Skip to main content Smithsonian Institution

Search Results

Collections Search Center
8,419 documents - page 1 of 421

George W. Brown Papers

Civil engineer:
Brown, George W.  Search this
Former owner:
National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this
Extent:
.25 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Correspondence
Typescripts
Maps
Photographs
Place:
Nicaragua.
Date:
1897-1935
Content Description:
Papers contain a 133-page typescript "Private log book of a little trip to Nicaragua" by Brown, including a map of the Nicaragua canal route and photographs, 1897-1898. Also includes letters from Brown to relatives concerning his work, especially in Nicaragua and at the Dry Tortugas. In addition, there is a photograph album with a description of it.
Arrangement:
Collection is arranged in one series.
Provenance:
Collection donated by Mabel L. West, niece of George W. Brown, March 1963.
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:
Canals  Search this
Civil engineering  Search this
Genre/Form:
Correspondence
Typescripts
Maps -- 20th century
Photographs -- 20th century
Citation:
George W. Brown Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1527
See more items in:
George W. Brown Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8787e7f18-aa78-4fcf-93b5-5412371d6f4d
EDAN-URL:
ead_collection:sova-nmah-ac-1527

American Society of Civil Engineers Oral Histories

Names:
American Society of Civil Engineers.  Search this
Former owner:
National Museum of American History (U.S.). Division of Work and Industry  Search this
Interviewer:
Altomonte, Richard  Search this
Dodd, Linda  Search this
Stine, Jeffrey K.  Search this
Vogel, Robert M.  Search this
Interviewee:
Ammann, Klary Vogt Noetzli  Search this
Bartholomew, Harland, 1889-1989  Search this
Betts, Clifford A. , 1889-1982  Search this
Blumer-Maillart, Marie-Claire, 1906-1980  Search this
Bock, Carl  Search this
Buck, Richard S.  Search this
Caplan, David  Search this
Davis, Roland Parker, 1884-  Search this
Duff, Levi Bird  Search this
Edgerton, Glen Edgar, 1887-1976  Search this
Finch, Dean  Search this
Grant III, Ulysses Simpson, 1881-1968  Search this
Greely, Samuel A. , 1882-1968  Search this
Hamilton, Stanley Baines, 1889-1977  Search this
Heller, Edward  Search this
Imhoff, Robert  Search this
Laboon, John F. , 1921-1988  Search this
Morgan, Arthur E.  Search this
Stephenson , Margery McCormick  Search this
Voellmy, Adolph  Search this
Extent:
1 Cubic foot (4 boxes)
Type:
Collection descriptions
Archival materials
Audio cassettes
Correspondence
Oral histories (document genres)
Transcripts
Date:
1958-1992
Content Description:
Collection consists of typescript transcripts and audio cassettes of oral histories conducted with civil engineers. Interview were conducted by conducted by Linda Dodd, intern in the Division of Engineering and Technology (now the Division of Work & Industry); Richard Altomonte of Pomona Media Arts; Jeffrey Stine, curator, National Museum of American History; and Robert M. Vogel, cuartor, National Museum of American History. Several of the oral histories were transcribed by Cyril R. Mill.
Arrangement:
Collection is arranged into two series.

Series 1: Oral History Transcripts, 1963-1992

Series 2: Oral History Audio Cassettes, 1958-1992
Provenance:
Collection made for the National Museum of American History prior to March 1986.
Restrictions:
Collection is open for research. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
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:
Civil engineering  Search this
Genre/Form:
Audio cassettes
Correspondence -- 20th century
Oral histories (document genres)
Transcripts
Citation:
American Society of Civil Engineers Oral Histories, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1521
See more items in:
American Society of Civil Engineers Oral Histories
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c7bc336f-96c6-4382-8540-01ca7e4a6ed5
EDAN-URL:
ead_collection:sova-nmah-ac-1521

Alexander Parker Rogers papers relating to John Rogers

Creator:
Rogers, Alexander Parker  Search this
Names:
Rogers, John, 1829-1904  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1875-1966
Scope and Contents:
3 versions of Alexander P. Rogers' typescript "John Rogers - The Man," and correspondence with magazines regarding it's publication, 1950; typescripts "Recollections of my father, John Rogers (sculptor)," and "Recollections of my mother, Harriet Frances Rogers (1841-1927)," 1940; a handwritten list of John Rogers' finished and unfinished bronzes in the studio at New Canaan, Conn.; clippings on Rogers, 1920-1966; a 1939 wall calendar with prints of Rogers' sculptures; family photographs and a carte-de-visite of John Rogers in his studio; a list of family photographs collected by Alexander P. Rogers which were presented in his memory to the New York Historical Society, and correspondence regarding the NYHS donation.
Biographical / Historical:
Son of American sculptor John Rogers, best known for his popular statuary groups.
Provenance:
Transferred from the National Museum of Art Library, 1990, which purchased the papers along with books on Rogers from Mary Hamilton, of Halifax, Nova Scotia.
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.
Occupation:
Sculptors  Search this
Topic:
Sculpture, American  Search this
Sculpture, Modern -- 19th century -- United States  Search this
Identifier:
AAA.rogealex
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw961994514-4e59-4a8c-8cd1-53e6d74f09bf
EDAN-URL:
ead_collection:sova-aaa-rogealex

Newportia weyrauchi

Collector:
Dr. Wolfgang K. Weyrauch  Search this
Preparation:
Ethanol
Remarks:
Type
Place:
Peru, 450 m, Unknown, Peru
Collection Date:
Sep 1951
Taxonomy:
Animalia, Arthropoda, Chilopoda, Scolopendromorpha, Cryptopidae
Published Name:
Newportia weyrauchi Chamberlin
Barcode:
USNMENT01580636
Other Numbers:
Inquire SerNum : 93662
USNM Type Number : 102608
Myriapoda - SMF (Senckenberg) : 2943
USNM Number:
USNMENT01580636
See more items in:
Inquire Types
Data Source:
NMNH - Entomology Dept.
GUID:
http://n2t.net/ark:/65665/34053d9a4-8db2-452d-af25-a3238b13d685
EDAN-URL:
edanmdm:nmnhentomology_9193198

press release

Associated person:
Goldwater, Barry  Search this
Associated institution:
Republican National Party  Search this
Object Name:
Sheets of Paper, Set of
press release
Other Terms:
Sheets of Paper, Set of; Typescript; Notes
Associated date:
1964
Credit Line:
The Ralph E Becker Collection of Political Americana
ID Number:
PL.227739.1964.A35
Catalog number:
227739.1964.A35
See more items in:
Political and Military History: Political History, Campaign Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a3-1bed-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_507062

Superconducting Super Collider Collection

Creator:
National Museum of American History (U.S.). Division of Science, Medicine, and Society  Search this
Extent:
4 Cubic feet (8 boxes)
Type:
Collection descriptions
Archival materials
Bumper stickers
Videotapes
Photographs
Clippings
Handbills
Signs (declaratory or advertising artifacts)
Posters
Place:
Texas -- Environmental protection
Date:
1985-1992
bulk 1987-1989
Summary:
The collection was assembled by Museum curators and documents the efforts of persons in eight states to have the Superconducting Super Collider (SSC), a particle accelerator, built in their state. Also documents efforts in each state to oppose locating the SSC in their state. The collection contains correspondence, press kits, posters, signs, bumper stickers, leaflets, handbills, clippings, photographs, and a videotape.
Scope and Contents:
The collections contains materials documenting the efforts by persons in eight competing states to have the Superconducting Super Collider (SSC) built in their state, as well as efforts in each state to oppose locating the SSC within their state. The materials include correspondence, press kits, posters, signs, bumper stickers, leaflets, handbills, clippings, two photographs and one videotape.
Arrangement:
The collection is organized into nine series.

