Houlton Times, October 10, 1917
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Central Administrative Records, FY 1983-FY 1987
Central Administrative Records, FY 1983-FY 1987 Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Descriptive Entry.............................................................................................................. 1 Names and Subjects ...................................................................................................... 1 Container Listing ............................................................................................................. 2 Central Administrative Records https://siarchives.si.edu/collections/siris_arc_254267 Collection Overview Repository: Smithsonian Institution Archives, Washington, D.C., [email protected] Title: Central Administrative Records Identifier: Accession 92-140 Date: FY 1983-FY 1987 Extent: 1 cu. ft. (1 record storage box) Creator:: National Portrait Gallery. Administrative Office Language: English Administrative Information Prefered Citation Smithsonian Institution Archives, Accession 92-140, National Portrait Gallery. Administrative Office, Central Administrative Records Descriptive Entry This accession consists largely of purchase orders for works of art and other artifacts acquired by the National Portrait Gallery from -
P-Spring 04 ALL For
PROFILESmithsonian National Portrait Gallery News Spring 2004 From the DIRECTOR For the most part, we devote each issue of Profile to a particular theme. But every now and then we give our lively quarterly magazine over to the many topics that describe our activities and collections without imposing thematic unity. And although this is just that sort of issue, I find that when I look at the collection of articles and reviews, something like a theme emerges. Not surprisingly, in a museum devoted to the story of Americans, that underlying theme is freedom. In fact, one way to describe American life is as an ongoing conversation, sometimes debate, about freedom. A central element of that debate, of course, has been the situation of African Americans. We have chosen to remember that great national concern in this issue by offering our account of the landmark Brown v. the Board of Education decision by the United States Supreme Court, in honor of the fiftieth anniversary of that decision on May 17. There is a bit of irony in this issue’s serendipity in that we also include a review of a recent publication on Jefferson Davis. Davis felt deeply that his struggle for states’ rights was in the end a struggle for freedom, but lived with the contradiction that one of the key rights that the Confederacy was struggling to secure was the right to maintain slavery. He was not alone in that dilemma, because the Constitution itself had allowed for the different treatment of African Americans. The struggle to guarantee freedom for all Americans has become in our time a core commitment of the America we believe in. -
Ralph Barton Collection Scope and Content Note
Special Collections 401 Ellis Library Columbia, MO 65201 & Rare Books (573) 882-0076 [email protected] University of Missouri Libraries http://library.missouri.edu/specialcollections/ Ralph Barton Collection Scope and Content Note Caricature drawings of artist Ralph Barton, containing copies of work he did for newspapers, various theater and entertainment magazines and periodicals, such as Puck, The New Yorker, Collier’s, Photoplay, Vanity Fair, Judge, and Harper’s Bazaar. Also, his illustrations in one of the most popular books of the 1920s, Gentlemen Prefer Blondes. The work covers c.1908 to the 1930s. With some reproductions in articles, 1981, 1983,1986. Provenance The donor of this collection is unknown. The date of accession is also unknown. Biographical/Descriptive Note Ralph Emerson Barton was born on August 14, 1891, in Kansas City, Missouri. He was the youngest of four children born to Abraham Pool and Catherine Josephine (Wigginton) Barton. His mother was an accomplished portrait painter and ran an art studio. The young Barton showed his mother’s aptitude for art, and by the time he was in his mid-teens he had already seen several of his cartoons and illustrations published in the Kansas City Star and the Kansas City Journal-Post. In 1908 Barton dropped out of Kansas City’s Westport High School before graduating. He moved to Chicago, Illinois, in 1909 to attend the Art Institute of Chicago, but returned to Kansas City within a few months. While back in Kansas City, Barton resumed his work for the Star and Journal-Post. His first national exposure came in 1912 when Barton sold an illustration to the humor magazine Puck. -
How About Never Is Never Good for You?
