Guide to the Donald H. Sultner-Welles Collection
Digitized Content

Summary
Collection ID:
NMAH.AC.0145
Creators:
Sultner-Welles, Donald H. (Sultner, Donald Harvey), 1914-1981
Janus, Allan
Hanfstaengl, Erna
Dates:
circa 1790-1981
bulk 1945-1980
Languages:
English
Physical Description:
87.6 Cubic feet
318 boxes
Repository:

Scope and Contents
Scope and Contents
This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.
The entire collection reflects Sultner's lifework and interests. Housed in @ boxes (.W cubic feet), the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Restricted Materials. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Offi-cial Standard Names prepared by the U.S. Board on Geographic Names, Of-fice of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.
The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.
The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.
The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.
A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.
Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).
Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).
Series 11 contains restricted letters to Sultner from friends. These materials will become available to the public in the year 2031. Twenty-three document boxes of clippings and magazine articles found in standard magazines and newspapers (e.g., Time, Life, Look, Modern Ma-turity, etc.) were destroyed. These materials represented general arti--cles being published on a number of topics during Sultner's lifetime. A list of subject file headings Sultner used is with the manuscript mate-rials.
A second grouping of materials destroyed were nine filing cabinet drawers of travel material--maps, guide books, and other tourist pamphlets used by Sultner on his travels. This material, as with the first group of ma-terial, was of the common variety easily found. Any books or pamphlets found with the clippings were sorted out and sent to Smithsonian Institu-tion Libraries. Other library material that came in with the estate was sent immediately to the library and disposed of through their channels. Any office equipment, such as filing cabinets and supplies, etc., has been put to use in the National Museum of American History.

Arrangement
Arrangement
Series 1: Personal Papers, 1923-1981
Series 2: Professional Papers, 1954-1980
Series 3: Lecture Materials, 1952-1980
Series 4: Biographical Materials, 1954-1980
Series 5: Transparencies, 1947-1980
Series 6: Photoprints, 1913-ca. 1980
Series 7: Photonegatives, 1929-1981
Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979
Series 9: Audio Tapes, 1947-1980
Series 10: Miscellaneous, 1947-1980

Biographical / Historical
Biographical / Historical
Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast. It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.
Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.
Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.
Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.
1914
April 13, born York, Pennsylvania.
1929
In Detroit at Lewis Institute to overcome a speech impediment.
1932
To University of Pennsylvania.
1935
Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.
1936
Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).
1937
Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).
1938
Summer at home, and Picketts (PA), Camp Pratt.
1939
Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).
1940
Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).
1941
Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).
1942
Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.
1943
Summer trip to Mohonk (NY).
1944
Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).
1945
Summer: To Winnepesauke (ME), Woodstock (NY), Ogunquit (ME), Bridgeport (CT).
1946
To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).
1947
Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.
1948
To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.
1949
Singing tour of North and South Carolina.
1950
Summer trip to South.
1951
To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.
1952
January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.
1953
To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.
1954
Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.
1955
To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1956
To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.
1957
Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.
1958
Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.
1959
United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.
1960
Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.
1961
To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.
1962
Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1963
Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.
1964
Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.
1965
Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.
1966
Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.
1967
Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.
1968
To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.
1969
To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.
1970
Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.
1971
Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.
1972
Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.
1973
Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.
1974
To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.
1975
To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.
1976
To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.
1977
To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.
1978
To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.
1979
To England; Florida.
1980
To Florida.
1981
March 25: Sultner dies of cancer, York, Pennsylania.

