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Mary Elizabeth Hallock Greenewalt papers


Held at: Historical Society of Pennsylvania [Contact Us]1300 Locust Street, Philadelphia, PA, 19107

This is a finding aid. It is a description of archival material held at the Historical Society of Pennsylvania. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.

Overview and metadata sections

In 1867 Samuel Hallock arrived in Syria as the U.S. consul for the Palestine Syrian region. Hallock, recently awarded a United States patent for improving electrotype, had also contracted with the American Bible Society to establish a printing press in Asia Minor. A thirty-three year old widower from New England at the time of his arrival in Syria, Hallock met Sara Tabet, the fifteen-year-old daughter of Namie and Miriam Tabet, a well-to-do family in the Levantine. They were married on October 18, 1870. Mary Elizabeth, born September 8, 1871, was followed by four more children, Arthur Tabet (1872), George Bliss (1874), Ethel Fleet (1876), and Edgar Byington (1877). After the birth of her fifth child in 1877, Sara Hallock, exhibiting signs of mental illness, was sent abroad for treatment, first to England and then to the United States, where she died in Northampton, Massachusetts in 1883 at the age of twenty-eight. Hallock, to provide for his children’s upbringing and education, consigned them to the care of his relatives and friends in the United States. Greenewalt, and later her sister Ethel, were settled in the Philadelphia area while their brothers lived with relatives in New England. Ethel later married William DuPont; the DuPont family provided introductions and occasionally financial support during Greenewalt’s career as an artist and inventor. In addition, Greenewalt’s son, Crawford, married Margaretta Lammot DuPont and also served as president of the DuPont Company from 1948 to 1962.

Before her arrival in the United States in 1882 Greenewalt’s life resembled that of other well-to-do families in Beirut. As a child surrounded by servants, Greenewalt never dressed herself. At the age of six Greenewalt was enrolled in a private school run by German Deaconess Sisters where Greenewalt learned French, the official school language, as well as German. Although a child at the time of her mother’s illness and separation, Greenewalt retained memories of piano lessons from her mother and days spent playing in the brilliant sunshine of Beirut. She also recalled slighting remarks from British wives regarding her mother’s difficulty with English customs, and occasional but violent outbursts by her father.

In Philadelphia Greenewalt lived with the Quaker Heacock family and attended Chelten, their private school. As a pupil, Greenewalt displayed an aptitude for music as well as mathematics. After completing her studies at the Chelten School in 1888, Greenewalt studied piano at the Philadelphia Musical Academy, graduating in 1893. In 1897 Greenewalt traveled to Vienna to study with Theodor Leschetizky, who was noted for his teaching method emphasizing tone production. After returning from Vienna, Greenewalt married Dr. Frank L. Greenewalt, physician-in-chief at Philadelphia’s Girard College in 1898 in Johnstown, New York. They had one son, Crawford, born in 1902.

When Greenewalt launched her career in the United States in 1898, she established herself as a skilled pianist who exemplified Leschetizky’s musical training, and in 1903 edited a book on the Leschetizky teaching method by Marie Prentner. While proving herself a serious musician in the early 1900s, Greenewalt also established herself as a public speaker, sharing her musical knowledge with audiences in Philadelphia, New York, Boston, Atlanta, and Chicago. Greenewalt’s lecture titles included: “Musical Literature, The Birthdays of Queen Music,” “Sun Time and Rag Time,” “The Music of the Future,” and “”Women in Interpretive and Creative Music.” Greenewalt also addressed musical pedagogy, speaking on “The Elocution of Playing,” and “The Music Teacher in Germany,” and lecturing on Chopin, Debussy, and Liszt. In the 1920s Greenewalt also utilized radio to reach audiences. Several handwritten manuscripts concerning lectures on light-color play demonstrated Greenewalt’s approach to the unseen audience. “Are you there? Fellow Spirits across space. Are you there Mary and Lucie and Nancy and Susie and David and John? Even though I can’t see you, I know every one of you is ‘all there.’ True Blue.” Another manuscript, dated June 3, 1927, documents a radio address in German to Lankenau Hospital.

