadelphia from September 2 to October 14, 1884. Many of Edison's companies had display booths at the exhibition. The Edison Electric Light Company showed in operation their system of house lighting as supplied from a central station. The Edison Company for Isolated Lighting exhibited their system of lighting factories, hotels, hospitals, and other places situated beyond the reach of a central lighting station. A full assortment of Edison lamps and dynamos also made up parts of other exhibits. Also displayed at the exhibition was the first flashing column of light, which Hammer designed and built.

Included within the collection are a variety of photographs of the exhibitions. Four pamphlets also are contained in the collection (Series 3, Box 1, Folder 3), (Series 4, Box 99).

THE EXPOSITION OF THE OHIO VALLEY AND THE CENTRAL STATES OF 1888

The Exposition of the Ohio Valley and Central States, in Cincinnati from July 4 to October 27, was in honor of the one hundredth anniversary of the settlement of Cincinnati. The exposition showed the progress and ramifications of the first hundred years of this settlement.

The space occupied by permanent buildings was greater than that covered by any building for exhibiting purposes on the Western continent. T',ie exposition developed the Electric Light Plant to make a special feature of electric lighting in the evening. Several companies used this opportunity to make exhibits of their apparatus and for their equipment to be used for illumination. The Edison Lamps were used for displays in showcases and pavilions of exhibitors of the Park Building.

The collection contains photographs of the halls of the exposition and a poster which is a souvenir of the electrical display of the exposition. An official Guide of the Centennial Exposition of the Ohio Valley and Central States is included within the collection. (Series 4, Box 99), (Series 3, Box 42, Folder 4).

THE SUMMER CARNIVAL AND ELECTRICAL EXHIBITION, ST. JOHN, NEW BRUNSWICK, 1889

The Summer Carnival and Electric Exhibition held at St. John, New Brunswick, Canada was to celebrate the opening of the Canadian Pacific Short Line to St. John and Portland. The Electrical Exhibition was the most popular of the displays present, containing the Monster Edison Lanm, the Mysterious Electric Fountain, and many other inventions.

The William J. Hammer Collection contains a poster that illustrates some of the leading exhibits at the Electrical Exhibition (Series 4, Box 99).

PARIS UNIVERSAL EXPOSITION OF 1889

The Universal Exposition of 1889 held in Paris was larger than all previous expositions held there. The famous Eiffel Tower was its principal attraction.

A large portion of the exhibit hall within the Palace of Mechanical Industries contained Thomas Edison's electrical inventions, including various electric lamps for use in houses. Variations of the telephone also were shown. During the Paris Exposition Europeans were exposed to the phonograph for the first time. Hammer represented Edison's interests at the Paris Exhibition.

The collection contains articles from New York World, New York Herald and Electrical World on Edison's exhibits at the Paris Exposition (Series 3, Box 44, folder 6). A scrapbook of photographs from the exhibition showing exhibit buildings and halls and loose photographs showing Edison's exhibits are included in the collection (Series 4, Box 98).

THE CRYSTAL PALACE EXHIBITION OF 1892

The Crystal Palace Exhibition of 1892 was held in London. Hammer displayed a great variety of products in the machine room of the Electrical Exhibition. Sockets for controlling individual incandescent lamps on alternating currents and the Ward Arc Lamp for use on incandescent circuits were just a few of the items displayed. Edison's companies displayed specimens of all types of incandescent electric lamps for public and private illumination. They also displayed primary batteries for use in telegraphy, telephony, household work, and engines.

The William, J. Hammer Collection contains a variety of photographs of the electrical exhibition. The Official Catalogue and Guide of the Electrical Exhibition is also contained within the collection (Series 4, Box 99), (Series 3, Folder 2, Box 42).

LOUISIANA PURCHASE EXPOSITION, 1904

The Louisiana Purchase Expostition of 1904, held in St. Louis, Missouri from April 30 to December 1, celebrated the centennial of the Louisiana Purchase. The nineteen million people who attended made it the largest exposition ever. The year 1904 marked the twenty-fifth anniversary of Edison's invention of the carbon filament lamp and central power station system.