Administration
Foreward
Editor's Acknowledgements
This register marks the culmination of a complex, extensive project. To catalog the life's work of a single photographer can be a formidable task, especially one with such idiosyncratic methods and goals as Donald Sultner-Welles. Our intrepid project archivist, Laurie A. Baty, approached this challenge with perseverance, alacrity, and a sense of humor which was as strong as her sense of purpose. She was aided in arranging, cataloguing, and preserving the collection by Anne Peterson, who assisted with manuscript materials, and Allan Janus, who worked on the photographs.
Although many hands were involved in the preparation of this register, or catalog, and the videodisc which accompanies it, it is substantially the work of Laurie Baty. She is in every sense the author of this book. Details of its preparation were completed after special funding for her position ended and it became impossible for her to perform this work personally. A number of interns, volunteers, and contractors performed much of the post-preparation of the manuscript under my direction. Because the "Detailed Container List" was intended to perform the additional function of identification for the videodisc images, it was necessary to await the manufacture of the disc before the frame numbers could be added to the register. This work was begun by Eunice Spry and Milton Dolinka, but the major portion was done by Joanne Wilson, Lynne Wilson, Janis Weiher, and Debra Hashim, all of whom also did much proofreading. I performed most of the final editing and manuscript preparation and assume responsibility for any remaining errors (as well as new ones which might have been inadvertently introduced since Laurie Baty completed her final draft). However, Anne E. Peterson was an invaluable editorial assistant in the final stage of the project, tying up many loose ends, offering valuable suggestions, insights, and research and final factchecking, and spurring me to apply my own finishing touches. She coordinated other facets of the project, including the database, and she prepared the handsome color brochure for the collection. We welcome the advice of readers who detect errors, problems, or inconsistencies in the text, as we shall continue making corrections and additions to the computer database, as well as any future editions of the register.
Brad Tesh from this Museum's Computer Services Center provided untiring and goodhumored technical support and advice and loaded word processing documents into our microcomputer and converted them into database records which could actually drive the videodisc. This is an added feature which we did not even envision when the Sultner-Welles videodisc project began. I believe that Allan Janus, our trusty ally and admirer of the "red shirt school of photography," was the first to suggest doing this, and achieved a working model at his current base of operations, the National Air and Space Museum, and collaborated with Brad Tesh to make this database a reality. Several of Mr. Janus's colleagues at NASM offered additional advice.
Use of this Register with the Videodisc and the Computer Database
The "Detailed Container List" gives researchers and archivists the actual locations, by box and storage sheet numbers, for material described. Since the color transparencies of Series 5 were filmed for the videodisc in the same order in which they are stored and the frame numbers therefore run in parallel order, it is easy to compare original transparencies--when necessary--with the disc images and to locate pictures not included on the disc. Therefore this finding aid helps the user locate both originals and surrogates with equal ease. A user of the videodisc can obtain image identification by locating the frame number in this register; the box and sheet numbers for the original transparencies can be found in the columns adjacent to the frame number column. Most of the captions are accompanied by a hyphenated range of frame numbers, although sometimes a single frame number represents an image edited from several related photographs, or indeed the caption may represent only a single photograph in the collection. Unfortunately, in most cases it was impossible to indicate how many additional images related to each description, but not shown on the disc, might be found in the collection. These captions were derived from the photographer's identifying captions on envelopes, other containers, and file dividers, as Ms. Baty states elsewhere. We continued her quest for corrections and provided additional clarifications. Some cryptic captions and illegible handwriting still resist interpretation. Misspellings have been corrected, redundancies eliminated, and punctuation added for clarity, but occasional small mysteries, alas, perished with the photographer.
