Collections : [University of Michigan William L. Clements Library]

This oversized scrapbook consists of sections of Barnum, Bailey & Hutchinson circus advertising posters. The imagery includes circus tents, musical wagons (including the "Silver-Tubed Caliope" and "Sacred Chimes"), camels and horses, animal trainers, artillerymen seemingly of Middle Eastern descent (possibly part of the "Bedouin Arab" performers), acrobats, minstrel performers, African American musicians, and portraits of P. T. Barnum, J. A. Bailey, and J. L. Hutchinson.

This oversized scrapbook consists of sections of printed Barnum, Bailey & Hutchinson circus advertising posters. The imagery includes circus tents, musical wagons (including the "Silver-Tubed Caliope" and "Sacred Chimes"), camels and horses, animal trainers, artillerymen seemingly of Middle Eastern descent (possibly part of the "Bedouin Arab" performers), acrobats, minstrel performers, African American musicians, and portraits of P. T. Barnum, J. A. Bailey, and J. L. Hutchinson. The back cover bears the print "Toilers of the Sea - Trawling on t[he Dogger Bank]," showing fishermen at sea.

This collection consists of 113 letters, written primarily between Union soldier Doctor Tarbell and his fiancée, and later, wife, Mary Lucy Conant. Doctor served as a Sergeant in New York's 32nd Infantry, Co. A, and as a Lieutenant, Captain, and Brevet Major in the Commissary Regiment, U.S. Volunteers.

The Doctor Tarbell and Mary Conant papers are comprised of 112 letters, written primarily between Union soldier Doctor Tarbell and his fiancée (and later wife), Mary Lucy Conant, and one genealogical document. Doctor served as a sergeant in the New York 32nd Infantry, Co. A, and as a lieutenant, captain, and brevet major in the U.S. Volunteers. The collection covers Doctor’s war-time service in the Union Army and some of his post-war career. The Civil War letters form a remarkably dense series that highlights the intimate relationship of Tarbell and his fiancée Mary. The collection contains 35 letters from Doctor to Mary, and 46 letters from Mary to Doctor, mainly during 1864 and 1865. Additionally, Doctor wrote one letter to his parents T. B. and Lydia Tarbell, and received two letters from them and two from his siblings. The remaining 29 letters are either from relatives of Mary or they pertain to post-war activities of the Tarbells.

Both Tarbell and his fiancée wrote in an educated and literary style; their letters reveal an affectionate relationship. Between January and February 1864, both Tarbell and Conant wrote almost exclusively about their relationship. However, as the Army of the Potomac moved south, both writers began to focus more on the progress of the war and to assume a more fervently patriotic tone. Many of Mary's letters contain political asides ("Does the Army weary of Gen. Meade, or is it politicians & aspirants that wish to oust him?" March 13, 1864); references to life at home during wartime; and several extended lyrical passages and pro-Union sentiments. Tarbell's responses, which were also substantive and descriptive, often referred to military matters, his work as a commissary, and army morale.

At times, Tarbell's patriotism and pride in his commission shine through, as during his company's inspection by General Ulysses S. Grant (April 18, 1864). Tarbell described the journey down to Richmond, his regiment's movements, what he knew of the progress of the war, the actions of the 6th Cavalry Corps, and his encounters with southern civilians. He wrote to both Mary and his parents from Danville Military Prison, expressing his hopes that an exchange of officers was imminent (October 22, 1864, and November 20, 1864). After his release, he recounted the parades in Washington, D.C. following the ending of the war, and the review of General Sherman’s Army (May 25, 1865). On July 28, 1865, he mentioned his promotion to brevet major.

The 5 letters written to Mary during Tarbell's imprisonment are filled with sympathy and encouragement, along with family news. In a letter from Mary's young niece, Hattie Carpenter, she described the return of soldiers to Iowa (January 15, 1865). Mary A. E. Wages wrote to Miss Hardy requesting funds to establish a freedman's high school in Richmond: "The black people of Richmond are the only loyal people in the whole city...They not only need help, but are worthy objects of it" (Nov. 18, 1866).