F.J.V. Skiff, the exhibits classifier for the fair, developed a twofold classificatory arrangement. He organized exhibits in a sequential synopsis corresponding to the sixteen different departments of the exposition. The principal exhibition buildings were built in the shape of a fan. The departments of education, art, liberal arts, and applied sciences-including electricity - headed the classification, Skiff noted, because they "equip man for the battle and prepare him for the enjoyments of life.' Departments devoted to displays of raw materials such as agriculture, horticulture, !inning, forestry, fish and game came next. Anthropology, social economy, and physical culture concluded the classification.

The Hammer collection contains photographs of Hammer with other Chairmen of Domestic and Foreign Jurors of the Electricity Section of the International Jury of Awards of the Louisiana Exposition and Hammer as chairman of the jury on telegraphy, telephony, and wireless. (Series 4, Box 102). A pamphlet by the American Telephone and Telegraph Company on the exhibit of the Radiophone at the Department of Applied Science is also part of the collection (Series 3, Box 42, Folder 5).

THE PANAMA-PACIFIC EXPOSITION OF 1915

The Panama Pacific Exposition celebrated the opening of the Panama Canal and the four hundredth anniversary of the European discovery of the Pacific Ocean. It was held in San Francisco from February 20 to December 4, 1915. Approximately nineteen million people attended the exposition.

The eleven main buildings of the exposition were grouped around a central court of the Sun and Stars at the entrance of which was the famous Tower of Jewels. The main group of exhibits comprised the Palaces of Education, Liberal Arts, Manufactures, Varied Industries, Mines,

Transportation, Agriculture, Horticulture and all kinds of food products. During the exposition special days were set aside to honor industrialists Henry Ford and Thomas Edison. The Pacific Gas and Electric Company provided a large searchlight to flash out a Morse code greeting on the nighttime sky for their arrival.

The William J. Hammer Collection contains a pamphlet on the "Illumination of the Panama-Pacific International Exposition." The pamphlet describes the lighting of the exposition, and the use of arc lamps ' searchlights, incandescent electric lamps, and gas lamps (Series 4, Box 99), (Series 3, Box 43).
Provenance:
Collection donated by IBM, 1962.
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:
Fluorescence  Search this
Electrical engineering  Search this
Incandescent lamps  Search this
Phosphorescence  Search this
Selenium cells  Search this
Cathode rays  Search this
X-rays  Search this
Radium  Search this
Genre/Form:
Correspondence -- 1930-1950
Photographs -- 1850-1900
Photographs -- 20th century
Citation:
William J. Hammer Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0069
See more items in:
William J. Hammer Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep806480cfb-3204-4fc1-8e11-b58fffe1b338
EDAN-URL:
ead_collection:sova-nmah-ac-0069
Online Media:

Warshaw Collection of Business Americana Subject Categories: Textiles

Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
12.77 Cubic feet (consisting of 26.5 boxes, 1 folder, 7 oversize folders, 2 map case folders, 1 flat box (partial), plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Print advertising
Periodicals
Publications
Advertising cards
Advertising mail
Printed ephemera
Patterns
Catalogues
Designs (textile)
Sales catalogs
Business cards
Legal records
Contracts
Textiles
Trade catalogs
Exhibition catalogs
Advertising
Advertisements
Mail order catalogs
Business records
Designs
Printed material
Labels
Instructional materials
Trademarks
Legal documents
Trade cards
Legislation (legal concepts)
Ephemera
Samples
Manuals
Sample books
Design patents
Advertising fliers
Illustrations
Catalogs
Sales letters
Business letters
Correspondence
Manufacturers' catalogs
Commercial correspondence
Letterheads
Invoices
Photographs
Sales records
Printed materials
Fabrics
Trade literature
Business ephemera
Receipts
Commercial catalogs
Date:
1784-1970
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This material is concentrated on the 19th century United States textile manufacture and trade, and the sale of textiles in the form of bale, bolt, roll, and fabric to commercial vendors or consumers as source material to make other goods. The first series contains day-to-day records of dealers and vendors, plus advertising and marketing material. Artisan and home production of goods are virtually not covered but are a couple of incidental publications related to arts, crafts (rugs, weaving, looms), and more refined work such as tapestry. The import/export of textiles is well represented with a large volume of records, which may also provide some insight into the shipping industry.