While Greenewalt’s lectures addressed different facets of music, her research interest focused primarily on the physical basis of music’s emotional appeal. Investigating the relationship between pulse and rhythm as a means of explaining this appeal led Greenewalt to publish an article titled “Pulse and Rhythm” in the Popular Science Monthly of September 1903. In 1904 the Music Teachers’ National Association invited Greenewalt to perform and to lecture on “Pulse and Rhythm in Verse and Music” at the St. Louis Exposition. In exploring music’s emotional appeal, Greenewalt turned to investigating colored lighting as the medium capable of giving expression to the combined mind and body response to music. These studies became the basis for Greenewalt’s experiments with color lighting and the many patents developed in the creation of her color organ. A prodigious and meticulous writer, Greenewalt not only documented her work but in many cases left drafts that provide insights into her creative process.

From initial experiments in 1905 with coloring photographic film, until 1919 when Greenewalt unveiled her color organ, the Sarabet (named after her mother, Sara Tabet), Greenewalt worked toward establishing a niche for herself as an artist and inventor who had discovered a unique relationship between light and music. Greenewalt’s first major step toward this goal occurred in 1916 in a light-color demonstration before the Illuminating Engineering Society of Philadelphia at the Bellevue-Stratford Hotel in Philadelphia. For this demonstration Greenewalt employed a lighting unit which illuminated rotating rolls of painted acetate-cellulose film, her “canvas” of color timed to correspond to set pieces of music. In a handwritten essay, Greenewalt described this performance as having “established a synchronism between the half tones of light and the half tones of music, not in their organic selves but in the values they both so richly hold within them.” Despite the success of this demonstration, Greenewalt recognized the need for a more precise and controlled method of displaying color gradations.

In 1918 Greenewalt filed her first patent, “Illuminating Means,” which described a timed, sequential process for controlling color and light intensities as used in a phonograph machine. As designed by Greenewalt, lamps shining through color discs emitted gradated shades of colored light in a phonograph operated, according to Greenewalt, on “the air pump principle” used “because it offers fluid control.” Greenewalt described this first patent application, and two proposed patents, in an address to the Philadelphia Illuminating Engineering Society on April 19, 1918. In her address, Greenewalt claimed that these patents represented the creation of a new art which she titled “Light: Fine Art the Sixth.” At this time Greenewalt also proposed a universal light score which might be used to indicate light gradations in the same way musical notes served in a musical scale. Greenewalt realized these aims in a 1920 patent for “Rheostats” and a 1921 patent for “Notation for Indicating Lighting Effects.” At this time Greenewalt, working with an improved rheostat design, contracted with General Electric to manufacture a color console. She also relied on the George Cutter Works of the Westinghouse Electric & Manufacturing Company to supply elements necessary for her color console. To publicize her color console, Greenewalt arranged public demonstrations for interested theatre and film house owners. In 1922 Greenewalt herself accompanied a truck driver delivering her console for a performance at the John Wanamaker store in New York.

While attempting to market her instrument, Greenewalt arranged for the manufacture of a second console for Pierre DuPont’s conservatory at Longwood, Kennett Square, Pennsylvania. Before its installation the console was demonstrated at the Pittsburgh, Pennsylvania, Calvary Episcopal Church Easter service in the Spring of 1924. In an address before the Philadelphia Illuminating Engineers Society in 1923, titled “A Light Scoring for the Episcopal Service,” Greenewalt described the console’s operation in the upcoming service, the instrument’s design, and the patents accorded this design. Greenewalt urged the engineers to support her patent claims for priority in developing a light color organ; at this time Greenewalt had begun pursuing other color organ performers for patent infringement.

Greenewalt’s achievement, which brought inquiries from as far away as Japan, also brought her into competition with others interested in exploiting light-color properties. In 1922 Thomas Wilfred performed with his color organ, The Clavilux, which projected colored light without musical accompaniment. Publicized as “Light as a fine art,” the Clavilux “made its debut at the Neighbourhood Playhouse, New York, on January 10, 1922.” That same year, Greenewalt cited Wilfred for patent infringement on her “System of Notation for Indicating Lighting Effects.” Although Greenewalt soon abandoned this suit against Wilfred, she pursued electrical product manufacturers, and theatre owners who contracted with these manufacturers, for patent violations.