Series 1: Arizona (Ian MacPherson), 1988, undated

Subseries 1.1: Ian McPherson, 1988, undated

Series 2: Colorado (Uriel Nauenberg), 1987

Subseries 2.1: Uriel Nauenberg, 1987-1988

Series 3: Illinois, 1987-1991, undated

Subseries 3.1: Fermi National Laboratory Library/Paula Garrett, undated

Subseries 3.2: David L. Gross, 1988, undated

Subseries 3.3: Sharon Lough, 1988-1991

Subseries 3.4: Stan L. Yonkauski, undated

Series 4: Michigan, 1988-1989

Subseries 4.1: Larry Jones, 1988-1989

Series 5: New York, 1986-1990

Subseries 5.1: Gail Adair, 1987

Subseries 5.2: Mary Lou and Jim Alexander, 1986-1990

Subseries 5.3: Bill Herbert, 1987

Subseries 5.4: Doug McCuen, 1987-1988

Subseries 5.5: Brian L. Petty, 1987-1988

Series 6: North Carolina, 1987

Subseries 6.1: Bill Dunn, 1987

Series 7: Tennessee, 1987-1992

Subseries 7.1: Robert and Pat Sanders, 1987-1992

Subseries 7.2: J. Fred Weinhold, 1987

Series :, Texas, 1985-1990, undated

Subseries 8.1: Representative Joe Barton, undated

Subseries 8.2: Jean Caddel, 1986-1989

Subseries 8.3: Coby Chase, 1985-1989

Subseries 8.4: Red Oak Chamber of Commerce, 1990

Subseries 8.5: Waxahachie Chamber of Commerce, undated

Subseries 8.6: Mari Beth Williams, undated

Series 9: Miscellaneous, 1987-1988
Biographical / Historical:
The Superconducting Super Collider (SSC), if built, would have been the world's most expensive instrument for basic science. It would have allowed physicists to study the collisions of subatomic particles in conditions approximating those of the Big Bang, the beginning of the universe. The SSC design called for a 10-foot wide tunnel to be laid out in an oval pattern similar to a racetrack, approximately 53 miles in circumference and 14 miles in diameter. The tunnel, buried several hundred feet underground, would have contained nearly 10,000 superconducting magnets. Small clusters of buildings located above the tunnel were planned to house the SSC's offices, laboratories, and control facilities. All of these structures would have made the SSC the largest particle accelerator in the world and, at an estimated cost of between $4.4 and $11.8 billion, one of the largest public works projects ever undertaken in the United States.

Physicists planned to use the SSC's superconducting magnets to accelerate two streams of protons (particles with a positive electrical charge that forming part of the nucleus of an atom) to a velocity of 20 trillion electron-volts (TeV) in opposite directions within the tunnel's parallel beam tubes. They would then deflect the two streams into each other and study the particles that were created in the resulting high-speed collisions. From these events, physicists hoped to detect particles never seen before and learn more about the composition of matter.

In January 1987, President Reagan publicly declared his support for the proposed SSC, to be built under the authority of the Department of Energy (DOE). States were invited to submit site proposals for the project, and from the twenty-five states that responded, eight finalists were selected: Arizona, Colorado, Illinois, Michigan, New York, North Carolina, Tennessee, and Texas.

The huge scale of the SSC meant that it would have a significant environmental and cultural impact on the area selected. The SSC would, one source estimated, "require 16,000 acres of donated land, a flow of between 500 and 2,200 gallons of water a minute and up to 250-megawatts of power, as well as accessibility to a major airport, so the world's scientists can fly in and out."1

In many of the finalist states, opponents of the SSC organized and actively campaigned against the project. They raised issues such as the threat to uproot hundreds of people from their homes or create heavy tax and utility burdens. Opponents attended public hearings on SSC issues, distributed leaflets by mail and by hand, and conducted letter-writing campaigns to local politicians. In New York, Citizens Against the Collider Here (CATCH) was able to force the state to withdraw from the competition. Groups in other states learned from the New York group's experiences and used similar techniques in their own campaigns, sometimes adopting the name CATCH. As one CATCH activist recalled, "opponents were not against the SSC or basic sciences, however they did not believe that they should be forced out of their homes for the SSC."2

Supporters of the SSC, on the other hand, addressed the concerns of the citizens by writing editorials or distributing pamphlets responding to particular issues or questions. Prominent city officials and politicians traveled to the proposed sites to discuss the economic and scientific benefits of the SSC, and cities distributed bumper stickers supporting the project. Scientists rebuffed claims that the SSC would produce large amounts of deadly radioactivity and contaminate the entire area. Supporters promised that, "the SSC project would bring federal funding, international prestige, and jobs—starting with 4,500 construction jobs, and later 2,500 full-time research staff positions."3

In November 1988, the Department of Energy declared the winning site to be Ellis County, Texas, southwest of Dallas near the town of Waxahachie. Full-scale construction began three years later with the building of laboratory facilities for the design and manufacture of the SSC's superconducting magnets. Contractors began boring the main tunnel and several vertical access shafts in January 1993.

The anticipated tremendous costs that dogged the project eventually helped undermine it. In June 1992 and again in June 1993, the House voted to cancel funds for the SSC; both times, the Senate restored funding. However, in October 1993 the House rejected the Senate's second restoration, and President Clinton echoed Congress's decision to cancel further work on the SSC. The project received a small budget to support termination activities through 1996. Once the remaining projects were shut down and the scientists and staff dispersed, only several empty buildings in the rural Texas countryside, and fourteen miles of tunnel underneath it, remained of the once-ambitious facility.

At the National Museum of American History, planning for the Science in American Life exhibit—which would examine how science, technology, and American society have intersected over a hundred-year period—began in 1990, at the same time that preparations were being made in Texas to build the Super Collider. Early in the planning phases, Smithsonian curators decided to dedicate a section of the exhibit to the SSC. This section was intended to be a "work in progress" that would change over time as the collider was built, reflecting the current and ongoing debates over the massive machine.

The exhibition design called for using materials donated by both supporters and opponents of the SSC. Early in the exhibit's development the curators began contacting organizations and individuals who both supported and opposed the SSC, asking if they still had materials related to their efforts. Over a two-year period, the curators collected a wide range of items in more than twenty donations, ranging from bumper stickers, t-shirts and hats, to newspaper clippings, maps, and copies of state site proposals.

The design of the SSC portion of the Science in American Life exhibit became permanent with the closing of the SSC in late 1993. The SSC portion now focuses on the roles that special interest groups, protest, and grass-roots political campaigns play in large-scale scientific endeavors. Many of the donated items were included in the exhibit.

Notes

1 DeMott, John S. and J. Madeleine Nash, "Super Push for a Supercollider," Time, April 13, 1987, p. 19, Box 2, Folder 20.

2 "Alexander Narrative," a brief typescript history of the New York CATCH organization, Box 3, Folder 14.

3 Koszczuk, Jackie. "Anti-SSC Felling CATCH-es On Fast," Daily Star News (Fort Worth, Texas), September 17, 1988, p. 4, Box 2, Folder 5.
Related Materials:
When the Superconducting Super Collider entered its termination phase in 1993, the Records Management Department of the project began grouping the official records of the SSC into five "disposition packages." These packages were in various stages of being assembled, shipped, received, and processed for research use and were dispersed to: the Fort Worth Regional Federal Records Center; Fermi National Accelerator Laboratory ("Fermilab") Archives; Niels Bohr Library, Center for History of Physics, American Institute for Physics; Ronald Reagan Presidential Library; and Lawrence Berkeley National Laboratory Archives.
Provenance:
This collection was donated by individuals connected in various ways to the Superconducting Super Collider. The items were donated from personal collections, official files, and the project archives of several different institutions. The donors were Gail Adair, Mary Lou and Dr. Jim Alexander, Representative Joe Barton, Jean Caddel, Coby Chase, Bill Dunn, the Fermi National Laboratory Library, David L. Gross, Bill Herbert, Larry Jones, Sharon Lough, Uriel Nauenberg, Doug McCuen, Ian McPherson, Andrea Miller, Brian L. Petty, the Red Oak Chamber of Commerce, Pat and Dr. Robert Sanders, the Waxahachie Chamber of Commerce, J. Fred Weinhold, Mari Beth Williams, and Stan L. Yonkauski. A brief statement identifying donors and their connections to the Superconducting Super Collider accompanies each subseries in the container list.
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:
Environmental impact analysis  Search this
Environmental protection -- Citizen participation  Search this
Superconducting Super Collider  Search this
NIMBY syndrome  Search this
Genre/Form:
Bumper stickers
Videotapes
Photographs -- 1980-2000
Clippings -- 20th century
Handbills
Signs (declaratory or advertising artifacts)
Posters -- 20th century
Citation:
Superconducting Super Collider Collection, 1985-1992, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0538
See more items in:
Superconducting Super Collider Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep886b5ecfc-c9b8-4e8c-8c4c-ee8e1622a6d9
EDAN-URL:
ead_collection:sova-nmah-ac-0538
Online Media:

Universal Fellowship of Metropolitan Community Churches (UFMCC)

