Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
106 Devil and the Old Woman, The (Farmer's Curst Wife) (Child No. 278)./ Banjo.
107 Red River Valley / Banjo.
108 St. James Hospital / Banjo.
109 Stagolee (Stagger Lee) / Banjo.
110 The Wreck of the Old 97 / Banjo.
111 Casey Jones / Banjo.
112 Lady of Carlisle / Banjo.
113 Mrs. McGrath / Banjo.
Local Numbers:
FW-ASCH-10RR-3481
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
102 Mary, What Are You Going to Name That Pretty Little Baby? / Piano.
103 Heard from Heaven Today / Piano.
104 Heaven Bell Ring / Piano.
105 A Mince Pie or a Pudding / Piano.
106 Old Christmas / Piano.
107 Babe of Bethlehem / Piano.
108 Cradle Hymn / Piano.
109 Shine Like a Star in the Morning / Piano.
110 Ain't That a Rocking All Night / Piano.
Local Numbers:
FW-ASCH-7RR-3636
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
El pavito real --La calandria = The lark --iete leguas = Seven leagues --La palomita callejera = Little dove of the streets -- El toro bravo = The wild bull --El palo verde = The palo verde tree --El sombrerito = The little hat --Las chaparreras = The chaparreras --Los barabdales del puente = The balustrade of the bridge --Corrido del norte = Ballad of the north --El jabali = The wild boar --Fue en el Africa lejana = It was in far-off Africa --El Corrido de cananea = The ballad of Cananea --Traigo mi cuarenta y cinco = I carry my forty-five.
Local Numbers:
FW-ASCH-7RR-2792
General:
associated with Folkways release 604
CDR copy
Translations by J.D. Robb and Peter Hurd.
FW-ASCH-7RR-2792 corresponds exactly to a Folkways recording: Peter Hurd sings Ranchera Songs - Spanish Folksongs of New Mexico. (FW02204). Per the abstract from the Smithsonian Folkways website: Noted fresco painter Peter Hurd presents a selection of ranchera songs from New Mexico, where he grew up among Spanish speakers in the Hondo Valley. Hurd learned some of these songs as a child, but discovered others more recently during trips to Mexico.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Barbara Allen (Child No. 84)--Lovin' Nancy--/I Saw the Pale Moon Shining--Old gum boots and leggins--Jim and I alone--East Virginia--House carpenter--Broken engagement--Little rosewood casket--Strets of Laredo--Love my darling O--One morning in May--Drunkard's dream--Lord Randall
Local Numbers:
FW-ASCH-7RR-4432
Folkways.2307
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
102 The Farmer's Curst Wife (Child No. 278)./ Pete Seeger. Banjo.
103 Hebrew Children / Andrew Rowan Summers. Appalachian dulcimer.
104 On a Monday / Lead Belly, Sonny Terry. Guitar.
105 Old Dan Tucker / Burl Ives. Guitar.
106 Soldier / Burl Ives. Guitar.
107 The Wife of Usher's Well (Child No. 79)/ Bess Lomax Hawes, Butch Hawes. Guitar.
108 No Room / John Jacob Niles. Guitar.
109 House of the Rising Sun / Woody Guthrie. Guitar.
110 Hard Traveling / Sonny Terry, Woody Guthrie. Guitar.
111 Two Maidens / Richard Dyer-Bennet. Guitar.
112 Mama Mama (Eggs and Marrowbones) / Alan Lomax. Guitar.
Local Numbers:
FW-ASCH-10RR-5095
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
107 Country Dance Medley / Country Dance Orchestra, Mr. and Mrs. Siller. Guitar.
111 The Fox / Burl Ives. Guitar.
113 Devil and the Farmer's Wife, The (Farmer's Curst Wife) (Child No. 278)./ Burl Ives. Guitar.
Local Numbers:
FW-ASCH-10RR-5947-7
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only; No Duplication.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
19. frag.- Burl Ives 20. Red River Valley- Burl Ives 21. Roll on Little Doggie- Burl Ives 22. The Fox- Burl Ives 23. The Fox (slower tempo)- Burl Ives 24. The Devil and the Farmers Wife- Burl Ives 25. Haul Away Joe- Lead Belly 26. Where are the Hebrew Children- Andrew Rowan Summers 27. Pushin, Pushin- John Jacob Niles 28. Froggie Went A-Courtin'- John Jacob Niles 1. Roving Gambler- Cisco Houston 2. Billy the Kid- Woody Guthrie 3. On a Monday- Lead Belly 4. Go Tell Aunt Nancy- Seeger, Ives, Lomax
Track Information:
101 Red River Valley / Burl Ives. Guitar.
102 Roll On Little Dogies / Burl Ives. Guitar.
103 The Fox / Burl Ives. Guitar.
105 Devil and the Woman, The (Farmer's Curst Wife) (Child No. 278)/ Burl Ives. Guitar.
106 Haul Away Joe / Lead Belly. Guitar.
107 Where are the Hebrew Children? / Andrew Rowan Summers. Appalachian dulcimer.
108 Pushin Pushin / John Jacob Niles. Appalachian dulcimer.
109 Froggie Went A-Courtin' / John Jacob Niles. Appalachian dulcimer.
110 Roving Gambler / Cisco Houston. Guitar.
111 Billy the Kid / Woody Guthrie. Guitar.
112 On a Monday / Lead Belly, Sonny Terry. Guitar,Harmonica.
113 Go Tell Aunt Nancy / Burl Ives, Alan Lomax, Pete Seeger. Guitar,Banjo.
Local Numbers:
FW-ASCH-10RR-5950-7
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only; No Duplication.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Cornwallis Burgoyned--Chester (frag,)--Chester--Chester--Anthony Wayne--Cornwallis Burgoyned (frag)--Yankee Man of War--Seargant Champe-0-Anthony Wayne--Sgt. Champe--Wallace House--Toast my house
Local Numbers:
FW-ASCH-7RR-5981
General:
Begins with Pete Seeger singing with a child, "Where is Thubmkin?" then tapes is a collection of Wallace House revolutionary war songs interspersed with Pete Seeger renditions of the same songs, most are incomplete. Final piece appears to be an unreleased track intended for FH5190 Heritage USA V1. P2
CDR copy
Restrictions:
Restrictions on access.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
126 Pretty Boy Floyd (Asch 360-1B) / Woody Guthrie. Guitar.
Local Numbers:
FP-1992-7RR-0221-7
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The papers of New York painter, Charles Cajori measure 7.4 linear feet and 0.070 GB and date from 1928-2018. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery, located on the Lower East Side in New York, through biographical material; correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; printed materials; and photographic materials.
Scope and Content Note:
The papers of New York painter, Charles Cajori measure 7.4 linear feet and 0.070 GB and date from 1928-2018. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery, located on the Lower East Side in New York, through biographical material; correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; printed materials; and photographic materials.
Biographical material consists of Charles Cajori's high school records, air force records, passports and other travel documents, material related to his 90th birthday celebration, resumes, exhibition lists, a few drawings, obituaries, memorial service information, conservation reports on paintings, and other material.
Correspondence is personal and professional and consists of mostly incoming letters to Cajori from artists, friends, family, art historians, and academic institutions. There are a few letters from Charles Cajori, including draft of his letters. Among the correspondents are Pat Adams, Leland Bell, Bernard Chaet, Cooper Union, Cleve Gray, Barbara Grossman, Louis Finkelstein, Philip Pearlstein, Sidney Simon, Norman Turner, and the University of California at Berkeley. Of interest, are letters from the founders of the Tanager Gallery, such as Lois Dodd, Angelo Ippolito, and William King. Correspondence also documents Cajori's dealings with galleries and museums as well as his involvement in arts organizations; included are letters from American University, Watkins Gallery; Bertha Schaffer Gallery; Colorado Springs Fine Arts Center; Gallery Association of New York; Museum of Modern Art; Roko Gallery; Stable Gallery; and the Whitney Museum of American Art. There are also condolences to Barbara regarding Cajori's death.
Interviews, talks, and panel discussions include a transcript of an interview with Charles Cajori, audiotaped and videotaped as well as born digital interviews with Charles Cajori, and panel discussions with Cajori and others. Panel discussions with Cajori and others cover such topics as the New York school artists and Chaim Soutine. Many of recordings focus on Cajori's association with the Tanager Gallery, the art scene in New York during the 1950s, and his reflections on art. Also included are miscellaneous videotaped recordings. One panel discussion is digitized.
Printed material contains exhibition catalogs, checklists, announcements, invitations, press releases, clippings, reviews, brochures, and miscellaneous printed material. There are files of printed materials on the New York Studio School as well as Tanager Gallery that include exhibition catalogs and clippings.