Greenewalt also continued over the next decade to improve her light-color system, receiving eleven patents by 1934. Working as an individual outside of academic institutions or corporations, however, Greenewalt relied on engineers to assist with calculations for her rheostat and for preparing blueprints for manufacturing her light player and light keyboard. In her writings, Greenewalt often questioned the close ties between her patent attorneys who held retainers with the electrical companies manufacturing her consoles. As a result, the charge that powerful business and political interests prevented Greenewalt from receiving recognition and compensation for her work appears repeatedly throughout Greenewalt’s public addresses or writings. One such text from Greenewalt’s photo album states:

“It will be hard for future ages to realize how completely at this time the electric aggregations held control over practically every door of opportunity. My patent attorneys held a retainer fee from the General Electric. . . . It is unbelievable how next to impossible it was for the individual to run through the hindrances everywhere placed in his way.”

In Greenewalt’s first major suit, Greenewalt v. Stanley Company of America, 1920, Greenewalt’s own trial demonstrations, such as the 1911 Wanamaker’s Egyptian Hall performance, were cited as proof that her invention was in public use and therefore not eligible for patent protection. It was not until 1932 that Greenewalt obtained a legal victory when the courts recognized her unique contribution to the field of color-lighting. This success, however, failed to reimburse her for her financial and intellectual investments, and Greenewalt spent the next several years in an unsuccessful suit against the Musical Arts Association which operated Severance Hall in Cleveland, Ohio.

In addition to turning to the courts to protect her patent claims, Greenewalt also looked to politics to curtail the power of the electrical companies. As a member of the National Women’s Party, Greenewalt encouraged women to support Franklin D. Roosevelt and his administration’s attempts to control the power of utilities.

While Greenewalt’s color organ failed to provide financial reimbursement, publicity surrounding the color organ generated honorary awards and recognitions. As early as 1903 Thomas Eakins painted her portrait, now in the Roland P. Murdock Collection of the Wichita Museum of Art. In 1926 Greenewalt received a gold medal for her color organ in Philadelphia’s Sesqui-centennial exposition. And in 1934 the Museum of Science and Industry, in Chicago, installed Greenewalt’s color organ in their “Century of Progress” exhibit.

Greenewalt’s vision of her “fine art” expressed itself not only in her patents and commercial ventures, but also in writings expounding on light and sound and their relation to human psychology. For Greenewalt, her “fine art” offered an aesthetic and spiritual experience; she compared the light-player’s experience to “sit[ting] within a huge all-color jewel while this every colored jewel spoke the music of one’s soul… .” In her manuscript Nourathar: The Fine Art of Light-Color Playing Greenewalt laid out the aesthetic and physical principles guiding her in creating the color organ. She coined the word Nourathar from Arabic roots meaning Nour (light) and Athar (essence of). This collection holds an unpublished 1940 manuscript of Nourathar.

In this manuscript Greenewalt also addressed the rationale underlying color choices for musical settings. According to Greenewalt, colors possessed their “very own characteristics, idiosyncracies” [sic]. And Greenewalt speculated: “Are we driven by a might outside us? Or do we drive? I am no metaphysician. Experience furnished a valuable thread to logic. I know that in this huge labor I was driven by some weird force or push.” Greenewalt, acknowledging that the eye does not perceive every shade of color, nevertheless claimed the eye as a link to the spiritual, stating: “The eye then as the gauge; the spectral is the nearest in fineness to the spiritual essence man seeks to express through the arts. It is the most perfect. Its apportionment unto color stupendous in its portent.” In addition to finding spiritual and aesthetic links to her work, Greenewalt also suggested that her art “Nourathar,” served as a therapeutic tool for the mentally ill. The magazine, The New Delawarean, November 1939, shows the color organ installed in the Delaware State Hospital patients’ chapel.

By the late 1930s Greenewalt ceased pursuing patent infringements and demands for reimbursement for use of her light-color process. She continued to use speaking engagements and letter writing to promote her art and to remonstrate against those companies which she believed had denied her credit and reimbursement for her accomplishments. In 1942, Greenewalt’s husband Frank Lindsay died at the age of seventy-six; Greenewalt died on November 26, 1950, in Wilmington, Delaware.