Collection Collector:
Archives Center, National Museum of American History  Search this
Collection Donor:
Becker, John M.  Search this
Gay Officers Action League. GOAL  Search this
Heritage of Pride (HOP)  Search this
Rohrbaugh, Richard  Search this
Atlantic States Gay Rodeo Association (ASGRA)  Search this
Collection Creator:
Hirsch, Leonard  Search this
Guest, Barbara  Search this
Barna, Joseph T.  Search this
Guest, Michael E.  Search this
Cruse, Howard, 1944-2019  Search this
Type:
Archival materials
Date:
1957-2019, undated
Scope and Contents:
The Metropolitan Community Church (MCC), later the Universal Fellowship Metropolitan Community Church (UFMCC), was founded by the Reverend Mr. Troy Perry in 1968. From their website, "Founded in 1968, Metropolitan Community Churches (MCC) has been at the vanguard of civil and human rights movements by addressing issues of race, gender, sexual orientation, economics, climate change, aging, and global human rights. MCC was the first to perform same-gender marriages and has been on the forefront of the struggle towards marriage equality in the USA and other countries worldwide." (MCC website accessed 2019 December 13)

This series contains photographs from the Perry family, MCC events, materials related to and developed by the HIV/AIDS ministry under the direction of the Reverend Mr. A. Stephen Pieters. There are also publications, anniversary books, a program from the 2019 convention in Orlando, Florida and a 1993 typescript of MCC history.
Collection Restrictions:
The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1146, Series 24
See more items in:
Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86bc6a414-ab42-48e3-8737-b0fe1e079c31
EDAN-URL:
ead_component:sova-nmah-ac-1146-ref2940

Pullman Palace Car Company Photographs

Creator:
Pullman Palace Car Co.  Search this
Donor:
Pullman-Standard  Search this
Names:
Lincoln, Robert Todd  Search this
Pullman, George M., 1831-1897  Search this
Extent:
128.5 Cubic feet (147 boxes)
Type:
Collection descriptions
Archival materials
Glass plate negatives
Photographs
Date:
circa 1882-1955
Summary:
Collection consists of approximately 13,500 images (original photographs, copy prints, and film and glass plate negatives) for freight, passenger, private, and street and rapid transit cars manufactured by the Pullman Palace Car Company. The collection contains primarily early railroad Americana, including interior and exterior views of private and business cars as well as passenger and street cars. The collection is an important part of the historical record of the railroad car-building industry as well as the history of architecture and interior design.
Scope and Contents:
The collection consists of approximately 13,500 images (original photographs, copy prints, and film and glass plate negatives) for freight, passenger, private, and street and rapid transit cars manufactured by the Pullman Palace Car Company. The collection contains primarily interior and exterior views of private and business cars as well as passenger and street cars. The collection is an important part of the historical record of the railroad car-building industry as well as the history of architecture and interior design. Historians, designers, railroad enthusiasts, model railroad hobbyists, scholars, and others will find this collection useful.

The glass plate negatives in this collection were produced using the wet collodion process, which was introduced to the United States in 1855 and used into the 1880s. The plates were coated with chemicals, sensitized, exposed and developed, all while the plate was wet. Later, Pullman photographers used the dry collodion process. This process involved using glass plates with a photographic emulsion of silver halides suspended in gelatin. This process had shorter exposure times.

George Pullman assembled a variety of photographers to document his company's work. The photography was primarily used as a record of work, especially for the Operating Department and Manufacturing Department at Pullman, as well as for prospective corporate customers.

Before establishing an in-plant photographic department in 1888, Pullman relied on local photographers. Some of the photographers included John Jex Bardwell, Wylie Dennison, Henry R. Koopman, J. W. Taylor, Thomas S. Johnson, Wylie Dennison, John P. Van Vorst, Clayton Ford Smith, Joseph McAllister, Melvin C. Horn, Ernie Stutkus, and Donald J. O'Barski. Many of the photographers signed the glass plates using their initials. For example, John P. Van Vorst signed his J.P.V.V.

Photography of Pullman activities began in the Detroit Shops (property of the Detroit Car & Manufacturing Co. which was purchased by Pullman in 1873 and operated as the Detroit Shops of Pullman) in the 1870s and expanded to include photographing the town of Pullman, steel car construction, shop accidents, workers, panoramic views, and in some instances, for company publications. In-plant photography was started with Wylie Dennison in 1888. Dennison was the first full-time Pullman photographer, and he created the Pullman Photographic Department. Dennison instituted the practice of recording each photograph, noting the negative number, description of the car, the type of view (typically one interior view and one exterior view) and lot number. All of Dennison's photography was done outside in the daylight.

The negative numbers assigned to the glass plates were identified with a "lot" number. The lot number identified the production order, and in later years, the plan number was added, designating the layout of the car. Photographing one car out of each new lot was the intital practice, but over-time, the Photographic Department began taking six or more views of the interior and exterior as well as end views.

Lot numbers include:

Lots 1 - 500 (Pullman Car Works - Chicago)

Lots 1 - 500 (Detroit Car Works)

Lots 500 plus (can be freight and passenger mixed)

Lots 1000 to 4999 (Pullman passenger equipment)

Lots 5000 to 5999 (Pullman freight equipment)

Lots 5000 + Haskell and Barker (Pullman overlap)

Lots 6000 to 7000+ (Pullman and P-S passenger)

Lots 8000 to 9999 (Pullman freight equipment)

Lots 10000+ (Pullman freight equipment)

Series 1, Original prints, circa 1880-1949, are arranged numerically by Pullman numbers. The original prints begin with number 7343 and end with number 33091. The photographs document Pullman cars, including freight, passenger, private, and street railway/rapid transit. Many of the images depict interior views of the cars, and there are some views of porters and passengers. There is some documentation of the workmen constructing the cars. The prints are primarily 8" by 10" black-and-white and were originally bound into books and backed on linen. The prints were unbound at some time. Many of the original prints bear an embossed stamp "Built by Pullman Car and Manufacturing Corporation Chicago." Some photographs are sepia-tone and there are no negatives for these prints.

Series 2, Copy prints, 1885-1955, consists of prints made from the glass plate negatives by the Smithsonian photographic services office. The copy prints were originally stored in loose binders but were re-housed into folders and arranged numerically according to the original Pullman Company number. The number is typically found in the lower right corner of the image. The copy prints are black-and-white and are either 5" x 7" or 8" x 10".

Series 3, Film negatives, 1917-1955, consists of film negatives (4" x 5" and 8" x 10") that are arranged numerically by Pullman numbers. In some instances, information on the enclosure includes the type of car (e.g. sleeper, freight), the name of the car if applicable, name of railroad company, geographical information, and date(s). In some instances, "repro," or "broken glass" are recorded. For negatives that did not conform to the Pullman numbering system, the container list provides additional information. For example, Haskell and Barker Car Company (Haskell and Barker merged with the Pullman Company in 1922) machine shop views, or Pullman cars in St. Paul, Minnesota are recorded in the collection inventory listing.

Series 4, Glass plate negatives, [circa 1882-1948], is divided into two subseries, Subseries 1, 6" x 8" negatives and Subseries 2, 8" x 10" negatives. The series consists of approximately 13,500 glass plate negatives arranged by Pullman Company negative number. The negatives document primarily Pullman cars, including freight, passenger, private and street railway/rapid transit. Many of the images depict interior and exterior views of the cars and some views of porters and passengers. The interior views include details such as seating, window treatments, lighting fixtures, bathroom fixtures, wood paneling, marquetry work, fabrics, floor treatments, and other furnishings. There is some documentation of the construction of the cars by workmen in the factory.

The negative numbers and lot numbers are etched on the glass plates. Overall the series is in good condition, although there are some broken plates which have been separated. The negatives are not inclusive and some plates are missing, or there are two copies. If plates are missing or additional copies exist, this is noted in the collection inventory. In some instances, plates are labeled 3937 and then 3937-A. This numbering distinguished two different views/angles of the same car.

Many of the envelope enclosures contain the negative number, sometimes preceed by the letter "P" (e.g. P9597), lot number (L4700), and in some instances, text describing the negative. Text typically includes the type of car (sleeper, freight), the name of the car if applicable, name of railroad company, geographical information, and date(s). If a copy print was created from the negative plate, the enclosure is stamped "printed." However, this practice was not consistent. Plates that were not printed are occasionally noted, but not with any consistency.

The 6" by 8" glass plates numbered 82-4130 to 82-4167, represent numbers assigned by the Office of Photographic Services, Smithsonian Institution. Previously labeled "Pullman" on the enclosures, the plates primarily document engines and passenger cars for the New York, New Haven, & Hartford Railroad, 1870-1890 and undated. The plates do not have Pullman negative numbers etched in the lower left or right corners and it is unclear if these plates belong to this collection.

Series 5, Indices, 1990 and undated include bound, typescript indices to the Pullman negatives. Created by the National Museum of American History, Division of Transportation (now known as the Division of Work and Industry), the indices include listings by railroad, private cars, freight cars, street cars and rapid transit, and Pullman negatives. The indices provide the name of the railroad/railway (e.g. Chicago & Alton), type of car (e.g. coal car or box car), number, lot, remarks (e.g. baggage area), year, type of view (e.g. exterior or interior) and frame number (for the laser disc).