The videodisc, which can be purchased separately, constitutes an edited copy of the corpus of original transparencies. More than 87,000 color slides are represented by fewer than 54,000 frames on the disc. Images of poor technical quality or otherwise limited value are not found on the disc, but many acceptable images also had to be eliminated. Thus many images shown on the disc have unillustrated, related pictures available in the collection, including close compositional variants. Therefore one should remember that the videodisc coverage of a subject may be incomplete and that quantities suggested by frame number ranges do not always indicate all the available material. Researchers wishing to inspect the original transparencies to search for additional images should request them by the box and sheet numbers shown in this register. If the originals are in cold storage, at least one or two days' advance notice are required for this service. Occasionally the words "NOT ON DISC" indicate that none of the images for a caption are included; there is no precise indication of quantity, although the number of storage sheets (each holding a maximum of twelve slides) will give some idea. These original images can be shown to researchers upon sufficient notice.
Selecting transparencies for the disc was done primarily by myself, although Laurie Baty, Allan Janus, and John Fleckner also contributed their efforts to this work. The challenge, after the discovery that eliminating "poor" or redundant images would not make the collection "fit" on a single disc side (limit 54,000 images) as budgeted, was to fulfill multiple objectives without introducing confusion about the nature of the collection. sought to provide an accurate representation of the range of Sultner-Welles's color photography and to suggest his working methodology, while ensuring that individual images of high quality and special interest would be shown. Criteria for eliminating images included poor quality and redundancy, as stated, but I also sought popular subjects--such as well-known tourist landmarks--for which we felt adequate coverage exists elsewhere and to which Sultner-Welles had not made unique contributions. For example, most of his views of Washington, D.C. monuments were eliminated, yet a few remain as guideposts just to represent his pictures of the city. In other instances, I took pains to preserve almost his entire coverage of a subject to suggest his way of working. There are no indications of precisely where or how these varying editing styles occurred, but I believe that perusal of sections of original transparencies in comparison with the disc images will suggest that care was taken to strike a reasonable balance within the parameters of the project. By contrast, the third of the collection drawn from the photographer's portable lecture boxes appeared to represent his personal selections of his best work (in addition to indicating the content of typical lectures), so they were left essentially intact: only a few image variants and copies of maps were eliminated. The "lecture" subseries in the register corresponds to these images. Unfortunately, none of the slides in boxes 143 to 157 could be filmed for the videodisc due to inadequate time to complete the balanced editing which I sought to achieve.
Finally, we are happy to announce the "derivation" of a computer database from the detailed container list so that a microcomputer connected to a videodisc player can be used to perform keyword and numerical searches to locate both captions and images simultaneously. This gradually expanding database can now be used with the videodisc in the Archives Center. Although the completion date of the database and its availability to other users is uncertain at this time, those interested in acquiring the database for the videodisc may wish to inquire about this possiblity as the work progresses.
David Haberstich Head of Photographic Collections Archives Center
Acknowledgements
The Donald H. Sultner-Welles Collection came to the National Museum of American History in the summer of 1982, following Donald Sultner's death in 1981. The collection, under the care of the Archives Center since that time, was officially transferred to the Archives Center from the Division of Photographic History in 1986. I would like to thank the staff of that Division, particularly Lynn Novick and Peter Liebhold, for their assistance in the intricacies of the transfer.
Several members of the Archives Center gave invaluable assistance to this project: Robert Harding, Head, Manuscript Collections, Jane Odom, Archivist, and David Haberstich, Head, Photographic Collections. I could not have completed the arrangement and description of this voluminous collection without the able assistance of two contractors, Allan Janus and Anne E. Peterson. Ms. Peterson wrote the manuscript section of the finding aid and prepared a preliminary biography of Sultner, while Mr. Janus assisted with the photographic sections.
I am especially grateful to John Fleckner, Chief Archivist, for his support, encouragement, and assistance throughout the laborious task of preparing the collection for use.
Laurie A. Baty Project Archivist
Author
Laurie A. Baty