The Mary Elizabeth Hallock Greenewalt Papers offer an impressive array of materials touching not only on the creative processes of an artist-inventor but also on an individual’s experience with the United States patent system. Intertwined with the story of Greenewalt’s invention of the color organ is the record of her battle for legal recognition of her right to financial gain on her patents. In addition to retaining a record of patent infringement court proceedings, Greenewalt also summarized her experiences in an unpublished 1934 manuscript, A to Z, A Compilation of Patent Letters with Letters Patent. Here Greenewalt recounted how manufacturers and theatre owners conspired to utilize her light control process without acknowledging her patents and thereby avoiding patent royalties.

Greenewalt’s papers also include an unpublished Autobiography containing memories of her early life in Syria, her father’s career, her mother’s mental illness, and Greenewalt’s emigration to the United States at age eleven. Greenewalt’s autobiographical notes contain many drafts of this work, which indicate the evolution of her thought as she worked to develop the color organ and show her appreciation for the color organ’s scientific and aesthetic properties. Other writings include Greenewalt’s manuscripts of lectures and addresses, including her radio addresses, and some family correspondence. An extensive photograph album contains color organ photos and Greenewalt’s commentary on the progress of her invention.

Other materials include a 1920 sound recording of Chopin’s works performed by Greenewalt for Columbia Records, pastel drawings and painted materials from Greenewalt’s early experiments with color and light, and many blue prints and tissue sketches of her color organ designs. Of particular interest is Greenewalt’s photo album documenting her early color-light experiments. The collection also contains several scrapbooks documenting Greenewalt’s professional life. A scrapbook devoted to her father, Samuel Hallock, contains personal correspondence pertaining to Hallock’s career and marriage, and Samuel Hallock’s electrotype patent award. There are many lighting manufacturers’ catalogs and brochures to which Greenewalt often added her commentary, reviews of performances by other light-color artists, and articles on color theory. Personal items include Greenewalt’s bridal souvenir book and the gold medal and diploma she received at the 1926 Sesqui-Centennial in Philadelphia.

The papers have been divided into seven series. Series I contains files arranged alphabetically by Greenewalt and documents Greenewalt’s efforts to create and market her invention and protect it from patent infringement. Folder titles reference correspondence with manufacturers, engineers, and theatre owners involved with the development and demonstration of Greenewalt’s color organ. Other files reference correspondence with attorneys, law suit filings, and other artists also promoting color organs. Also included are Greenewalt’s accounts of the color organ design and manufacture, and reports of color organ demonstrations. DuPont correspondence files and a file on Tabet (maternal) genealogy offer family-related references in Series I.

Series II focuses solely on Greenewalt’s color organ, offering writings and sketches concerning the color organ, as well as representative sample materials used for the organ. This series also contains Greenewalt’s 1940 unpublished manuscript, The Fine Art of Nourathar.

Series III documents Greenewalt’s legal activities and is divided into two sections, Patents and Lawsuits. The Patent files include correspondence surrounding the patent preparations as well as copies of the original patents. The Lawsuit section contains trial transcripts and correspondence concerning Greenewalt’s infringement suits. This series also contains Greenewalt’s 1934 unpublished manuscript, A to Z, A Compilation of Patent Letters with Letters Patent, which describes her legal difficulties.

Series IV includes an unpublished Autobiography in handwritten and typed form, autobiographical materials describing Greenewalt’s accomplishments, copies of her addresses and lectures, and news clippings about her activities. Also included are a Genealogy Notes and Correspondence file concerning the Hallock and Tabet families, a Family Correspondence and Clippings file, and a Miscellaneous Writings file offering what may be short stories by Greenewalt. There are also several booklets concerning Greenewalt or the Hallock family.

Series V includes printed materials about lighting manufacturing and stage lighting uses, and press clippings about James G. Blaine (1830-1893), former U.S. congressman and secretary of state.

Series VI contains Greenewalt’s photograph album recording her work and a collection of family photographs.