Photographic material includes photographs, slides, and negatives of Charles Cajori, his studio, family and friends, black and white and color photographs of works of art, events and exhibition installations.
Arrangement:
The collection is arranged as 6 series:
Series 1: Biographical Material, 1928-2018 (Box 5; 0.4 linear feet)
Series 2: Correspondence, 1929-2015 (Boxes 1-2, 5-6; 1.8 linear feet)
Series 3: Writings and Notes, 1940-2012 (Boxes 2, 6, 8; 0.4 linear feet)
Series 4: Interviews, Talks, and Panel Discussions, 1983-2012 (Boxes 2-3, 6; 1.3 linear feet, ER01; 0.070 GB)
Series 5: Printed Material, 1943-2018 (Boxes 3-4, 6, 8, OV 9; 2 linear feet)
Series 6: Photographic Material, circa 1928-2015 (Boxes 6-8; 1.6 linear feet)
Biographical Note:
Painter and teacher Charles Cajori (1921-2013) worked in New York City and Connecticut.
Born in Palo Alto, California in 1921, Charles Cajori studied painting at Colorado College and the Cleveland Art School. Cajori served in the United States Air Force during World War II. Upon his return, he attended Columbia University and then spent two years at the Skowhegan School of Painting and Sculpture.
Charles Cajori was one of the founding members of the Tanager Gallery, an early artists' cooperative gallery, originally located at 90 East Tenth Street in New York, which provided a venue for contemporary artists to exhibit their work. Through Tanager Gallery, Cajori became acquainted with Franz Kline, Willem de Kooning, and other Abstract Expressionist artists. In 1956, Charles Cajori had his first solo exhibition at the Tanager Gallery and since then, he continuously showed his work in numerous solo and group exhibitions in the United States and abroad including American University, Bertha Schaeffer Gallery, David Findlay Jr. Gallery, El Museo de Bellas Artes de Caracas, Ingber Gallery, Lohin Geduld Gallery, Mattatuck Museum, New Arts Gallery, Paesaggio Gallery, Sala di Esposizione della Biblioteca Americana, Stable Gallery, and the Whitney Museum of American Art. Charles Cajori's work is represented in a number of public and private collections including the Ciba-Geigy Corporation, the Metropolitan Museum of Art, the National Academy of Design, Walker Art Center, and the Weatherspoon Museum.
In conjunction with his activities as an artist, Charles Cajori taught painting and drawing at major academic institutions and art schools: Colorado Springs Fine Arts Center, Cooper Union, Cornell University, the University of California at Berkeley and Queens College (CUNY) where he taught for 20 years. Cajori was a co-founder of the New York Studio School, where he continued to serve on the faculty and the Board.
Charles Cajori received many honors for his work including the 1959 Distinction in the Arts, Yale University; Benjamin Altman, Figure Prize at the National Academy, 1983, 1987; the Childe Hassam Purchase Award by the Institute of Art and Letters Award, 1975-1976, 1980; and the Louis Comfort Tiffany Award, 1979. Also, Cajori was awarded a Fulbright grant to Italy, 1952-1953, and a grant from the National Endowment for the Arts in 1981, as well as a Guggenheim Fellowship in 2001.
Charles Cajori was married to the painter Barbara Grossman and they lived in Watertown, Connecticut.
Provenance:
The Charles Cajori papers were donated to the Archives of American Art by Charles Cajori in 2011 and by Barbara Grossman in 2015 and 2021.
Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. For more information, please contact Reference Services.
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:
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Genre/Form:
Photographs
Sound recordings
Interviews
Video recordings
Transcripts
Citation:
Charles Cajori papers, 1928-2018. Archives of American Art, Smithsonian Institution.