Introduction
Introduction
The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.
The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.
This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The
Guide to Manuscript Collections in the National Museum of History and Technology
(1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.

General
General
References in notebook to tapes not located:
5/1960 Laddsl--Pasadena, CA (Thornton Ladd, Helen Peabody, me, Mrs. Ladd
5/11/1968 Glen Foerd, dinner party--F. Tonner, T[onner] tribute

List of Illustrations
List of Illustrations
Frontispiece: Portrait of Donald Harvey Sultner-Welles by Ludwig Harren, Nuremberg, Germany, May, 1957. Series 6: Photo¬prints, box 6; Series 7: Photonegatives, 700.1.
vii Donald Sultner-Welles inspecting slides at his 2101 E. Market Street apartment. Photograph by Gretchen H. Goughnour, York, Pennsylvania, December 1958. Series 6: Photoprints, box 6, folder 5; Series 7: Photonegatives, Box 11, 696.1.
 Sultner-Welles with Rollei, Kobe, Japan, April 1959. Press photograph, photographer unknown. Series 7: Photonegatives, 687.1.
10 Americana by the Roadside" (boy with soda, Beech Creek, North Carolina). Series 5, Subseries 5: Subjects, Box 102: 6.3.
20 "Americana in Europe" (sign: "To the Elephant Kraal," South Africa). Series 5, Subseries 5: Subjects, Box 102: 6.33.
39 North Miami Beach Motel, Florida, February 1960. Series 5, Subseries 1: United States, Box 8: 9.11. SI Neg. 87-326, Videodisc Frame 2942.
40 Beech Creek, North Carolina (portrait of elderly woman), June 1956. Series 5, Subseries 1: United States, Box 28: 12.10. SI Neg. 87-327, Videodisc Frame 10156.
97 Brookgreen Sculpture Garden, South Carolina, ca. 1963. Series 5, Subseries 1: United States, Box 35.35.11. SI Neg. 87-328; Videodisc Frame 12747.
98 "Six Irrigation Paddlers Outside Hue," South Vietnam, 1959. Series 5, Subseries 2: World, Box 81: 35.11; also Series 7: Photonegatives, 658.1 (copy neg.). Videodisc Frame 27960.
151 Alkmaar Cheese Market, The Netherlands, September 1969. Series 5, Subseries 2: World, Box 70: 17.9. SI Neg. 87-329; not shown on videodisc.
152 African Cruise: Victoria Falls, Rhodesia, February 1972. Series 5, Subseries 3: Cruises, Box 83: 9.12. SI Neg. 87-330, Videodisc Frame 28344.
166 Il Galero, Italy, July 1966. Series 5, Subseries 4: European Architectural Styles, Box 99: 48.4. SI neg. 87-331.
179 "Baroque--Germany: Alterding," July 1965. Series 5, Subseries 4: European Architectural Styles, Box 94: 1.8. SI Neg. 87-332, Videodisc Frame 31310.
180 Design Elements, Hotel Fontainebleau, New Orleans,, Louisiana, April, 1961. Series 5, Subseries 5: Subjects, Box 106: 23.2. SI Neg. 87-333, Videodisc Frame 34912.
192 Charles Sheeler, ca. 1957-1965. Series 5, Subseries 9: Lectures, Box 169: 49.2. SI Neg. 87-334. Videodisc Frame 52713.
238 "Ba-Rococo," Detail, Ottobeuren Church, Bavaria. Series 5, Subseries 7: Framed Subjects, Box 141: 47.7, Videodisc Frame 45665.
276 Villa Barbaro, Maser, Treviso, Italy. Series 7. Photonegatives, 715.1. SI Neg. 87-335.
281 "Water--Economics," Storm-Damaged Beach House. Series 5, Subseries 8: Notecard Transparencies, Box 155: 22.12. SI Neg. 87-336.
282 Market in Madeira. Series 5, Subseries 9: Lectures, Box 161: 48.12. SI Neg. 87-337, Videodisc Frame 48435.
298 Children (South Carolina?). Series 5, Subseries 9: Lectures, Box 104: 17.2. SI Neg. 87-338.
311 Goethe Statue, Chicago, Illinois. Series 7: Photonegatives, 678.1.
316 Feeding Gulls, Florida. Series 7. Photonegatives, 684.1.
331 Montage for Sultner's concerts. Series 8: Prints, Drawings, Mixed Media, filing case. Series 7: Photonegatives, 740.1.
332 Sultner Showing Slides to Garden Club, Caterpillar Tractor Co. Auditorium, Dec. 1958. Photograph by Gretchen H. Goughnour, York, Penn. Series 7: Photonegatives, 690.1.
340 Montage for Sultner's concerts. Series 8: Prints, Drawings, Mixed Media, filing case. Series 7: Photonegatives, 742.1.
341 Children, Ohio (boy in box in wagon) Series 5, Subseries 9: Lectures, Box 165: 13.2; Series 7: Photonegatives, 667.4 (copy neg.)
352 Publicity/brochure photograph. Drinking cup and water, Longwood Gardens, Pennsylvania. Series 7: Photonegatives, 651.1.
353 Publicity/brochure photograph, Milles Gardens, Stockholm, Sweden. Series 7: Photonegatives, 659.1.

Digital Content
More …
Using the Collection
Conditions Governing Access
Collection is open for research.
A small number of letters and photographs are restricted until the year 2031. Identification list in box.
Conditions Governing Use
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.

General Subject Index to Audio Tapes
General Subject Index to Audio Tapes
Recordings are generally numbered in chronological order and are here shown distributed under topical headings.
II. Career - A. Musical
59
III. Music - A. Opera recordings
27; 28; 16; 29; 92; 54; 55; 56.
III. Music - B. Other music, non-lecture
108; 109; 45; 57; 58; 93; 111; 41
III. Music - C. Music recorded for lectures - 1. Music for specific lectures by date
61; 62; 60; 63; 64; 65; 30; 66; 67; 68; 69; 70; 71.
III. Music - C. Music recorded for lectures - 2. General lecture music
72; 73; 74; 75; 76; 77; 78
III. Music - C. Music recorded for lectures - 3. No Identification
79; 80; 82; 31; 83; 84; 85; 86
III. Music - D. Music performers and lectures: 52; 51; 91; 53
52; 51; 91; 53
III. Music - E. Misc. recordings
109

Keywords
Keywords table of terms and types.
Keyword Terms Keyword Types
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Repository Contact
Archives Center, National Museum of American History
P.O. Box 37012
Suite 1100, MRC 601
Washington, D.C. 20013-7012
archivescenter@si.edu
http://americanhistory.si.edu/archives