There is not much on the infrastructure of the industry in the way of directories, trade journals, trade associations, along with manufacturing and plants, though there are a few examples of each. There are virtually no catalogues, except for a few thin ones that were filed by company name. While not extensive, the sample books and swatches offer a glimpse into product lines. Material types offers limited, specific information on certain varieties such as cotton, wool, linen, rayon, etc. Thread might be incidentally present but is not specifically included since there is already a dedicated subject category for it.

There is a healthy sampling of product labels. A handful of intellectual property related documents cover protections of designs, plus patents and trademarks. There is a small bulk of publications related to tariffs and the wool industry.

Clothing patterns, home economics, sewing and seamstresses, household use of textiles (furniture covering, as a cleaning tool, bedding/pillows, etc.) are not covered within this category. Researchers should also look at any of a number of other Warshaw categories, particularly those related to clothing, hosiery, dry goods, furniture, curtains, etc. for period popularity of certain materials and patterns.
Arrangement:
Textiles is arranged in three subseries.

Business Records and Marketing Material

Genre

Subject
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material
Provenance:
Textiles is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Trade associations  Search this
Patents  Search this
Cotton textile industry  Search this
Fabrics, including spinning and weaving  Search this
Tapestry  Search this
Cotton  Search this
Textile manufacture  Search this
Textile design -- United States -- History -- 20th century -- Sources  Search this
Textile crafts  Search this
Textile  Search this
Retail trade  Search this
Tapestry -- Design  Search this
Textiles -- India  Search this
Labels -- Design  Search this
Textile fabrics in art  Search this
Textile fibers, Synthetic -- Equipment and supplies  Search this
Cotton picking machinery  Search this
Wool, Artificial  Search this
Cotton manufacture  Search this
Textile fabrics  Search this
Cotton picking  Search this
Textile fabrics -- 20th century  Search this
Textile fibers, Synthetic  Search this
Trademarks -- Design  Search this
Silk industry  Search this
Textile fibers, Synthetic Dyeing  Search this
Textile industry  Search this
Cotton industry  Search this
Tapestry -- Technique  Search this
Cotton growing  Search this
Cotton -- 1890-1910  Search this
Textile mills  Search this
Synthetic fabrics  Search this
Consumer goods -- Catalogs  Search this
Textile industry -- 1900-1910  Search this
Genre/Form:
Print advertising
Periodicals
Publications
Advertising cards
Advertising mail
Printed ephemera
Patterns
Catalogues
Designs (textile)
Sales catalogs
Business cards
Legal records
Contracts
Textiles
Trade catalogs
Exhibition catalogs
Advertising
Advertisements
Mail order catalogs
Business records
Designs
Printed material
Labels
Instructional materials
Trademarks
Legal documents
Trade cards
Legislation (legal concepts)
Ephemera
Samples
Manuals
Sample books
Design patents
Advertising fliers
Illustrations
Catalogs
Sales letters
Business letters
Correspondence
Manufacturers' catalogs
Commercial correspondence
Letterheads
Invoices
Photographs
Sales records
Printed materials
Fabrics
Trade literature
Business ephemera
Publications -- Business
Receipts
Commercial catalogs
Citation:
Warshaw Collection of Business Americana Subject Categories: Textiles, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0060.S01.01.Textiles
See more items in:
Warshaw Collection of Business Americana Subject Categories: Textiles
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8452a33db-9793-45c0-890c-a0dc6c7e8893
EDAN-URL:
ead_collection:sova-nmah-ac-0060-s01-01-textiles
Online Media:

Billings-Merriam Family Vaudeville Scrapbooks

Creator:
Plunkett, Billy, Mrs.  Search this
Merriam, Eva Billings  Search this
Merriam, Billy  Search this
Christiani, Norman, Mrs.  Search this
Billings, Gay  Search this
Billings, Essa  Search this
Names:
Doutrick's Theatrical Exchange.  Search this
Stubblefield Trio.  Search this
Extent:
2 Cubic feet (6 oversized folders, 1 folder)
Type:
Collection descriptions
Archival materials
Fliers (printed matter)
Business cards
Scrapbooks
Programs
Date:
1897 - 1902
Summary:
The collection documents four scrapbooks containing photographs, programs, flyers, business cards, periodical illustrations, and letterheads of vaudeville and medicine shows from 1897-1902. Also included are two audiotapes containing comments by the donors about the scrapbooks.
Scope and Contents:
The four scrapbooks which make up the Billings Merriam Family Vaudeville collection cover the period from about 1890 to 1913. They were actually kept by the parents and grandparents of Billie Plunkett who contributed them to the Smithsonian in 1982.

The four scrapbooks each contain personal photographs, programs of minor plays and comedies, flyers for specialty acts, business cards, magazine photos, and letterheads advertising acts.

Presumably, as a way of advertising, each performer or act would have printed on letterhead a picture of themselves and occasionally a picture of them in performance, the name of the act, a description of what the act included, and sometimes a listing of references and places where they had performed.

The letterheads and flyers advertised persons who were aerialists, contortionists, comedians, did wire walking, had a dog and pony show, magicians, pantomimists, trick cyclists, dancers, jugglers, singers, impersonators, gun manipulators, hypnotists, mental telepathists, blackface comedians, and living statues.

Several agents and booking agencies used letterheads in the same way. Medicine shows were also advertised on the letterheads some naming the products they were hustling and the diseases that could be cured.

The items have been pasted in scrapbooks a couple of which were old hotel ledgers in which pages have been pasted together. The paper is deteriorating. Very few items have dates or locations.

There are also two audio tapes. One contains comments by two half sisters: Norma Christiani and Billie Plunckett on the scrapbooks in this collection. The other consists of reminiscences by Norma Christiani of her life in the vaudeville shows mentioned above (bad audio quality).
Biographical / Historical:
Gay and Essa Billings, the first generation represented in these scrapbooks, were managers of vaudeville acts. They also sold medicine occasionally which was called "Knox All Remedies". Gay was also a comedian. Essa was known for her "serpentine dance and poses plastique". Their daughters, Eva and Ethel, did singing and dancing soubrettes (i.e. were saucy, coquettish actresses and/or singers in comedies or comic operas).

Billy Merriam, married to Eva, was a trapeze artist and juggler. He also formed acts. Presumably, the collection of letterheads is a result of correspondence in which acts were secured and bookings were made.

From Billie Plunkett, a granddaughter, we learn that the Billings had Gay's Electric Company and Gay's One Horse Circus. Daughter, Ethel, married Fred A. Stock and together they had a medicine show and sold something called "NU Tone".

One of the letter heads of Gay Billings advertised startling novelties funny comedians and songs which opened September 29, 1904 and closed January 27, 1905. Another letter head advertised "The Three B's Esa Billings serpentine dance and poses plastic; Gay Billings picture operator and song illustrator; and Eva Billings song and dance artist and soubret and gave their permanent address as Bellevue, Iowa.

In December 1904, Gay's Electric Company presented Essa Billings and Billie Merriam. In January 26, 1912, Gay Billings presented Clark's Dog and Pony Circus. At an undated time, it was the Billings Trio Novelty Sketch Artists with Gay All Round Comedian; Ethel Singing and Dancing Soubrette and Essa versatile Performer.

In 1906 there is a newspaper write up of Gay's Players and Billy and Eva Meriam. In a small article it was said that the act was good, the customers got their money's worth, that it was a clever team on the vaudeville circuit and described Eva as being a ring contortionist and Billy as an acrobat and trapeze artist.

The Merriams were known as the "Flying Merriams" and also the "Merriam Merry Makers" with 7 people in the company. Another flyer advertised that Billy Merriam was the owner of the show and Gay Billings the Manager. Included was Gay, Essa and Ethel as singers, dancers and sketch artists; Billie and Emma as trapeze artists, jugglers and contortionist. Two reels of moving pictures were also presented.