One index is a supplemental guide listing sepia tone prints for which no negative exists in our collection. The indices for the negative listings on laser discs one and two are available. However, the actual lasers discs are missing.

References

Horn, Don. "The Pullman Photographers," Railroad Heritage, No. 7, 2003, pp. 5-13.

Arnold, Rus. "This Negative File was a Sleeper." Technical Photography. May 1970, pp. 21-XX.

Pullman State Historic Site, http://www.pullman-museum.org/theCompany/timeline.html (last accessed April 18, 2011)
Arrangement:
The collection is arranged into five series.

Series 1, Original prints, 1904-1949

Series 2, Copy prints, 1885-1955

Series 3, Film negatives, undated

Series 4, Glass plate negatives, circa 1882-1948

Series 5, Indices, 1990 and undated
Biographical / Historical:
Recognizing a market for luxurious rail travel, George M. Pullman, who had earlier experimented with sleeping car construction and was wealthy from the provisioning and transporting of Colorado miners in the early 1860s, incorporated the Pullman's Palace Car Company in 1867. By the 1870s his operations were already national and included the operation of sleeping cars under contract with the nation's railroads, the manufacture of cars at the Detroit Works, and the creation of subsidiary firms serving Great Britain and Europe. In the three decades before the turn of the century, the prosperous company grew enormously and included a much heralded model company town adjacent to the new car works at Pullman, Illinois. Acclaim turned to condemnation following the nationwide strike that originated at the Pullman Car Works in 1894. Pullman died in 1897, two years before his company absorbed its last major competitor, the Wagner Palace Car Company, which had been financed by the Vanderbilts.

The Pullman's Palace Car Company entered the twentieth century with a new name, the Pullman Company, and a new president, Robert Todd Lincoln. An extremely profitable virtual monopoly, the Pullman Company began replacing its wood cars with safer all steel bodied models (heavyweights) in its newly segregated manufacturing department and at the same time (1906) came under the regulation of the Interstate Commerce Commission. From 1918 to 1920, the United States Railroad Administration, citing the war emergency, assumed control of the operating arm of the firm, renamed the Pullman Car Lines for the duration of federal control.

The Pullman Company reached its peak during the 1920s, manufacturing new heavyweight cars at a rapid pace. Seeking to expand its freight car production, Pullman merged with the Haskell and Barker Car Company in 1922. Edward F. Carry and his Haskell and Barker associates assumed the presidency and other executive positions in the enlarged Pullman Company. More reorganization took place in 1924, when the Pullman Company Manufacturing Department became a distinct firm, the Pullman Car and Manufacturing Corporation, and in 1927, when a parent or holding company, Pullman Incorporated, was created to oversee the two subsidiary firms. In 1929, following Carry's death, President David A. Crawford engineered the merger of the Pullman Car and Manufacturing Corporation with the Standard Steel Car Company, forming the Pullman-Standard Car Manufacturing Company.

During the first three decades of the twentieth century Pullman sought to impede the unionization of its workers by offering new benefits, including a pension plan in 1914, a death benefit plan in 1922, and a plan of group insurance in 1929. F. L. Simmons' Industrial Relations Department, created in 1920, also directed the formation of company-sponsored occupationally-based unions under the plan of employee representation. A. Philip Randolph's Brotherhood of Sleeping Car Porters and other unions would not successfully organize company workers until the New Deal Railway Labor Act of 1934 forbade corporate interference in union matters. The Depression marked the end of Pullman prosperity. Both the number of car orders and sleeping car passengers declined precipitously. The firm laid off car plant and service workers, reduced fares, and introduced such innovations as the single occupancy section in an effort to fill its cars. During this decade the firm built fewer new cars, but it added air conditioning to its existing heavyweights and remodeled many into compartment sleepers.

In 1940, just as orders for lightweight cars were increasing and sleeping car traffic was growing, the United States Department of Justice filed an anti-trust complaint against Pullman Incorporated in the U. S. District Court at Philadelphia (Civil Action No. 994). The government sought to separate the company's sleeping car operations from its manufacturing activities. In 1944 the court concurred, ordering Pullman Incorporated to divest itself of either the Pullman Company (operating) or the Pullman-Standard Car Manufacturing Company (manufacturing). After three years of negotiations, the Pullman Company was sold to a consortium of fifty-seven railroads for around forty million dollars. Carroll R. Harding was named president of this new Pullman Company. The new Pullman Company started out optimistically in 1947 with good passenger traffic figures, but the years following brought steady and marked decline. Regularly scheduled lines were cancelled; all shops except St. Louis and Chicago were closed; employees were furloughed, and major railroad owners such as the New York Central and Pennsylvania Railroad totally or partially withdrew from service. On January 1, 1969, at the age of 102, the Pullman Company ceased operation, though it maintained a small central office staff to wind up affairs and handle an equal pay-for-equal-work lawsuit (Denver Case) that continued in the courts until 1981.

John H. White (1933-), historian and curator, collected the Pullman photographs in 1969. White was born in Cincinnati, Ohio, and graduated with a bachelors of arts in history from Miami University Ohio in 1958. Shortly after receiving his degree, He joined the staff of the Smithsonian Institution as Assistant Curator of the Division of Transportation, Department of Science and Technology, Museum of History and Technology. White later became Associate Curator of the Division, 1961-1966, Curator, 1967-1985, and Senior Historian, 1986-1989. White specialized in land transportation, particularly the history of railroads.

White worked closely with Arthur Detmers Dubin (1923-) to acquire the Pullman photographs for the museum. Dubin was an avid train enthusiast and collector, and he frequently used the Pullman "archives" for his own research on railroads. Dubin was born in Chicago, Illinois and began his architectural education at the University of Michigan in 1941 but his education was interrupted by World War II, and he served with distinction in the United States Army until 1946. After completing his studies in 1949, Dubin joined his father's and uncle's architectural firm, Dubin and Dubin, as a second--eneration architect. The leadership of the firm soon passed to Arthur and his brother, Martin David, and in 1965 they were joined by John Black and in 1966 by John Moutoussamy. Arthur's life--ong interest in trains and transportation and their implications for architecture is evident in transit stations commissions and service on transportation--elated advisory boards (Dubin was a member of the Illinois Railroad Commission), as well as in his writings and personal collections.

In July, 1966, Dubin contacted then Vice President of Public Relations at Pullman-Standard E. Preston Calvert about the history and future of the photographic negative plates. Dubin appealed to Calvert to preserve these materials. Dubin and White were also in contact by correspondence and in June, 1967, White contacted Calvert also, stating that the Chicago Historical Society or Illinois State Historical Society should be offered the plates as a first option. Failing a local Illinois repository accepting the materials, White indicated that the Smithsonian would accept the negatives.

During the spring of 1968, White, working with Dubin and Nora Wilson, editor of the company's publications, coordinated a visit by White to Chicago to examine the photographic negatives at the Pullman Car Works factory in south Chicago. In April 1968, White examined the vast collection of glass plate negatives (approximately 20,000). From April, 1968 to August, 1969, Pullman-Standard and the Smithsonian negotiated acquisition details, including shipping and related costs. In August, 1969, White returned to complete the task of sorting the glass plates, discarding broken plates, and weeding repetitive views. He selected approximately 13,500 glass plates. Views of Pullman towns were donated to the Chicago Historical Society. Dubin appraised the photographic plates and film negatives, presumably on behalf of Pullman-Standard, and estimated the plates to be worth between $54,000 and $67,500 dollars.

References

Historical note courtesy Martha T. Briggs and Cynthia H. Peters, Guide to Pullman Company Archives, The Newberry Library, Chicago, 1995.

Art Institute of Chicago, Chicago Area Architects Oral History Project http://www.artic.edu/aic/resources/resource/734?search_id=1 (last accessed on February 23, 2011)

John H. White papers, 1959-1989, Record Unit 007384, Smithsonian Institution Archives, Washington, D.C.

Telephone conversation of Alison Oswald, archivist, with John H. White, April 14, 2011.
Related Materials:
Materials in the Archives Center

Pullman Palace Car Company Materials, 1867-1979 (AC0181)

John H. White, Jr. Railroad Reference Collection, 1880s-1990 (AC0523)

Materials in Other Organizations

•Art Institute of Chicago

•Bombardier Corporation

•California State Railroad Museum

•Chicago History Museum

•Arthur Dubin Collection at Lake Forest College

•Illinois Railway Museum

•Indiana University Northwest's Calumet Regional Archives

Pullman-Standard Railroad Car Manufacturing Company Personnel Records—Personnel Record Series CRA 314 This index of employee names was created from the original personnel cards housed at Indiana University Northwest's Calumet Regional Archives from the Indiana locations. Although the records are not complete from the Michigan City plant for the entire period from 1912 to the 1970's, there may be information that will assist researchers with finding key details of a family member. The Hammond Pullman plant was merged with the Haskell Barker Company of Michigan City in 1922.