The 13 letters from 1881 suggest that the Tarbells were in some unspecified financial difficulty, and that Doctor had been employed as a typewriter agent. The remaining 10 letters were written by Tarbell or Conant relatives and friends.

This collection also contains one genealogical document that lists the birth and marriage dates for members of the Conant and Tarbell families (1793-1884). Included is a list of Doctor and Mary Tarbell's children. This document is undated and unattributed.

The register of the Merchants Exchange Hotel of Portland, Maine, contains daily entries from fall 1891 through winter 1892, documenting the names of each visitor to the hotel, their city of origin, and room number. The register is a partially printed volume, created by Maynard, Gough & Co. of Worcester, Massachusetts, manufacturers of "Advertising Hotel Registers" and suppliers of other hotel printing. One significant aspect of the register is the regular influx of actors, minstrel groups, comedians, variety show persons, burlesque performers, theater production casts, and other artists. Perhaps with a mind to free advertising, these artists tended to identify their company, management, production, or show dates alongside their names.

The register of the Merchants Exchange Hotel of Portland, Maine, contains daily entries from fall 1891 through winter 1892, documenting the names of each visitor to the hotel, their city of origin, and room number. The register is a partially printed volume, created by Maynard, Gough & Co. of Worcester, Massachusetts, manufacturers of "Advertising Hotel Registers" and suppliers of other hotel printing. It begins with a printed guide to city populations and hotel rates for establishments across the United States, along with two pages of printed advertisements for hotels in New York and New England. Each page of the register has a printed header and every other leaf contains the same advertisements throughout the volume. The first and last pages have pasted-in newspaper clippings with transportation information and other matter.

One significant aspect of the register is the regular influx of actors, minstrel groups, comedians, variety show persons, burlesque performers, theater production casts, and other artists. Perhaps with a mind to free advertising, these artists tended to identify their company, management, production, or show dates alongside their names.

The following is a partial list of the performance groups that checked into the hotel:

• Peck and Fursman's Uncle Tom's Cabin Company (August 20-28, 1891).
• Emily Zola's Parisian Beauties (September 7, 1891).
• Leonard and Flynn, comedy duo, John Leonard and John Flynn, "Two Irish Cuckoos" (October 22, 1891).
• Charles Mumford, manager of the Fisk Jubilee Singers (November 1, 1891).
• Agent and company performing the "Crystal Slipper"--individual names not listed (November 8 and 12, 1891).
• The Novelty Trio of Rolland Carter, William Hafford, and Jack Bryant (November 15, 1891).
• A group including Frank Sheridan and Charles A. Morton (November 17, 1891).
• The Blue and Gray Company, en route (November 20, 1891).
• Members of a production of "Ship Ahoy!" (November 24, 1891).
• J. C. Knapp and Frank Smith of Hi Henry's Minstrels (December 26, 1891).
• The Lucius Consolidated Minstrels, including "Gen. Sgt." George W. Huntley (January 11 and 16, 1892).
• Whallen & Martell's vaudeville company (February 11, 1892).
• Part of the Ullie Akerstrom Company (February 15, 1892).
• The Royal Pass Company (February 19, 1892).
• Fay Foster Burlesque Company (February 22, 1892).
• Part of Cleveland's Minstrels (April 17, 1892).
• A production of "One of the Finest" with Henrietta Berleur (April 27, 1892).
• Primrose and West's Minstrels (May 6, 1892).
• Part of a production of "Uncle Hiram" (May 11, 1892).

This collection consists of 883 letters, documents, an orderly book, printed items, and other materials concerning revolutionary conflicts in Cuba and the Philippines, American involvement particularly, dating largely from the 1890s-1900s. This collection's contents include detailed information from Cuban and Philippine revolutionaries at home and in exile; U.S. Army activities related especially to the Spanish-American War, Philippine-American War, and postwar occupations; American, Cuban, Filipino, and Spanish consular and governmental officials; and civilians (including families of U.S. Army soldiers' and sailors' family members) involved in the events.