Another flyer (undated) speaks of "Merriams Tent Show" with 12 people in the act. Another flyer referred to himself as "Juvenile Adonis of the flying rings and trapeze and marvelous upside down act...Walk the ceiling head down, without the protection of a net." Another flyer said that Billy and Eva Merriam had spent two years with the Ringling Brothers, and had worked 10 years in Iowa.

Evidently moving pictures were often shown at these shows, usually with two reels. The companies had their own electric light plant and picture machine.

One letter head read: "The Merriams: Billy Eva Zoe Novelty Aerial Artists: and continued: "Not Best, But Two of the Good Ones." The act was a comedy acrobatic and contortion act on a vaudeville program which alos included motion pictures. Generally the titles of the motion pictures were given but no other information was. One time Billy fell and injured himself when chairs and tables collapsed. Another time in Phoenix, the threatre burned and they lost their trunks and new rigging. Once in Seattle there was fire but not loss of their belongings. In Iowa the State prohibited fight films to be shown. "The general public does not believe in instilling in the minds of the youth the instincts of pugilism", a newspaper article stated.

Eva and Billy Merriam had their own vaudeville show which eventually turned into a medicine show. Eva dressed as an Indian Princess and called herself Princess Iola (which was her middle name). During the winter months they played in halls and threatres and in the summer they used a large platform stage with a "runway" on outdoor lots. Billy and his daughter, Billie, did aerial numbers and Billy did juggling acts, escape acts, black face numbers and song and dance. The show included hired acts. Lots of Princess Iola's remedies was sold. Then Eva tried selling cosmetics and the show's name was changed to "Vanity Fair Company". The product was packaged in their hotel rooms.
Provenance:
This collection was donated by Mrs. Billie Plunkett and Mrs. Norman Christiani to Richard W. Flint, Division of Performing Arts (now the Division of Culture and the Arts) in August, 1982.
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:
Entertainment  Search this
Vaudeville  Search this
Genre/Form:
Fliers (printed matter)
Business cards
Scrapbooks -- 1890-1930
Programs
Citation:
Billings-Merriam Family Vaudeville Scrapbooks, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0079
See more items in:
Billings-Merriam Family Vaudeville Scrapbooks
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8ff20d805-0f68-486d-a60e-ec615f1e6a68
EDAN-URL:
ead_collection:sova-nmah-ac-0079
Online Media:

Warshaw Collection of Business Americana Subject Categories: Railroads

Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
60.54 Cubic feet (consisting of 131 boxes, 13 folders, 17 oversize folders, 20 map case folders, 2 flat boxes (1 full, 1 partial), plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Business ephemera
Ephemera
Date:
1832-1977
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Railroads 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:
Railroad materials comprise the largest subject category in the Warshaw Collection. These materials document a major industry and important transportation system that was instrumental in the western expansion of the United States. Railroads opened the way for the development of many other industries including mining, farming and manufacturing. The earliest materials document railroad lines operating on the east coast of the United States in the 1830s. The United States did not have the technical and manufacturing capabilities of some of the European nations. Cheaper land for railroad right of way and a government policy that guaranteed loans and provided grants to railroad companies based on the amount of track laid, however, encouraged rapid growth. Railroad companies in turn would sell land to settlers. Materials in this collection include the advertisements created to lure settlers west by promising this cheap and abundant land. The railroads were instrumental in transporting goods from the farm belt to the east coast and to Europe thus making the country a major trading post. Railroads also expedited the movement of troops during the Civil War which was the first war to employ the rails. Later in the century the growth of the far west is facilitated by passenger trains linking east and west. As the rail network became more efficient and capable of transporting raw materials, the United States became a world leader in coal and pig iron production. Evidence of the transporting of goods is found among these materials. The affluence of the late nineteenth century is reflected in the amount of materials in the collection that promoted luxury travel by rail. The rise of great railroad fortunes such as those of Vanderbilt, Harriman and Gould soon followed industry growth, as did scandal and corruption which in turn was followed by government regulation in the form of the Interstate Commerce Act and railroad legislation during Theodore Roosevelt's administration.