•Newberry Library, Chicago

The Pullman Company archives at the Newberry Library consists of 2,500 cubic feet of records from the Pullman Company and Pullman heirs. The collection is comprised of business archives of the Pullman Palace Car Company from 1867 and includes records of the entire firm up to the 1924 split into operating (sleeping car operation, service, and repair) and manufacturing companies. From 1924 to 1981 the records chronicle the activities of the operating company only.

•Pennsylvania State Archives

•Pullman State Historic Site

•Pullman Technology (Harvey, Illinois)

•Smithsonian Institution Archives

•South Suburban Genealogical & Historical Society (South Holland, Illinois)
Provenance:
The collection was donated by Pullman-Standard Company, through Nora Wilson, editor of employee publications for the Department of Public Relations and Advertising, on October 8, 1969.
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:
Copyright held by the Smithsonian Institution.
Topic:
Freight cars  Search this
Railroads -- Dining-car service  Search this
Roomette car  Search this
Hospital cars  Search this
Dining cars  Search this
Hotel car  Search this
Sleeping cars (Railroads)  Search this
Local transit  Search this
Genre/Form:
Glass plate negatives
Photographs -- Black-and-white negatives -- Acetate film -- 1890-1900
Photographs -- Black-and-white negatives -- Acetate film -- 1900-1950
Citation:
Pullman Palace Car Company Photographs, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1175
See more items in:
Pullman Palace Car Company Photographs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85e54d13d-eb5a-4971-8e39-ecfe85039ed4
EDAN-URL:
ead_collection:sova-nmah-ac-1175
Online Media:

Historical data--chronology of the telegraph, 1832-1907; chronology of Edison's life; and Ocean Cable, 1938 (typescripts)

Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Container:
Box 832
Type:
Archival materials
Date:
1832-1907; 1938
Collection Restrictions:
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
See more items in:
Western Union Telegraph Company Records
Western Union Telegraph Company Records / Series 27: Addenda / Addenda for Series 1: Historical Background
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83bc883f5-cc1e-436f-913f-149ca7a4628b
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref11527

Albert Kahn papers

Creator:
Kahn, Albert, 1869-1942  Search this
Names:
Bacon, Henry, 1839-1912  Search this
Barlow, Myron, 1873-1937  Search this
Kahlo, Frida  Search this
Kahn, Ernestine Krolik  Search this
Mason, George D.  Search this
Milles, Carl, 1875-1955  Search this
Rivera, Diego, 1886-1957  Search this
Stoughton, Arthur A.  Search this
Toscanini, Arturo, 1867-1957  Search this
Trowbridge, Alexander Buell, 1868-1950  Search this
Extent:
7.02 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Watercolors
Scrapbooks
Renderings
Lithographs
Photographs
Motion pictures (visual works)
Notebooks
Drawings
Sound recordings
Awards
Sketchbooks
Etchings
Notes
Typescripts
Lectures
Date:
1875-1970
Summary:
The papers of architect Albert Kahn date from 1875-1970, bulk 1875-1945, and measure 7.02 linear feet. Found within the papers is biographical material, correspondence, personal business records, nine sketchbooks, art work, notes and writings, two scrapbooks, printed material, photographs and photograph albums, artifacts, and motion picture film.
Scope and Content Note:
The papers of architect Albert Kahn date from 1875-1970, bulk 1875-1945, and measure 7.02 linear feet. Found within the papers are biographical material, correspondence, personal business records, nine sketchbooks, art work, notes and writings, two scrapbooks, printed material, photographs and photograph albums, artifacts, a sound recording and motion picture film.

Biographical material includes a biographical account, marriage certificate, architect's licenses, calling cards for the Kahns, passports, identification cards, letters of introduction, award certificates and medals, membership cards and certificates, a sound recording concerning Albert Kahn's life, and an address book.

Correspondence consists of letters between Albert Kahn, family members, and colleagues including Myron Barlow, George D. Mason, Carl Milles and Arthur A. Stoughton. There is one letter each from Henry Bacon and Alexander Trowbridge, and condolence letters to Kahn's widow.

Personal business records include records of stocks and income, lists of expenses and receipts for construction, property records, price lists for paintings by others, and miscellaneous receipts.

Art work includes nine sketchbooks and drawings by Albert Kahn, a paper silhouette portrait of Kahn, and drawings, watercolors, etchings, lithographs, and a sketchbook of Cornwall by others.

Notes and writings include Ernestine Kahn's diary, notebooks, guest registers and records concerning Albert Kahn's funeral, and typescripts of speeches and lectures.

Two scrapbooks contain clippings, small drawings, photographs of architecture, and letters of tribute.

Printed material includes clippings, exhibition catalogs for others, programs, booklets, books, reproductions of art work, travel brochures, picture postcards, and miscellaneous printed material.

Photographs are of Albert Kahn, members of his family, and colleagues including Myron Barlow, Frida Kahlo, Diego Rivera, Arturo Toscanini, residences, and travel scenes. Moving images include five reels of 16mm motion picture film of the Kahn family at the farm and at various family gatherings.

Artifacts primarily consist of the tools used by Albert Kahn during his career including t-squares and portable tripod supports for drawing boards used on construction sites.
Arrangement:
The collection is arranged as 9 series. Glass plate negative housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1896-1945 (Box 1, 6, OV 10; 19 folders)

Series 2: Correspondence, 1891-1970 (Box 1-3, 6; 3.3 linear feet)

Series 3: Personal Business Records, 1891-1943 (Box 3; 7 folders)

Series 4: Art Work, 1890-1936 (Box 3, 6, OV 11-12; 20 folders)

Series 5: Notes and Writings, 1899-1943 (Box 3-4; 29 folders)

Series 6: Scrapbooks, 1890-1942 (Box 7; 0.3 linear feet)

Series 7: Printed Material, 1897-1968 (Box 4-6, OV 10; 0.8 linear feet)

Series 8: Photographs and Moving Images, 1875-1944 (Box 5-6, 8, FC 13-17, MGP 2; 1.5 linear feet)

Series 9: Artifacts, circa 1942 (Box 5, 9; 0.4 linear feet)
Biographical Note:
Albert Kahn (1869-1942) of Detroit, Michigan, was an architect, primarily known for designing industrial buildings with the pioneering use of reinforced concrete that allowed large unobstructed interiors.

Albert Kahn was born on March 21, 1869 in Rhaunen, Rhineland-Palatinate, Germany, the oldest son of rabbi Joseph Kahn and Rosalie Cohn Kahn. The family immigrated to the United States in 1881 and settled in Detroit, Michigan.

Albert Kahn worked as an office boy in an architect's office and studied drawing in Sunday classes conducted by sculptor Julius Melchers. Melchers found Kahn a position in the architectural offices of Mason and Rice where he worked for several years. In 1890, Kahn won a scholarship to travel in Europe to study architecture and in 1895 he opened his own architectural office, Albert Kahn Associates, hiring his younger brothers, Louis, Moritz, and Felix. In the following year, Kahn married Ernestine Krolik.

In 1903, Kahn was awarded his first two important commissions: to design the University of Michigan's engineering building and the Palm Apartments in Detroit, built with the early use of reinforced concrete. In the following year, he built the first reinforced concrete factory for the Packard Motor Company. Because of the industrial growth in Detroit at that time, Kahn was in demand to design various automobile factories including the General Motors Building, textile, business machine, and chemical plants. He became an authority on concrete construction and by the beginning of the First World War, his firm provided construction for the military aviation section of the Army.

Kahn later moved from using concrete to steel and glass. In 1927, his company finished a large building for the Fisher Brothers of Detroit for which he was awarded a medal by the Architectural League of New York for the year's outstanding contribution to architecture. In the following year his firm was given full charge of the entire heavy industrial building program of Russia's first five-year plan, and they constructed an estimated two billion dollars worth of factories in Russia.

During World War II, Kahn's firm was constantly busy constructing naval air bases, airplane engine plants, tank arsenals including the Detroit Arsenal Tank Plant, and other government defense projects. In June 1942 Kahn was given the honorary degree of Doctor of Fine Arts by Syracuse University.