Henry Holt and Company, LLC Publishers since 1866 175 Fifth Avenue New York, New York 10010 www .henryholt .com Henry Holt® and ® are registered trademarks of Henry Holt and Company, LLC. Copyright © 2014 by Bob Mankoff All rights reserved. Library of Congress Cataloging- in- Publication Data Mankoff , Robert. How about never— is never good for you? : my life in cartoons / Bob Mankoff . — First edition. pages cm ISBN 978- 0- 8050- 9590- 6 (hardback)—ISBN 978- 0- 8050- 9591- 3 (electronic book) 1. Mankoff , Robert. 2. Cartoonists— United States— Biography. 3. Periodical editors— United States— Biography. 4. New Yorker (New York, N.Y. : 1925) I. Title. NC1429.M358A2 2014 741.5′6973—dc23 [B] 2013021129 Henry Holt books are available for special promotions and premiums. For details contact: Director, Special Markets. First Edition 2014 Designed by Toshiya Masuda Printed in the United States of America 1 3 5 7 9 10 8 6 4 2 020-55629_ch00_7P.indd vi 1/23/14 6:11 AM Dedicated to everyone who has ever done a cartoon for Th e New Yorker Charles Addams, John Agee, Alain, Constantin Alajalov, Edward H. Allison, Gideon Amichay, C. W. An- derson, Geroge Annand, Robb Armstrong, Ed Arno, Peter Arno, Andrea Arroyo, Jose Arroyo, Jose Aruego, Niculae Asciu, Van Ass, T. K. Atherton, Aaron Bacall, Tom Bachtell, Peggy Bacon, Howard Baer, Bruce Bairnsfather, Ernest Hamlin Baker, Cyrus Baldridge, Perry Barlow, Bob Barnes, H. Barnes, Charles Bar- sotti, Donna Barstow, Ralph Barton, H. M. Bateman, Ross Bateup, Roland Baum, Glen Baxter, Ben Hur Baz, Alex Beam, Kate Beaton, Frank Beaven, Ludwig Bemelmans, Nora Benjamin, Bill Berg, Erik Berg- strom, Mike Berry, François Berthoud, Daniel Beyer, Michael Biddle, Reginald Birch, Kenneth Bird, Abe Birnbaum, Mahlon Blaine, Harry Bliss, Barry Blitt, A. -
Mining the Dream Factory: Thomas Hart Benton, American Artists, And
104 105 Benton also told reporters that he hoped his painting might be displayed in “some large motion picture theater,” where moviegoers could scrutinize the “combination of machine and sex that Hollywood is.”3 Benton put a lot into this project, including sketching a series of sar- donic Hollywood Notes depicting industry activities, such as story confer- ences and movie premieres (figs. 2, 3) and writing a caustic essay titled “Hollywood Journey,” both intended for an exposé on “what goes on” in the Mining the movie industry.4 But the commission with Life fell through. Benton’s candid take on “the machinery of the industry” did not segue with how the movie in- dustry expected to be seen. Nor was it compatible with how popular maga- zines like Life, which depended on motion-picture advertising income, typically depicted the movies. And it certainly did not fit the glamorous and romantic Fig. 2. Thomas Hart Benton, Director’s image of Hollywood that the industry fostered and American audiences ex- Conference, 1937. Ink and ink wash on paper. Location unknown pected to see: “the national fairytale,” observed Ruth Suckow in a 1936 arti- DreaM Factory cle, of “overnight rise to fame and material wealth, to social opulence, with Sex and Beauty in headline type.”5 Almost from its infancy in the early twentieth century, the American film thoMas hart Benton, aMerican artists, industry has been called a “dream factory”: a fabricator of fantastic moving images, an entertainment enterprise promising stardom and riches to those lucky enough to work in “the movies.”6 The “factory” part of that identity, how- anD the rise oF the Movie inDustry ever, was mostly discounted, especially by the movie industry. -
Eugene O'neill
Eugene O’Neill This page intentionally left blank Eugene O’Neill A Life in Four Acts ROBERT M. DOWLING New Haven and London Published with assistance from the foundation established in memory of Philip Hamilton McMillan of the Class of 1894, Yale College Copyright © 2014 by Robert M. Dowling. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail [email protected] (U.S. office) or [email protected] (U.K. office). Designed by James J. Johnson. Set in Janson type by IDS Infotech, Ltd. Printed in the United States of America. Library of Congress Cataloging-in-Publication Data Dowling, Robert M., 1970– author. Eugene O’Neill : a life in four acts / Robert M. Dowling. pages cm Summary: “A major new biography of the Nobel Prize–winning playwright whose brilliantly original plays revolutionized American theater.” — Provided by publisher. Summary: “This extraordinary new biography fully captures the intimacies of Eugene O’Neill’s tumultuous life and the profound impact of his work on American drama. Robert M. Dowling innovatively recounts O’Neill’s life in four acts, thus highlighting how the stories he told for the stage interweave with his actual life stories. Each episode also uncovers how O’Neill’s work was utterly intertwined with, and galvanized by, the culture and history of his time. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quaiity of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI' BEYOND STANISLAVSKY: THE INFLUENCE OF RUSSIAN MODERNISM ON THE AMERICAN THEATRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Valleri L Robinson, M.S. ***** The Ohio State University 2001 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Joseph Brandesky Adviser Professor Esther Beth Sullivan Department of Theatre UMI Number 3031257 UMI' UMI Microform 3031257 Copyright 2002 by Bell & Howell Information and Learning Company. -
Queer Masculinity in American Visual Culture, 1915-1955
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-17-2019 11:00 AM More than a Spasm, Less than a Sign: Queer Masculinity in American Visual Culture, 1915-1955 Thomas D. Baynes The University of Western Ontario Supervisor Sprengler, Christine The University of Western Ontario Co-Supervisor Bruhm, Steven The University of Western Ontario Graduate Program in Art and Visual Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Thomas D. Baynes 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Baynes, Thomas D., "More than a Spasm, Less than a Sign: Queer Masculinity in American Visual Culture, 1915-1955" (2019). Electronic Thesis and Dissertation Repository. 6238. https://ir.lib.uwo.ca/etd/6238 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This research considers the contribution of visual culture to queer masculinity among white American men during a profound reorientation both in popular understandings and the practical conditions of eroticism between men. From about 1915 to 1955 a pragmatic libidinal economy centered on the theatrical effeminacy of “fairies” was displaced by one founded on the presumption of strongly delineated and relatively fixed hetero- and homo- sexual identities. Although medical discourses about queerness had been developing since the middle of the Nineteenth Century in Europe, what Americans of the opening decades of the twentieth century knew about queerness they learned unsystematically from hearsay, the observation of local people and practices, and visual culture. -
A List of Books Found in the Wilsons' Home at Stepping Stones
The Library of Books found at Stepping Stones, the historic home of Bill and Lois Wilson AUTHOR TITLE DATE INSCRIPTIONS & NOTES "To dear Bill On your twentieth Anniversary 12/11/54 May a Kempis, Thomas My Imitation of Christ 1954 God bless you and love you and keep you always close to His Sacred Heart Sister M. Ignatia" "Christmas 1943 To Bill Wilson In grateful thanks and a Kempis, Thomas The Imitation of Christ 1943 gratitude for the hand in carrying on his work! 'Bill' Gardiner (sp) A.A. Portland, Oregon" Illegible "to-from" inscription on flyleaf, ending: "Mar 19th, A.D.T.W. Pansies 1888 1888" Abbott, Lawrence F. Twelve Great Modernists 1927 "Lois B. and William G. Wilson Merry Christmas to Lois & Abbott, Lyman Reminiscences 1915 Bill from Dad & Mother 1919" Abbott, Winston O. Have You Heard the Cricket Song 1971 "Bette Eaton Bossen" (illustrator "Winston O. Abbott" Adam, Karl The Spirit of Catholicism 1946 Adams, Henry John Randolph 1898 "Five Hundred Copies Printed Number (handwritten) 444" Adams, James Truslow The March of Democracy 1932 Adams, Richard Shardik 1974 Adams, Richard Watership Down 1975 Adams, Samuel Hopkins Canal Town 1944 Adler, Alfred Problems of Neurosis 1930 "Dr. Alfred Adler" Adler, Mortimer J. The Angels and Us 1982 "Skimmed thru this 11/3/86 L." The Days of Bruce: A Story from Scottish In various hands: "Leslie" "A.Molineux" "Mrs. L.S. Burnham Aguilar, Grace 1852 History Brooklyn, N.Y. August 5, 1852" In various hands: "Leslie" "Emma Burnham" "Mrs. L.S. Aguilar, Grace The Days of Bruce 1852 Burnham 1890" Aikman, -
Karl Hickman Klein (1913- 2000) Collection (K0048)