Barbara Allen--Old Bangum--Gypsy laddie--Devil and the farmer's wife--Merry golden tree--Gypsum Davy
Local Numbers:
FW-ASCH-10RR-0119
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
19. Down in the Valley- Cisco Houston 20. Red River Valley- Cisco Houston 21. John Henry- Cisco Houstton 1. Strawberry Roan- Cisco Houston 2. Golden Vanity (fragment)- Woody and Cisco 3. Little Joe, the Wrangler- Cisco Houston
Track Information:
101 Down in the Valley (Birmingham Jail) / Cisco Houston. Guitar.
102 Red River Valley / Cisco Houston. Guitar.
103 John Henry / Cisco Houston. Guitar.
104 Strawberry Roan / Cisco Houston. Guitar.
105 Golden Vanity, The (fragment) (Child No. 286)/ Cisco Houston, Woody Guthrie. Guitar.
106 Little Joe, the Wrangler / Cisco Houston. Guitar.
Local Numbers:
FW-ASCH-10RR-0149
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Jean Ritchie--Shady grive; Cisco Houston--900 miles--Andrew Rowan Summers--Shenandoah--Lead Belly-Meeting at the building; Richard Dyer-Bennet--I go no more a-roving; Jean Ritchie--Pretty Polly; Wagoner's lad; Karen James--Molly Malone; Pete Seeger--Wayfaring stranger; Peggy Seeger-When I first came to town; Frank Warner--Haul away Joe; Doc Watson--Wabash cannonball--unk--Roll in my sweet baby's arms; Peggy Seeger--unk; Cisco Houston--Drill, you tarriers drill; Richard dyer-Bennet--Four Marys; Jean Ritchie--Barbara Allen; Elizabeth Cotten--Babe it ain't no lie
Track Information:
101 Shady Grove / Jean Ritchie. Appalachian dulcimer.
106 Pretty Polly / Jean Ritchie. Appalachian dulcimer.
119 Barbara Allen (Child No. 84)/ Jean Ritchie. Appalachian dulcimer.
102 900 Miles / Cisco Houston. Guitar.
117 Drill, Ye Tarriers Drill / Cisco Houston. Guitar.
103 Shenandoah / Andrew Rowan Summers. Guitar.
105 I Go No More A-Roving / Richard Dyer-Bennet. Guitar.
118 The Four Marys / Richard Dyer-Bennet. Guitar.
104 Meeting at the Building / Lead Belly. Guitar.
107 Wagoner's Lad / Guitar.
108 Molly Malone / Karen James. Guitar.
110 The Wayfaring Stranger / Pete Seeger. Banjo.
111 When I First Came to Town / Peggy Seeger. Banjo.
112 Haul Away Joe / Frank Warner. Guitar.
113 Wabash Cannonball / Doc Watson. Guitar.
114 Unknown / Doc Watson. Guitar.
115 Roll in My Sweet Baby's Arms / Doc Watson. Guitar.
116 Unknown / Peggy Seeger. Banjo.
120 Babe It Ain't No Lie / Elizabeth Cotten. Guitar.
Local Numbers:
FW-ASCH-10RR-0153
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Paul Gwynne Phillips performs traditional songs from the British Isles which he learned mostly from hearing them sung in pubs or by acquaintances. - 1964
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Letter from Walt Whitman to Lewis K. Brown--Lecture on death of Lincoln--When lilacs last in the dooryard bloom'd--There was a child went forth--A Boston ballad--Europe: thee 72nd and 73rd years of these states--Geer discusses the Folk scene in 1940s in New York
Local Numbers:
FW-ASCH-10RR-0531
General:
CDR copy; sound file exists in the DAMS system
Will Geer Reads Walt Whitman and one of his own fantastical yarns about the U.S. folk scene of the 1940s.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Andrew Bataan--Bishop of Canterbury (Child No. 45)--House carpenter (Child No. 243)
Local Numbers:
FW-ASCH-7RR-0690
General:
CDR copy Tape Info: These recordings feature Warde Ford, of Crandon, Wisconsin, near Wolf River. Warde and other relatives were involved in lumbering and many of the songs they sing are from the lumber camps. Warde was originally recorded by Sydney Robertson Cowell as part of the WPA Northern California Folk Music Project, begun in 1938, when Warde was in California to work on the Shasta Dam. Some of those recordings are in the CFCH Archives; all of them are in the American Folklife Center, Library of Congress and are available on their website, identified as "California Gold." From 1952 - 1955, Sydney Robertson Cowell re-recorded Warde Ford and other family members, notably Warde's uncle, Robert Walker. Warde had enlisted in the Army, and in 1954 - 1955 was stationed in Munich, Germany, where he was recorded at the studio of Radio Free Europe, where these recordings were made in August 1954. Many of these recordings, and those of his uncle and other family members can be found on Wolf River Songs, FW04001. See other sheets for song lists and their durations.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