This collection consists of 883 letters, documents, an orderly book, printed items, and other materials concerning revolutionary conflicts in Cuba and the Philippines, American involvement particularly, dating largely from the 1890s-1900s. This collection's contents include detailed information from Cuban and Philippine revolutionaries at home and in exile; U.S. Army activities related especially to the Spanish-American War, Philippine-American War, and postwar occupations; American, Cuban, Filipino, and Spanish consular and governmental officials; and civilians (including families of U.S. Army soldiers' and sailors' family members) involved in the events.

Please see the box and folder listing in this finding aid for extensive, detailed descriptions of items and groups of items in the Revolutionary Cuba and Philippines Collection.

The collection of composer Rudolf Friml (1879-1972) contains correspondence, documents, manuscript and printed sheet music, drafts of plays, and other miscellaneous material related to Friml and his frequent lyricist, Dailey Paskman (1897-1979).

The papers of Rudolf Friml are made up of 27 letters and documents, 34 photographs, printed sheet music and musical manuscripts related to over 60 works, drafts and notes for plays, theater ephemera, and other miscellaneous materials.

The 27 letters and documents of the Rudolf Friml collection follow two primary threads: Legal issues surrounding Rudolf Friml and Dailey Paskman's music, and the business, activities, and thoughts of Friml (expressed through letters to Paskman). The former topic is represented by documents regarding copyright and motion picture rights sales for High Jinks and Katinka to MGM; Annina to G. Schirmer; and Hawaiian Melody to Robbins Music Corporation, and a plagiarism claim pertaining to Kiss Me, Kate!

Three of seven documents, dated in the early months of 1949, relate the following information: Paskman and Friml suggested writing a musical version of Shakespeare's Taming of the Shrew in 1946 and proceeded to write a script. This script was submitted to Lee Shubert with the title Kiss Me, Kate! In 1948, another play entitled Kiss Me, Kate! opened on Broadway (with music and lyrics by Cole Porter). According to an LA Times article of January 9, 1949, the idea for this second Kiss Me, Kate! was conceived of and partly produced by Arnold Saint Subber, an ex-office boy of Lee Shubert. Despite the suggestion that Subber stole the idea for the play, legal council Edward C. Raftery informed Friml and Paskman that they could not prosecute the newer production based on copyright law.

In 18 letters and postcards from Rudolf Friml to Dailey Paskman (dated from 1954 to 1968), Friml discusses a variety of personal and business subjects. He considers difficulties encountered while writing Vagabond King (1954) and ideas for Rendezvous in Paris (1956). He also talks about Rose-Marie and Firefly. Some of the letters were written on personal stationary and a few contain musical quotations. Rudolf Friml authored the bulk of this correspondence while on different trips to Spain, France, Germany, and Switzerland. In one letter he stresses the importance of the sincerity of love in musical theatre (particularly regarding a proposed script in which the King of Wales loses his ring):

Take my advice and 'dickup' something where music predominate with beautiful Background -- and where love is sincere -- even thow disapointing -- in some parts -- with happy ending -- We all like happy ending -- It must be about something which is dear to us -- friendship love -- sacrifice -- forgiveness -- appreciation -- and not just 'a ring.' (October 3, [1950s?])

The 34 photographs of the Friml Collection include three items of particular significance: One signed cabinet card portrait photograph of Rudolf Friml as a young man (taken by H. Eckert in Prague); one undated group photograph of the American Society of Composers, Authors and Publishers (ASCAP), signed by Victor Herbert, Irving Berlin, Rudolf Friml, and others; and one 8x10 group photograph of U.S. Senator Roman Hruska (Neb.), Rudolf Friml, Kay Friml, Danny Kaye, Dailey Paskman, and an unidentified man. This third photograph is signed by Hruska, the Frimls, and Paskman. The remaining images include a photograph and enlargement of Rudolf Friml and Dailey Paskman standing on the grounds of Friml's home in Palm Desert, California; one photograph and enlargement of Friml signing photographs at Smetana Concert Hall in Prague, November 1959; one photo enlargement of Rudolf and Kay Friml (undated); 21 professional promotional photographs (most of them taken after radio broadcast by Voice of America in Washington, D.C.); and 5 other professional portraits.