The twentieth century witnessed great efficiencies in locomotive car and track design and large increases in freight ton mileage as is reflected in the materials. There was, however, failure or downsizing of many railroad lines. Total passenger mileage declined over the years due to competition from other forms of transportation, the rise of the labor movement, increasing government control, a reduction in profits and the

The material consists primarily of correspondence, reports, patent records, pass books, resort guides, timetables, maps, periodicals, articles, printed advertisements, tickets, photographs, postcards and images from railroad companies. There is also a substantial amount of material from manufacturers and dealers of railroad equipment and supplies and from railroad organizations. Reference materials including articles and periodicals are also included among the materials. The materials are divided into six series.

Railroad Companies forms the largest amount of material in this category. This series is divided into two subseries. Subseries one is American railroad companies and subseries two is foreign companies.

American Companies document transportation service throughout the United States by the railroad lines including Albany and Susquehanna Railroad Company, Northern Railroad Corporation, Concord and Claremont, Contoocook River Railroad, Illinois Central Railroad, New York Central Railroad Company, Baltimore and Ohio Railroad, Sullivan, Central Vermont, Philadelphia and Reading Rail Road Company, Providence and Worcester Railroad Company, Pennsylvania Rail Road Company, Southern Pacific, Vermont Central Railroad Corporation and Union Pacific Railroad. There is a substantial amount of material from each company. The materials are arranged in alphabetical order by the name of the company or railroad line (s).

Foreign Companies includes companies servicing countries outside of the United States. Countries include Canada, England, France, India, Ireland, Scotland, Mexico and Switzerland. The materials are arranged in alphabetical order by the name of the company or railroad line (s).

Manufacturers and Distributors of Railroad Cars, Equipment and Supplies includes scattered correspondence on letterhead stationery, printed advertisements, patents, catalogues, bills and receipts. Many of the companies produced cars for the railroad companies but also supplied equipment and parts. The materials are arranged in alphabetical order by the name of the company.

Organizations, Associations and Clubs includes material from groups that represented the interests of railroad companies, employees and tradesmen. Organizations include American Association of General Passenger and Ticket Agents, American Association of Passenger Traffic Officers, American Association for Railroad and Locomotive History, American Electric Railway Association, American Electric Railway Manufacturers Association, American Electric Railway Transportation and Traffic Association, American Iron and Steel Association, American Railway Association, American Railway Bureau, American Railway Master Mechanics Association, American Street and Interurban Railway Accountants Association, Association of American Railroads, Association of General Freight Agents of New England, Association of Railway Executives, Brotherhood of Locomotive Firemen- Brotherhood of Locomotive Engineers, Brotherhood Railroad Signalmen of America, Brotherhood of Railroad Trainmen, Convention of Railroad Commissioners, Eastern Railroad Association, International Brotherhood of Locomotive Engineers, Master Car Builders' Association, National Association of General Passenger and Ticket Agents, National Council of Traveling Salesmen's Association of America, New England Association of Railroad Superintendents, New England Association of Superintendents of Steam Railways, New England General Ticket and Passenger Agents Association, New England Railroad Club, New England Railway Car Accounting Association, New England Summer Resort Association, North-Western, Railroadmen, Railroadians of America, Railway Business Association, Railway Car Accountants' Association, Railway Clearing House Association, Railway Club of Pittsburgh, Railway Educational Association, Railway Officials of America, Railway Storekeeping Association, Railway and Supplymen's Mutual Catalog Company, South-Western Passenger Association, South-Western Railway Association, Street Railway Association, Terminal Railroad Association of Saint Louis, Train Central Corporation of America, Transcontinental Association, United American Mechanics, United States Railroad Administration, Western Association of General Passenger and Ticket Agents, Western Land Association of Minnesota, Western Railroad Association, Western Railways' Committee on Public Relations, Western States Passenger Association and the Yard Master's Mutual Benefit Association.

