Search

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.).

Photographs collected by Sam Sturgis and Hazel Proctor of Ann Arbor, Michigan; including businesses, street scenes, buildings, people, and activities in Ann Arbor, Brighton, Chelsea, Dexter, Dixboro, Manchester, Saline, and Ypsilanti, Michigan. (Copy negatives and copy prints.)

The Sam Sturgis collection consists of photographic prints and copy negatives of Washtenaw and Livingston County life from the 1860s through the 1970s. Collected by Ann Arbor photographer Sam Sturgis and Ypsilanti banker Hazel Proctor from a variety of known and unknown sources, the collection represents many aspects of life in Ann Arbor, Brighton, Chelsea, Dexter, Dixboro, Manchester, Saline and Ypsilanti. Main subject categories include churches, schools, businesses, buildings, University of Michigan buildings, staff, students and campus life, streets, panoramic views, rivers, recreation and family life, including residences, men, women, and children. Evolving modes of transportation, such as railroads, interurban streetcars, automobiles, and airplanes are also depicted.

Prints and negatives are divided into two parallel series, with negative use restricted to Bentley staff for preservation and security purposes. Each series is arranged alphabetically by city or town and, within each geographical grouping, in the order in which Sturgis collected the items. Sturgis began donating his collection to the Bentley in 1966, and, as items continue to be received, numbering is continued within each geographical grouping, in the original collecting and numbering order established by Sturgis. While some numbers were originally intended by Sturgis to designate the origins of the item, if known, this information has also been added to the item description under the heading "source" to facilitate patron and staff use. The Bentley does not hold a complete set of prints and negatives. Information on the current availability of both prints and negatives is included in each item listing.

Each photograph has a unique identifying number. The "Sturgis Number" consists of a one or two-letter series code, followed by a numerical number with decimal or alphanumeric number, such as AA 267.21 or AA 35A. the collection is arranged by city as follows

City	Sturgis Code	Number of Images
Ann Arbor	AA	ca. 1500
Brighton	BB	148
Chelsea	C	156
Chelsea-Manchester	CM	119
Dexter	D	124
Dixboro	DI	45
Manchester	M	123
Saline	S	57
Ypsilanti	Y	150

An item list of all photographs with description, date (if known), source and photographer, if known, follows the summary contents list on page three of the introduction.

Information on whether the photograph has been published and therefore has further information provided elsewhere is also included in each item description. Unless otherwise noted, all photographs listed as "published" have been published in a series by the Ann Arbor Federal Savings Bank (AAFSB), with editorial supervision by Sam Sturgis and Hazel Proctor. Availability of the respective print and negative concludes each item entry.

The following books, published by the AAFSB in the early 1970s, are annotated with Sturgis' photograph numbers and may be used as a partial guide to the collection. While two copies of each publication are available for consultation in the reading room, only one of each set has annotations. Descriptive captions in these publications as well as the annotated numbers may differ from actual photograph numbers and other information about the photographs. Any reference to these annotations should be verified with the item lists and vice versa to assure accuracy because of occasional inconsistencies. The AAFSB publications with Bentley call numbers are listed as follows:

1. Proctor, Hazel. Old Ann Arbor Town. 1974. Copy 1 annotated. EC 2 A216.5 P964
2. Sam Sturgis. Memories of Old Ann Arbor Town, 1967. Copies 1 and 2 annotated. EC 2 A613.5 S935
3. Proctor, Hazel. Old Brighton Village. 1974. Copy 1 annotated. EC 2 B856.3 P964
4. Proctor, Hazel. Old Chelsea Village. 1972. Copy 2 annotated. EC2 C516.5 P964
5. Proctor, Hazel. Old Dexter Village. 1973. Copy 1 annotated. EC 2 D526.5 P964
6. Proctor, Hazel. Old Manchester Village. 1974. Copy 2 annotated. EC 2 M268.5 P964
7. Proctor, Hazel. Old Saline Village. 1975. Copy 1 annotated. EC 2 S165.5 P964
8. Proctor, Hazel. Old Ypsilanti Town. 1974. Copy 2 annotated. EC 2 Y86.5 P964

John F. Shepard family; diaries, photographs, recipes and correspondence concerning family matters and nineteenth century farm life; also professional correspondence, student notebooks and lecture notes of John F. Shepard.

Although the Shepard family papers (1807-1934) cover three generations, the bulk of the materials are from John F. Shepard. The earliest correspondence is primarily addressed to his father Arthur, and to his grandfather John from family members and relatives. The letters deal with health, crops, and relatives. There are also letters from John F. Shepard's wife Berenice to her mother Mary Barnes (maiden name Van Valin) and from Berenice's father Charles to her mother. The Barnes and VanValins lived in Marshall, Michigan.

The John F. Shepard papers include professional correspondence from 1911 to 1934, mostly relating to University building plans. There are also minutes (1921-1925) of the Committee of Five on the Comprehensive Building Program, as well as Shepard's student notebooks from philosophy and psychology courses taught by James R. Angell and James H. Tuft at the University of Chicago, and by Alfred H. Lloyd and Walter B. Pillsbury at the University of Michigan.

The photographs are mainly of his wife's family, many from the late nineteenth century.

The collection contains materials collected by the University of Michigan Symphony Band Tour members during the Band's international tour through the Soviet Union, Eastern Europe and the Near East, February through June, 1961. Also, materials created during the 2011-2012, and 2019 Band reunions. Collection materials include clippings, correspondence, photographs, video recordings, programs, and scrapbooks.

The collection is composed of four series, the content of which includes clippings, correspondence, photographs, programs, and scrapbooks. The 1961 Tour series contains materials created and collected during the tour. A small amount of material is related to the 1981 and 1984 reunions. The 50th Anniversary Reunion and Return to Russia Tour series contains materials created and collected during the 2012 reunion tour to Moscow and St. Petersburg. One folder containing obituaries. The final series documents the 58th anniversary reunion, held at the University of Michigan in 2019.

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).