THE STATE HISTORICAL SOCIETY OF MISSOURI RESEARCH CENTER-KANSAS CITY K0048 Karl Hickman Klein (1913- 2000) Collection 1901-1990 1 cubic feet The collection contains copies of Letters, news clippings and other items relating to the life and death of noted artist and caricaturist Ralph Barton, Karl Klein’s uncle. BIOGRAPHY: Karl Hickman Klein was born in Kansas City, Missouri, on November 22, 1913. Klein was educated in Kansas City and then attended New York University. At age 24, he moved to New York City and obtained a position with E.R. Squibb and Sons, later becoming a department head of the subsidiary firm, Lentheric, Inc. In January 1942, Klein enlisted in the U.S. Naval Reserve, first serving in Argentina, then Newfoundland. After V-E Day, he was assigned to special duty in the Judge Advocate General’s Office in Washington, D.C. In 1945, after completing his naval duty, Klein joined the Weatherproof Products, Corporation and remained with the company until 1967 when he joined Padgett Instrument Co. as manager. Klein retired in February 1976. He died December 9, 2000. On May 1, 1943, Klein married Maybelle Hettinger (1907-2000) of Kansas City, Missouri. On May 22, 1946, they became the parents of Karla Christy Klein, later Albertson. Karl Hickman Klein is the grandson of Catherine Josephine and Abraham Pool Barton. Catherine Josephine Barton was an artist and writer in Kansas City. Her son, Ralph Barton (1891-1931), worked on the Kansas City Star before leaving Kansas City to study art in Paris. Barton became a prominent caricaturist during the 1920’s. -
Rediscovering Charlie Chaplin by Jonathan Rosenbaum
EVIDEO Rediscovering Charlie Chaplin by Jonathan Rosenbaum lthough I suspect many would dis- pute this characterization, I think the A period we're now living through may well be the first in which scholars have final- ly figured out a good way of teaching ftim history. And significantly, this discovery isn't necessarily coming out of academic film study, even if a few academics are mak- ing major contributions to it, I'm speaking, of course, about the didac- tic tiiaterials accompanying the rerelease ot some classic films on DVD, Three examples that I believe illustrate my thesis especially well are 1} the various commentaries or audiovisual essays offered by Yuri Tsivian on DVD editions of Mad Love: The Films of Evgeni Bauer (Milestone), Dziga Vertov's Chaplin really gets involved in his work in Modern Times (1936) (photo courtesy of Phototest) Man with a Movie Camera (Kino Interna- tional/BFI), and Sergei Eisenstein's Ivan the (1925), Frant;ois Ede filming Emir Kusturica which he needs to be reintroduced to con- Terrible (Criterion); 2) the commentaries on The Circus (1928), Serge Bromberg film- temporary filmgoers—and reintroduced offered by David Kalat on Fritz Lang's Dr. ing animator Peter Lord on City Lights from an international rather than American Mabuse ihe Gambler (Blackhawk Films) and (1931), Philippe Truffault filming Luc and perspective—can't be underestimated. This The Testament of Dr. Mahuse (Criterion); lean-Pierre Dardenne on Modern Times is surely why the second volume of The and 3) the various documentary materials (1936), Bernard Eisenschitz filming Claude Chaplin Collection garnered only a "B-h" offered on "The Chaplin Collection," a Chabrol on Monsieur Verdoux (1947), from Entertainment VVcfWy (along with the twelve-disc box set issued jointly by MK2 F.dgardo Cozarinsky filming Bernardo headline, "Film directors laud the Little and Warner Bros, and put together with the Bertolucci on Limelight (1952), and lerome Tramp's brand of camp")—in contrast to, full resources and cooperation of the de Mi,ssolz filming lim Jarmusch on A King say. -
CURTISS FLYING SERVICE, at Its Various Flying Schools Throughout the Country, Offers the Finest Training Courses Available
Published monthly from October to May THE M. I. T. VOO DOO E ntered as second class matter at the Post by the Woopgaroo Society for the Students Office at Cambridge, Mass. of the Massachusetts Institute of Technology. 309 WALKER MEMORIAL, CAMBRIDGE, MASS. Member A. C. C. E. Copyright 1928 by the Woopgaroo Society Subscription $1.75 per year. The contents of this magazine must not be reprinted without permission New York, London, Paris . sym- bols of everything amusing, bizarre, hysteric I Moths by the thousand are drawn to them from afar, to be singed of their bank-rolls and peace of mind. When at last they stumble away, what have they really done? Seen half a dozen shows at $5 a ticket. Spent sev- eral dull dawns at the better-known and more stupid night clubs. Lived too expensively at a middle-class ho- tel. Eaten 30 mediocre dinners. With luck, met a few minor celebrities. I~IA Spent perhaps $2,500 for one month's incomplete entree into only one of the gay capitals of the world. They go hone wonderinq how they have missed so much of the advertised glamour. How pathetic I How extravagant I How much better to spend $1 for five months' intimacy with every- thing really amusing in all three dRead capitals .. under the expert guidance -IM of Vanity Fairl VANITY FAIR meet the wits of the world in its pages Hungary... Covarrubias, in Mexico... and a mounted on a brisk Pegasus? To host of contemporary Americans who are in- in the world of the arts.