Images includes unidentified photographs, postcards, lithographs and sketches of locomotive cars, bridges, tunnels, accidents, collisions, depot stations, equipment, freight and shipping alternatives, Hancock Junction, horse-drawn railroads, memorials featuring trains, menus, tracks, employees working with trains, trademarks, cartoons, caricatures, illustrations from children's books, West Point and the second locomotive built in the United States. The materials that can be identified to a railroad company or line are found in series one. Most of the material are undated and is arranged in alphabetical order by subject.

General Files includes audit reports, Windsor Vermont Convention, income and expense accounts, mortgage bonds, bond offerings, export and import documents, financial records and stock lists, Florence and Keyport Company charter, Interstate Commerce Commission, legal records from states such as Connecticut, District of Columbia, Maine, Maryland, Massachusetts, New Hampshire, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, United States and Vermont patent records, Philadelphia Company balance sheets, Railroad Administration, Rand's Rating Agency, taxation documents, Thompson and Bachedler track and switch specifications, pass, time sheets, freight documents, maps, destination literature, tours, ticket sales, passenger rate sheets, checks, receipts and invoices, tickets, guides, maps, timetables, transportation of freight documents, pass books, passenger proportions, freight rates, free pass policy of numerous railroad companies, freight rates, freight transportation documents for Empire Line Great Western, Great Central, Bitner's Despatch Line, Merchant's Despatch line, National Despatch line, and various companies, time sheets, transportation of freight documents, maps and destination literature, maps and destination literature, map of Great Britain, Dinsmore, map of the United States and Canada Railways, fares and schedules, official documents, special trip offers, tariffs for passengers, freight and grain, tariffs for livestock and merchandise, passenger rate sheets, Walker's Railway tables, baggage checks, checks, receipts and invoices, ticket sales, Dover, ticket agents, tickets,

Publications includes articles, reports, clippings, histories, fiction, periodicals for the railroad trade and general periodicals. The series is divided into three subseries: Subseries 1, Articles, Reports, Clippings, Histories, and Fiction; Subseries 2, Periodicals for the Railroad Trade; Subseries 3, General Periodicals.
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material
Provenance:
Railroads 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.
Genre/Form:
Business ephemera
Ephemera
Citation:
Warshaw Collection of Business Americana Subject Categories: Railroads, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0060.S01.01.Railroads
See more items in:
Warshaw Collection of Business Americana Subject Categories: Railroads
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep860f3e0d4-3fed-46ba-9679-02db5f1c18cc
EDAN-URL:
ead_collection:sova-nmah-ac-0060-s01-01-railroads
Online Media:

Scientists and Inventors Portrait File: photoprints

Compiler:
National Museum of American History (U.S.). Division of Physical Sciences  Search this
Extent:
10 Cubic feet (10 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Copy prints
Date:
undated
Summary:
Copy prints created by the Smithsonian Office of Priting and Photography of portraits of important scientists and others in Smithsonian collections.
Scope and Contents:
Although the obvious intention of the organizers of this file was to produce a comprehensive, alphabetical file of images of important scientists, inventors, engineers, and other figures in the history of science and technology, the resulting representation of significant subjects is somewhat haphazard. Also, there are some portraits of subjects outside the intended fields, such as photographer Rudolf Eickemeyer, Jr., and figures from non technological business areas.

Several drawers of file cards accompany the photographs. Some duplicate the names and negative numbers of file images without providing additional information; some provide source data; and some represent images which are not in the file. Most of the National Portrait Gallery items are copied from a study collection of carte de visite and cabinet prints which is uncatalogued: special arrangements to view the originals must be made with that institution.
Arrangement:
Collection arranged into one series and arranged alphabetically by subjects' names.
Historical:
This "collection" is essentially an alphabetical browsing file of copy prints created by the Smithsonian Office of Printing and Photographic Services. The original images are photographs, lithographs, etchings, and other forms of portraits located in Smithsonian collections, especially those of curatorial divisions located in NATIONAL MUSEUM OF AMERICAN HISTORY, but there are also substantial numbers of images copies from illustrations in books and periodicals. The latter probably were created for use in Museum exhibits and publications over the years.