The Rudolf Friml collection contains over 60 different songs and manuscript musical quotations, written from 1901 to the 1960s. Many of these pieces are present in multiple copies, illustrating various stages of the music writing process. A number of the works are represented only by Friml's manuscript music, while others also have words penciled in. Manuscript lyric notes by Paskman accompany many of the sheets and some are present only as final published copies. A selection of titles include: Jen trochu lásky, I Know the Loveliest of the Lovely, Darling, Je Vous Adore, A Happy New Year to You, Adorable (aka Lovely You), Amour Coquet, Swanee The River Road to Heaven, Holiday for Love, Somewhere in My Heart, Never Say Good-Bye, Valse Christine, and others. Two published collections of music and three technique books (by Friml) are also included.

Drafts and notes for two plays by Dailey Paskman and Rudolf Friml are present in the collection. Related to Kiss Me, Kate!: Notes on Shakespeare's The Taming of the Shrew, a 97-page manuscript draft of the Paskman and Friml's Kiss Me, Kate!, and typed copies of the final draft (c. 1947-1948). These manuscripts are especially significant, given the plagiarism accusations of Friml and Paskman as outlined above. The papers also include 173 pages of manuscript notes for The Friml Story: Love Everlasting by Dailey Paskman, and a 42-page typed and registered copy of the re-named Love Everlasting, based on the Life and Music of Rudolf Friml.

Miscellaneous additional material in the collection includes five printed theater programs and souvenir books with performances of Friml's music, 1914-1962. Among the pieces performed: Exodus to Hong Kong, Tarantella: Slavonic Rhapsody, High Jinks, Rose-Marie, The Three Musketeers, and The Vagabond King. A Variety magazine advertisement celebrates Friml's 50 years with ASCAP. Three printed catalogues list copyrighted musical works (from Irving Berlin, Inc., ABC Standard Music Publications, and Leo Feist, Inc.).

This collection is made up of nine receipts for payments made by 3rd Cavalry Regiment of the United States Army largely in Wyoming Territory (W.T.) and Nebraska between December 11, 1876, and October 31, 1878. The bulk of the receipts were for purchases and expenditures related to the regimental band in 1878. They include receipts for musical instrument supplies such as silver keys and cocoa wood for clarinet, keys and an ivory mouthpiece for flute, keys and an ivory mouthpiece for piccolo, and a bow, case, strings, and rosin for viola. Two receipts are for extra pay to the band leader. A list of property belonging to the band is also present. Other receipts are for purchases of groceries and livestock (corn, onion, peas, beet seeds, turkeys, sheep).

This collection is made up of nine receipts for payments made by 3rd Cavalry Regiment of the United States Army largely in Wyoming Territory (W.T.) and Nebraska between December 11, 1876, and October 31, 1878. The bulk of the receipts were for purchases and expenditures related to the regimental band in 1878. They include receipts for musical instrument supplies such as silver keys and cocoa wood for clarinet, keys and an ivory mouthpiece for flute, keys and an ivory mouthpiece for piccolo, and a bow, case, strings, and rosin for viola. Two receipts are for extra pay to the band leader. A list of property belonging to the band is also present. Other receipts are for purchases of groceries and livestock (corn, onion, peas, beet seeds, turkeys, sheep).

Printed and stamped business headers include D. B. Beemer & Co. (Cheyenne, W.T.), Pole Creek Ranche (W.T.), Pease & Taylor (Cheyenne, W.T., with illustrated street view of the storefront), and Nicholas Lebrun, manufacturer and importer of musical instruments and merchandise (St. Louis, Missouri).