Albert Kahn died on December 8, 1942 in Detroit, Michigan.
Provenance:
The Albert Kahn papers were donated by Kahn's children, Mrs. Lydia Winston Malbin, Mrs. Rosalie Butzel, and Dr. Edgar A. Kahn, in 1974.
Restrictions:
Use of original papers requires an appointment. Use of archival 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.
Topic:
Architecture, American  Search this
Architects -- Michigan -- Detroit  Search this
Genre/Form:
Diaries
Watercolors
Scrapbooks
Renderings
Lithographs
Photographs
Motion pictures (visual works)
Notebooks
Drawings
Sound recordings
Awards
Sketchbooks
Etchings
Notes
Typescripts
Lectures
Citation:
Albert Kahn papers, 1875-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kahnalbp
See more items in:
Albert Kahn papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw998c9d20d-7eac-4264-8dd4-21511423e9a1
EDAN-URL:
ead_collection:sova-aaa-kahnalbp
Online Media:

Wilbur H. Burnham Studios records

Creator:
Wilbur H. Burnham Studios  Search this
Names:
American Art Expositions (Firm)  Search this
Joseph G. Reynolds Associates  Search this
Reynolds, Francis, and Rohnstock  Search this
Stained Glass Association of America  Search this
Burnham, Wilbur Herbert, 1887-1974  Search this
Burnham, Wilbur Herbert, Jr., 1913-1984  Search this
Connick, Charles J., 1875-1945  Search this
Portanova, Joseph Domenico, 1909-1979  Search this
Reynolds, Joseph G., 1886-1972  Search this
Extent:
40.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Photographs
Watercolors
Diaries
Sketchbooks
Scrapbooks
Date:
circa 1901-1991
Summary:
The records of nationally renowned Boston, Massachussetts, stained glass design company, Wilbur H. Burnham Studios, measure 40.3 linear feet and date from circa 1901-1991. The majority of the collection consists of project files for the studio's stained glass window contracts throughout the United States from the 1920s-1980s. In addition to project files, records include biographical material for the owners, correspondence relating to personal and studio business, general business and financial records, writings such as published articles by Wilbur H. Burnham, scrapbooks and other printed material documenting the history of the company, artwork including extensive watercolor design studies for stained glass, and photographic material. There is a 3.4 linear foot unprocessed addition to this collection donated in 2021 that includes sketches, awards, printed material, passports, biographical material, Christmas cards, photographs and negatives of Burnham and works of art, slides and postcards of stained glass windows, posthumous material, a bound ledger, legal papers, invoices and receipts, project files and glass plate negatives. Materials date from circa 1901-1991.
Scope and Content Note:
The records of nationally renowned Boston, Massachussetts, stained glass design company, Wilbur H. Burnham Studios, measure 40.3 linear feet and date from circa 1901-1991. The majority of the collection consists of project files for the studio's stained glass window contracts throughout the United States from the 1920s-1980s. In addition to project files, records include biographical material for the owners, correspondence relating to personal and studio business, general business and financial records, writings such as published articles by Wilbur H. Burnham, scrapbooks and other printed material documenting the history of the company, artwork including extensive watercolor design studies for stained glass, and photographic material. There is a 3.4 linear foot unprocessed addition to this collection donated in 2021 that includes sketches, awards, printed material, passports, biographical material, Christmas cards, photographs and negatives of Burnham and works of art, slides and postcards of stained glass windows, posthumous material, a bound ledger, legal papers, invoices and receipts, project files and glass plate negatives. Materials date from circa 1901-1991.

Biographical material includes resume details and autobiographical notes for Burnham and Burnham, Jr., in addition to membership and fellow certificates.

Correspondence documents general studio business and includes correspondence with current and prospective clients, correspondence related to exhibitions, Burnham, Jr.'s activities on the Executive Committee of the America Arts Exposition, Inc., and the 1940 annual meeting of the Stained Glass Association of America and related business. Also found is some personal correpondence with friends and colleagues. Of note are 4 letters from stained glass artist Charles J. Connick giving his opinions on other stained glass artists, including Burnham, and a letter written by sculptor and designer, Joseph D. Portanova.

General business files include personnel records, records relating to a studio apprenticeship in stained glass design, a 1932 inventory of the studios, and leases and other legal documentation.

Writings include published articles by Burnham, in addition to draft typescripts for a book on stained glass which was never published, and research notes used as background material for stained glass studies. These notes include a number of pencil sketches.

19 diaries and journals consist of travel diaries and date books containing notes on daily appointments, financial notes, and addresses.

Project files form the bulk of the collection and document projects in circa 250 locations throughout the United States and Bellau, France, from the 1920s-1980s through correspondence with clients, architects and builders, contracts, purchase orders, building plans, sketches, scattered photographs and some printed material. Of particular note are extensive files on stained glass for New York's Cathedral of Saint John the Divine, Saint Mary's Cathedral in Peoria, Illinois, Saint Martin's Church in Providence, Rhode Island, and the National Cathedral in Washington D. C. The series also includes a group of contract files for the company Reynolds, Francis & Rohnstock (later Joseph G. Reynolds), a contemporary of Wilbur H. Burnham Studios.

Financial records include payment and receipt journals, expense reports, bills, account books and general ledgers which provide finanical documentation from the 1930s to the 1980s.

Printed material includes news clippings about Burnham studios and stained glass in general, in addition to source material used in subject research.

Additional newsclippings about Burnham Studios can be found in three scrapbooks which also house announcements and invitations, and scattered photographs. One scrapbook contains photographs of windows designed by the studios for the Church of Saint Vincent De Paul in Los Angeles, California.

Artwork and sketchbooks include some artwork by Burnham, Jr., such as pencil and ink sketches, life drawings, and some watercolors. The bulk of the series consists of watercolor design studies on board for many of the studio's projects documented in the project files. Also found are some stained glass design sketches and cartoons, primarily in pencil and charcoal with scattered watercolors, as well as seven folders of material used in creating stained glass patterns and templates.

Photographic material includes photos of Burnham and Burnham, Jr., and of studio work in progress, as well as photographs of artwork, primarily of stained glass created for a significant number of the studio's contracts.
Arrangement:
The collection is arranged as 12 series:

Missing Title

Series 1: Biographical Materials, circa 1930s-circa 1970s (Boxes 1, 27; 4 folders)

Series 2: Correspondence, 1920s-1991 (Box 1; 0.9 linear feet)

Series 3: General Business Files, 1930s-1970 (Box 2; 0.38 linear feet)

Series 4: Writings and Notes, 1920s-1950s (Box 2; 6 folders)

Series 5: Diaries and Journals, circa 1920s-circa 1960s (Box 2; 4 folders)

Series 6: Project Files, 1916-1980s (Boxes 2-12, 42; 10.6 linear feet)

Series 7: Financial Records, 1928-1982 (Boxes 13-14; 1.14 linear feet)

Series 8: Printed Material, circa 1920s-1980s (Boxes 14-15, 27-28; 1.89 linear feet)

Series 9: Scrapbooks, circa 1920s-circa 1970s (Boxes 15-16, 28, OVs 48-49, BV 84; 1.05 linear feet)

Series 10: Artwork and Sketchbooks, circa 1920s-circa 1980s (Boxes 16-23, 29-39, OVs 50-73, 85, RD 83; 13.15 linear feet)

Series 11: Photographic Materials, circa 1904-circa 1980s (Boxes 23-26, 29, 40-41, 43-47, OVs 74-82; 5.8 linear feet)

Series 12: Unprocessed Addition, circa 1901-1991 (Boxes 86-88, 91-93 OVs 89-90, 94; 3.4 linear feet)
Historical Note:
Boston, Massachussets stained glass design firm, Wilbur H. Burnham Studios, was founded by master stained glass craftsman Wilbur H. Burnham, in 1922. Together with Charles J. Connick and Joseph G. Reynolds, Burnham studios became recognized as one of the most prominent stained glass design companies in the United States. Burnham took early commissions from influential American architect Ralph Adams Cram, and believed strongly in the medieval stained glass tradition. In the late 1930s his son, Wilbur H. Burnham, Jr., who had received an informal education on tours of Europe with his family, and a BFA from Yale University, joined the firm.

Some of the studio's most notable commissions included seventeen windows for the Washington National Cathedral in Washington, D. C., all the windows and murals for Saint Mary's Cathedral, Peoria, Illinois, ten windows for the Cathedral of Saint John the Divine in New York City, and five for the Riverside Church, also in New York City.