These prints apparently were gathered from various curatorial divisions and other sources by volunteers, probably under the direction of curator Deborah Warner, Division of Physical Sciences. The prints were dry mounted onto cardboard and identified with the subjects' names and the corresponding OPPS negative numbers in order to serve as a ready reference file.

This is entirely a file of second and third generation images, therefore, and differs in form from most Archives Center collections. The usual handling precautions for photographic imagery do not necessarily apply, and users are free to browse in the files without protective gloves.
Restrictions:
Collection is open for research but is 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:
Inventors  Search this
Portraits -- Scientists  Search this
Scientists  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century
Copy prints
Citation:
Scientists and Inventors Portrait File, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0315
See more items in:
Scientists and Inventors Portrait File: photoprints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8b29e07ff-a311-4b18-8dbc-64fc377eb3c0
EDAN-URL:
ead_collection:sova-nmah-ac-0315
Online Media:

Printed Material

Collection Creator:
Arnheim, Rudolf  Search this
Extent:
1.2 Linear feet (Boxes 9-11)
Type:
Archival materials
Date:
1928-circa 1990
Scope and Contents:
Printed material includes announcements for Rudolf Arnheim's lectures, reviews of his books, clippings, programs, brochures, assorted material from Sarah Lawrence College, and two instructional sound cassettes.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arnhrudo, Series 5
See more items in:
Rudolf Arnheim papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91cb85abb-34b4-4bee-b59e-b6cd8c62858b
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref273

Book Announcements and Notices

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 8
Type:
Archival materials
Date:
1954-1972
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eac62c95-e1e7-425d-bd10-b12478a54315
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref274

Book Announcements and Notices

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 9
Type:
Archival materials
Date:
1973-1982
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9da323b4e-b18a-44c5-bb10-6c3f9e075bd2
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref275

Book Announcements and Notices

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 10
Type:
Archival materials
Date:
1986-1988
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91d92e213-250a-42cb-9892-49ce97889ea5
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref276

Book Reviews

Collection Creator:
Arnheim, Rudolf  Search this
Type:
Archival materials
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw981cd4b00-2e46-465f-b300-867d9c364b50
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref277

Art and Visual Perception

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 11-12
Type:
Archival materials
Date:
circa 1954-circa 1978
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material / Book Reviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fc9f0a76-1a4e-4d82-9439-6a472ce4248c
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref278

The Dynamics of Architectural Form

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 13
Type:
Archival materials
Date:
1978-1981
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material / Book Reviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91fff38dc-52b6-414d-a3de-e5a8cbb9aaff
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref279

Entropy and Art

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 14
Type:
Archival materials
Date:
1970-1977
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material / Book Reviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9017dd483-f880-43ba-9aba-fa6b25ac7ed5
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref280

Film as Art

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 15
Type:
Archival materials
Date:
1958-1977
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material / Book Reviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9394cddfa-7119-4841-af03-fd1824868823
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref281

Picasso's Guernica: The Genesis of a Painting

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 16
Type:
Archival materials
Date:
1962-1966
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material / Book Reviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a15b9996-37db-47dc-a9b4-7b48065c967e
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref282

Picasso's Guernica: The Genesis of a Painting

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 17
Type:
Archival materials
Date:
1964-1979
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material / Book Reviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97b654de3-ba08-44bf-b578-1b8473af6a90
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref283

The Power of Center

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 18
Type:
Archival materials
Date:
1982-1983
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material / Book Reviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cbb340ee-9ef5-4d09-8e4a-e6c950789053
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref284

Toward of a Psychology of Art

Collection Creator:
Arnheim, Rudolf  Search this
Container:
Box 9, Folder 19
Type:
Archival materials
Date:
1966-1969
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Rudolf Arnheim papers
Rudolf Arnheim papers / Series 5: Printed Material / Book Reviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw957e3c112-600d-43ec-98a6-68f6c73f8398
EDAN-URL:
ead_component:sova-aaa-arnhrudo-ref285

Modify Your Search







or


Narrow By