{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1850\u0026f%5Bplaces%5D%5B%5D=New+York+%28N.Y.%29\u0026view=compact","last":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1850\u0026f%5Bplaces%5D%5B%5D=New+York+%28N.Y.%29\u0026page=1\u0026view=compact"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":3,"first_page?":true,"last_page?":true}},"data":[{"id":"wvmturhc_repositories_2_resources_4552","type":"collection","attributes":{"title":"John Pendleton Kennedy (1795-1870) Papers, 1829/1862","creator":{"id":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_4552#creator","type":"document_value","attributes":{"value":"Kennedy, John Pendleton, 1795-1870","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_4552#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003ePapers of a Baltimore essayist and novelist which include selected materials pertaining to the Berkeley Springs-Martinsburg-Winchester area, visits to Richmond, Salt Sulphur, and White Sulphur Springs, and a journey in 1850 to Philadelphia, New York, Pittsburgh, Cincinnati, and Louisville from Kennedy's journal, 1848-1855; and his diary, 1829-1832. 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For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center","West Virginia and Regional History Center","George Peabody Library","Library of Congress","Kennedy, John Pendleton, 1795-1870","English\n."],"collection_title_tesim":["John Pendleton Kennedy (1795-1870) Papers, 1829/1862"],"collection_ssim":["John Pendleton Kennedy (1795-1870) Papers, 1829/1862"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 1301","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/4552"],"unitid_tesim":["A\u0026M 1301","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/4552"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Baltimore (Md.)","Berkeley Springs (W. 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For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center","West Virginia and Regional History Center","George Peabody Library","Library of Congress","Kennedy, John Pendleton, 1795-1870","English\n."],"collection_title_tesim":["John Pendleton Kennedy (1795-1870) Papers, 1829/1862"],"collection_ssim":["John Pendleton Kennedy (1795-1870) Papers, 1829/1862"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 1301","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/4552"],"unitid_tesim":["A\u0026M 1301","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/4552"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Baltimore (Md.)","Berkeley Springs (W. 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For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_30082e44eab7f1b7566e32e1de138624\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. 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Libraries. Special Collections Research Center","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_37#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_37#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_37","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_37.xml","title_filing_ssi":"North American 19th century theatre broadside collection","title_ssm":["North American 19th century theatre broadside collection"],"title_tesim":["North American 19th century theatre broadside collection"],"unitdate_ssm":["1850-1867"],"unitdate_inclusive_ssm":["1850-1867"],"normalized_date_ssm":["1850/1867"],"normalized_title_ssm":["North American 19th century theatre broadside collection, 1850/1867"],"text":["North American 19th century theatre broadside collection, 1850/1867","C0081","/repositories/2/resources/37","Boston (Mass.)","New York (N.Y.)","Canada","Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters","There are no access restrictions.","Arranged into seven series predominantly by venue. Some single broadsides grouped together.","Series\n      Series 1: National Theatre of Boston, 1850-1857 (Box 1)\n      Series 2: Boston Museum, 1852-1858 (Box 1)\n      Series 3: Boston Theatre, 1854-1858 (Box 1)\n      Series 4: Howard Anthenaeum, 1851-1857 (Box 1)\n      Series 5: Boston Academy of Music, 1860 (Box 1)\n      Series 6: Canada and New York City, 1855-1867 (Box 1)\n      Series 7: Boston and New York City, 1850s-1860s (Box 1)","Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. 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(See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"acqinfo_ssim":["Purchased in 2008."],"access_subjects_ssim":["Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters"],"access_subjects_ssm":["Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 1 box"],"extent_tesim":["2 Linear Feet 1 box"],"genreform_ssim":["Broadsides -- 1850-1870","Theatrical posters"],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged into seven series predominantly by venue. 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Some single broadsides grouped together.","Series\n      Series 1: National Theatre of Boston, 1850-1857 (Box 1)\n      Series 2: Boston Museum, 1852-1858 (Box 1)\n      Series 3: Boston Theatre, 1854-1858 (Box 1)\n      Series 4: Howard Anthenaeum, 1851-1857 (Box 1)\n      Series 5: Boston Academy of Music, 1860 (Box 1)\n      Series 6: Canada and New York City, 1855-1867 (Box 1)\n      Series 7: Boston and New York City, 1850s-1860s (Box 1)"],"bioghist_html_tesm":["\u003cp\u003e Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century. \u003c/p\u003e","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. \u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. 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The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! 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Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32a9d920136e071738de0b78dff77807\"\u003eR29, C4, S1\u003c/physloc\u003e\n    "],"physloc_tesim":["R29, C4, S1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_coll_ssim":["Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_ssim":["George Mason University. Libraries. 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Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. 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However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees."],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. 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The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! 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Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. 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Gregory worked for Alexandria businessman Robert McCrea as a clerk until 1812, and then as a partner until 1827. He owned property in Alexandria as well as several enslaved persons (\"Old Mary Morse\", Charlotte Blue, Eugenia, Sarah, Roxie, Frank Stewart, and Lucy the daughter of Caroline Branham, as well as other unidentified individuals). Gregory served in the War of 1812. He was also a member of the Presbyterian Church and of St. Andrew's Society. In 1822 Gregory married Margaret Douglass Bartleman, who bore four children (Douglas Smith, Elisabeth Smith, William Bartleman, and Margaret Douglas) and died in 1833. In 1838, William Gregory married Mary Donaldson Long and had five more children (Isobel Anne, Julia Harper, Boyd, Mary Crawford, and Janet Boyd).","William Gregory passed in 1875 at the age of 87.","This collection predominantly contains the personal papers of William Gregory, including: journals, notebooks, property records, deeds, and family records. 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