Both Burnham and Burnham, Jr., served as presidents of the Stained Glass Association of American from 1938-1941 and 1956-1957 respectively. Burnham, Jr., took over the studio in 1968 when his father retired, and sold the studios in 1982.
Provenance:
The Wilbur H. Burnham Studios records were donated in 8 accessions by Wilbur H. Burnham, Jr., from 1977-1981 and by Wilbur C. Burnham, grandson of the founder, in 1990-1991 and 2021. Scott McDaniel, co-owner of the firm, contributed to the 1990 donation.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Stained glass artists -- Massachusetts  Search this
Topic:
Church architecture -- United States  Search this
Church decoration and ornament -- United States  Search this
Decorative arts  Search this
Glass art  Search this
Genre/Form:
Sketches
Photographs
Watercolors
Diaries
Sketchbooks
Scrapbooks
Citation:
Wilbur H. Burnham Studios records, circa 1901-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wilbhbur
See more items in:
Wilbur H. Burnham Studios records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ad5178e0-def4-497b-855e-36fd04bf74ad
EDAN-URL:
ead_collection:sova-aaa-wilbhbur
Online Media:

Honolulu -- Lipolani

Former owner:
Moir, Goodale  Search this
Moir, May  Search this
Architect:
Davis, Louis  Search this
Provenance:
The Garden Club of Honolulu  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Lipolani (Honolulu, Hawaii)
United States of America -- Hawaii -- Honolulu County -- Honolulu
Scope and Contents:
The folder includes worksheets, garden plans, a narrative history of the house and gardens,and a typescript copy of a newspaper article about the garden.
General:
Lipolani has been owned by the same family since 1924 (the house was completed in 1930), but its gardens date to the late 1940s, after Goodale and May Moir were married. Their design reflects a conscious decision to eliminate the traditional trees, shrubs, and grass that had characterized the site's landscaping during its initial years. An open-air, walled patio was given planting beds, a roof, and screening, as well as wire to accomodate a large collection of phalaenopsis orchids. The entrance courtyard was walled and planting areas filled with rocks for soil retention and plant support. Plants such as tree ferns, ti, dracaena, medinella, and plumeria were introduced. In the late 1950s the front garden was expanded to include a mountain view area enclosed by a wall, creating another private garden. A large courtyard on the lower side of the house was surrounded by deep, raised planting beds and eventually came to resemble a Japanese Zen-style moss garden. In addition the site includes an open-sided greenhouse, a rock garden, and a strip of land where a variety of plants used for cutting, cooking, and eating are grown.
Persons associated with the garden include: Goodale Moir (former owner, 1930-1985); May Moir (former owner, 1985-2001); and Louis Davis (architect, 1930).
Related Materials:
Lipolani 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 -- Hawaii -- Honolulu  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File HI029
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Hawaii
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6b8676a00-50a9-4787-95c1-42ec7fe95459
EDAN-URL:
ead_component:sova-aag-gca-ref6371

George Leslie Stout papers

Creator:
Stout, George L. (George Leslie)  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Fogg Art Museum  Search this
Isabella Stewart Gardner Museum  Search this
Worcester Art Museum  Search this
Correspondent:
Buck, Richard D.  Search this
Constable, W. G. (William George), 1887-1976  Search this
Gardner, G. Peabody (George Peabody)  Search this
Hall, Ardelia Ripley  Search this
Howe, Thomas Carr, 1904-1994  Search this
Ivins, William Mills, 1881-1961  Search this
Marceau, Henri, 1896-1969  Search this
Moore, Lamont  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Sizer, Theodore, 1892-1967  Search this
Warner, Langdon (1881-1955)  Search this
Extent:
6.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Sketchbooks
Date:
1855
1897-1978
Summary:
The papers of conservator and museum director George Leslie Stout measure 6.4 linear feet and date from 1855, 1897-1978. Stout was head of the conservation department at Harvard University's Fogg Art Museum, director of the Worcester Art Museum and Isabella Stewart Gardner Museum in Massachusetts, and a member of the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The bulk of the collection consists of correspondence with family, friends, colleagues and professional associations. There are letters from fellow Monuments Men who served in the MFAA section such as Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner and several other prominent arts administrators. The papers also contain biographical materials, writings, sketches and one sketchbook, military records, printed materials, and photographs.

There is a 0.2 linear foot addition to this collection acquired in 2020 that includes four diaries, 1944-1946, kept by George Stout as a member of the Monuments, Fine Arts and Archives Section (MFAA) of the U.S. Army (known as the Monuments Men). The diaries describe Stout's experiences surveying war-caused damages in France, Germany, and Japan, and the recovery of Nazi impounded art works. Also included is a hand-made booklet that includes a "Glossary of Cha-no-yu Terms," which consists of quotes about Japanese art and tea drinking.
Scope and Contents:
The papers of conservator and museum director George Leslie Stout measure 6.4 linear feet and date from 1855, 1897-1978. Stout was head of the conservation department at Harvard University's Fogg Art Museum, director of the Worcester Art Museum and Isabella Stewart Gardner Museum in Massachusetts, and a member of the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The bulk of the collection consists of correspondence with family, friends, colleagues and professional associations. There are letters from fellow Monuments Men who served in the MFAA section such as Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner and several other prominent arts administrators. The papers also contain biographical materials, writings, sketches and one sketchbook, military records, printed materials, and photographs.

There is a 0.2 linear foot addition to this collection acquired in 2020 that includes four diaries, 1944-1946, kept by George Stout as a member of the Monuments, Fine Arts and Archives Section (MFAA) of the U.S. Army (known as the Monuments Men). The diaries describe Stout's experiences surveying war-caused damages in France, Germany, and Japan, and the recovery of Nazi impounded art works. Also included is a hand-made booklet that includes a "Glossary of Cha-no-yu Terms," which consists of quotes about Japanese art and tea drinking.

Biographical materials include college and graduate school transcripts, various certificates, four small appointment books and passports.

Correspondence is between George Leslie Stout and family, friends, colleagues, professional associations and fellow Monuments Men. Family correspondence is with Stout's immediate and extended family, the bulk of which is from Stout to his wife Margaret and his son Thomas. Correspondents in the Monuments Men correspondence include Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner, and many others. There is also substantial correspondence with friends and professional colleagues in the museum and art world, such as Walter Beck, Richard D. Buck, William George Constable, Earl of Crawford, George Peabody Gardner, Jr., William Ivins, Jr., Henri Marceau, and Paul Sachs, among many others.

Writings by Stout consist of typescript drafts and published articles, speeches, and miscellaneous notes. Most of the writings concern art conservation and the speeches are memorials for two of Stout's colleagues. Notes consists of drafts for the texts of holiday cards Stout designed, biographical notes, and images and captions for The Care of Pictures. There are also three conference papers on art conservation written by other people.

Subject files document Stout's conservation projects as a consultant for museums, universities, galleries and other organizations. Also found in this series are documents relating to Stout's work after retiring from the Isabella Gardner Museum and his membership or participation in various arts programs and organizations.

A separate series contains files relating to Stout's World War II service in the Monuments, Fine Arts & Archives (MFAA) Section. Found here are official military records, publications by Monuments Men, and a few scattered photographs. Military records include directives, reports, certificates and a bronze star medal. There are articles and books written by various Monuments Men such as Langdon Warner, Lincoln Kirstein and Theodore Sizer. There are also scattered photographs, only two of which depict tout (including one group photograph with Lamont Moore, Walker Hancock and other Monuments Men.) There are also 12 negatives with 4 prints depicting La Gleize Church and the town of Ambleve, Belgium in 1945. There are also four diaries documenting Stout's experiences in the MFAA Section in Europe and Japan from 1944-1946.

Personal business records include assorted legal and estate papers as well as financial papers such as receipts, travel expenses and donations.

Printed materials consists of news clippings, bulletins, brochures, press releases, conference papers, and magazine and journal articles, most of it related to art conservation.

Artwork includes pencil and ink drawings and sketches, mostly of travel scenes, people, and animals. There is one sketchbook of the human figure. Many sketches were loosely grouped together by Stout with titles such as "Pool Doodles" or "Park and Zoo." The is also one caricature of Eric Brown by Murray Pease.

The papers include photographs and negatives, mostly personal photographs of friends, family, relatives and colleagues. There are also photographs of art conservation conferences and travel photographs. Additional scattered photographs are located in the series containing the Monuments Men files.
Arrangement:
This collection is arranged as 9 series.

Missing Title

Series 1: Biographical Materials, circa 1919-1977 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1922-1978 (2.5 linear feet; Box 1-3, OV 8)

Series 3: Writings, 1927-1978 (0.5 linear feet; Box 3-4)

Series 4: Subject Files, 1918, 1943-1978 (1 linear feet; Box 4, OV 8-9)

Series 5: Monuments, Fine Arts & Archives Section Files, 1918, 1942-1955, 1972-1975 (0.5 linear feet; Box 5, 10)

Series 6: Personal Business Records, 1938-1978 (0.1 linear feet; Box 5)

Series 7: Printed Materials, 1926-1977 (0.8 linear feet; Box 5-6, OV 9)

Series 8: Sketchbooks, circa 1924-circa 1938, 1970-1977 (0.1 linear feet; Box 6)

Series 9: Photographic Materials, circa 1855, 1897-1978 (0.2 linear feet; Box 6-7)
Biographical / Historical:
George Leslie Stout (1897-1978) was a museum director and prominent art conservator in Massachusetts. Stout was head of the conservation department at Harvard University's Fogg Art Museum, and director of the Worcester Art Museum and Isabella Stewart Gardner Museum, Massachusetts. During World War II, Stout served in the U.S. Army Monuments, Fine Art and Archives (MFAA) and played a leading role in the protection, location, and recovery of art work stolen by the Nazis.

Born in Winterset, Iowa in 1897, George Leslie Stout was the oldest of six children and attended Winterset High School and served in the U.S. army during World War I. Following the war, Stout studied at the State University of Iowa, received his B.A. in 1921, worked for a few years, and married Margaret Hayes in 1924 with whom he had two sons, Robert and Thomas. He attended Harvard graduate school in 1926 and graduated with a Master of Art in 1929. Stout began working as a lecturer and conservator at Harvard's Fogg Art Museum, later becoming the head of the conservation department in 1933, a position he held until 1947.

During World War II, Stout re-enlisted in the U.S. Navy, having served in the reserves since World War I. Stout was one of the first members of the Monuments, Fine Arts & Archives (MFAA) Section of the U.S. army. He was appointed to the MFAA Section for the Twelfth Army Group in 1944 and was one of the first Monuments Men to arrive at Normandy, France. He was later appointed Lieutenant Commander of the MFAA Section. Many of the Monuments Men's stolen art recovery achievements were directed by George Leslie Stout. Stout supervised the inventory and removal of looted art hidden by the Nazis in the salt mines of Merkers and Ransbach in Thuringia, Germany. Stout oversaw the organization, packing, and shipping of several thousand objects including paintings by Rubens and Goya, along with precious antiquities. At the Altaussee salt mines in Austria, he was in charge of the unit that recovered a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There, he also worked very closely with fellow Monuments Men Thomas Carr Howe. Stout went on to locate and recover looted artwork in other repositories in Germany, France, and the Netherlands. He maintained a relationship with many of his fellow Monuments Men after the war.

Stout left Europe in the latter half of 1945, then went to Japan where he served as the Chief of the Arts and Monuments Division at Headquarters of the Supreme Commander for the Allied Powers, Tokyo until the middle of 1946. After the war Stout received the Bronze Star and the Army Commendation Medal for his army service and work as a Monuments Man in Europe.

Stout resumed his position as the head of the conservation department at the Fogg Art Museum when he returned to America. In 1947 he became the director of the Worcester Art Museum in Massachusetts where he stayed until 1955, when he became the director of the Isabella Stewart Gardner Museum in Boston where he worked until his retirement in 1970. Stout wrote numerous articles about art conservation and wrote two books: Painting Materials, A Short Encyclopaedia (1942), co-authored with Harvard colleage R. J. Gettens, and Care of Pictures (1948). Stout died in Menlo Park, California in 1978 and was widely recognized as a distinguished art conservator.
Related Materials:
Also found in the Archives of American Art is an oral history interview with George Stout conducted by Paul Karlstrom in 1978.
Provenance:
George Leslie Stout donated his papers to the Archives of American Art in 1978. In that same year, Robert Stout, son of George Leslie Stout, loaned four diaries to the Archives of American Art for microfilming. The four diaries were acquired at auction by the Archives in 2020 with generous donations from Paul Neely, David Copperfield in memory of Kelly Asbury, Deborah Lehr and John Rogers, Ambassador Nicholas F. Taubman, The Whitney and Elizabeth MacMillan Foundation, Jeffrey P. Cunard and Mariko Ikehara; The Elbrun and Peter Kimmelman Family Foundation, Inc.; Peter and Paula Lunder; William and Christine Ragland in memory of William McKenzie Ragland Lt. JG, U.S. Navy, Pacific Theater, WWII; The Kurin Family in honor of WWII Veteran Saul Kurin, Paul and Corine Wegener, and Judy and Bob Huret.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Conservators -- California  Search this
Arts administrators  Search this
Topic:
Museum directors -- United States  Search this
World War, 1939-1945 -- Art and the war  Search this
Art -- Conservation and restoration  Search this
Genre/Form:
Photographs
Sketches
Sketchbooks
Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stougeor
See more items in:
George Leslie Stout papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ccad7a5c-748e-4881-8fc3-5bf2bf18a811
EDAN-URL:
ead_collection:sova-aaa-stougeor
Online Media:

Writings

Collection Creator:
Stout, George L. (George Leslie)  Search this
Extent:
0.5 Linear feet (Box 3-4)
Type:
Archival materials
Date:
1927-1978
Scope and Contents:
Writings by Stout include typescript drafts and published articles, speeches, notes, and one folder of images and captions for his book The Care of Pictures. All of the writings are by Stout except for three papers about art conservation that were written by others.
Arrangement:
This series is arranged as 3 subseries:

Missing Title

3.1: Typescript Drafts, 1927-1978

3.2: Publications, 1941-1969

3.3: Notes and Writings By Others, 1948, 1962-1974

The three papers written by others are grouped together in one folder at the end of the series.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stougeor, Series 3
See more items in:
George Leslie Stout papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9826ef1b0-550f-4c39-b672-b818f758d80a
EDAN-URL:
ead_component:sova-aaa-stougeor-ref206

Typescript Drafts

Collection Creator:
Stout, George L. (George Leslie)  Search this
Type:
Archival materials
Date:
1927-1978
Scope and Contents:
This subseries consists of typescript drafts of essays and articles mostly on the subject of art conservation.
Arrangement:
The typescript drafts are arranged in chronological order.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stougeor, Subseries 3.1
See more items in:
George Leslie Stout papers
George Leslie Stout papers / Series 3: Writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94061da9c-8f3b-4ead-8678-7b406b01e3b2
EDAN-URL:
ead_component:sova-aaa-stougeor-ref209

"Giotto's Maxims of Composition"

Collection Creator:
Stout, George L. (George Leslie)  Search this
Container:
Box 3, Folder 37
Type:
Archival materials
Date:
circa 1930-1978
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
See more items in:
George Leslie Stout papers
George Leslie Stout papers / Series 3: Writings / 3.1: Typescript Drafts
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d4ba9adc-0a06-456a-ba61-8db7a217ba54
EDAN-URL:
ead_component:sova-aaa-stougeor-ref210

"Art for Your Sake"

Collection Creator:
Stout, George L. (George Leslie)  Search this
Container:
Box 3, Folder 38
Type:
Archival materials
Date:
circa 1930-1978
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
See more items in:
George Leslie Stout papers
George Leslie Stout papers / Series 3: Writings / 3.1: Typescript Drafts
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c824aa74-897a-430d-b6b6-29533464dd90
EDAN-URL:
ead_component:sova-aaa-stougeor-ref211

"Art and Opportunity"

Collection Creator:
Stout, George L. (George Leslie)  Search this
Container:
Box 3, Folder 39
Type:
Archival materials
Date:
circa 1930-1978
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
See more items in:
George Leslie Stout papers
George Leslie Stout papers / Series 3: Writings / 3.1: Typescript Drafts
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d822aa08-d26a-4994-b5f9-a6e16bfd5ca4
EDAN-URL:
ead_component:sova-aaa-stougeor-ref212

"The State of Knowledge in the Arts"

Collection Creator:
Stout, George L. (George Leslie)  Search this
Container:
Box 3, Folder 40
Type:
Archival materials
Date:
circa 1930-1978
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
See more items in:
George Leslie Stout papers
George Leslie Stout papers / Series 3: Writings / 3.1: Typescript Drafts
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99c464d42-582b-45ad-b490-90c0cb135716
EDAN-URL:
ead_component:sova-aaa-stougeor-ref213

"Andokides"

Collection Creator:
Stout, George L. (George Leslie)  Search this
Container:
Box 3, Folder 34
Type:
Archival materials
Date:
1927
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
See more items in:
George Leslie Stout papers
George Leslie Stout papers / Series 3: Writings / 3.1: Typescript Drafts
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98c3cb7db-705c-4bb8-b142-91b9a56492f4
EDAN-URL:
ead_component:sova-aaa-stougeor-ref214

Modify Your Search







or


Narrow By