Series VII contains a sound recording (reformatted from phonograph to CD), printing blocks, pastel drawings, painted experimental materials, several books in French and Arabic, and Greenewalt’s awards. Included also are scrapbooks of news clippings describing Greenewalt’s early concert tours as well as her first public demonstrations of using color with music. A scrapbook devoted to Greenewalt’s parents contains letters written by her mother, letters of introduction written for her father before his appointment as U.S. consul in Syria, and the original patent awarded to Samuel Hallock for his electrotype improvements. Flat files contain blueprint and tissue drawings of Greenewalt’s color organ.

Series I. General Files, 1883-1935, undated, Boxes 1-11, Flat Files 1-7

Series II. Color Organ, 1903-1943, undated, Boxes 12-13, 39, Flat Files 8-9

Series III. Legal, 1920-1936, undated

a. Patents, 1920-1934, undated, Boxes 14-17, 36, Flat File 10

b. Lawsuits, 1920-1936, undated, Boxes 18-22, 36, Flat File 11

Series IV. Writings, 1920-1950, undated, Boxes 23-25, 37, 38, Volumes 12, 18-19

Series V. Printed Materials, 1916-1935, undated, Boxes 25-27, Flat Files 12-13

Series VI. Photographs, circa 1870-1933, undated, Boxes 28-29, Volumes 4, 20, Flat File 14

Series VII. Artifacts, Scrapbooks, Paintings, Drawing, Blue Prints, 1769-1933, Boxes 30-35, Volumes 1-3, 5-17, 21-29, Flat Files 15-23

Greenewalt, Mary Elizabeth Hallock. Nourathar: The Fine Art of Light-Color Playing. Unpublished: 1940. Greenewalt, Mary Elizabeth Hallock. Nourathar: The Fine Art of Light-Color Playing. Philadelphia: Westbrook Publishing Company, 1946. Heacock, Annie. Reminiscences. Privately published, 1926. Bentacourt, Michael. “Mary Hallock-Greenewalt’s ‘Abstract Films.’” Accessed September 26, 2007. Luckiesh, Matthew. Color and Its Applications. New York: D. Van Nostrand Company, 1915. Accessed November 9, 2007. Peacock, K. “Instruments to Perform Color Music: Two Centuries of Technological Experimentation,” Leonardo 21, no. 4 (1988): 397-406. United States Patent and Trademark Office.

Gift of Mary Elizabeth Hallock Greenewalt, 1939.

Series I, Boxes 1-11 reflect Greenewalt’s filing arrangement. Many documents required copying; where possible, some of the originals of these documents have been placed in folders at back of each box. Due to the large number of fragile materials, there remain a number of documents that would benefit from copying.

Four 5” x 3” nitrate negatives in Box 35 should be put in cold storage.

The Federal Reporter, Vol. 39 (2d)-No. 1, May 26, 1930, pp. 1-296. Copy made of pp. 102-104, Greenewalt v. Stanley Co. of America. The book is in very poor condition, not salvageable.

Historical Society of Pennsylvania
Finding Aid Author
Finding aid prepared by Mary Kirk
Finding Aid Date
Use Restrictions


Collection Inventory

Scope and Contents

These materials, arranged alphabetically by Mary Elizabeth Hallock Greenewalt, represent Greenewalt’s vast research efforts on behalf of her light-color player and demonstrate her involvement with all stages of its design and manufacture. Many folder titles represent the names of individuals, corporations, academic institutions, theatre operators, or events associated with the color organ’s development. Of particular interest are files for the General Electric Company and the George Cutter Works of the Westinghouse Electric & Manufacturing Company. In addition to documenting the color organ’s development, Greenewalt also sought to ensure her place in posterity by requesting that encyclopedia and compendium publishers, in the United States and Europe, cite her name and accomplishments in their references to “colour-music.” Other titles references law firms, patent filings, and suits claiming patent infringements. Also included in this series are press clippings, program notes, and a Tabet (maternal) genealogy.

Physical Description

; 11 boxes, 7 flat files

Absolute Contractor Co., 1923-1927.
Box 1 Folder 1
Aeolian Company, 1919-1924.
Box 1 Folder 2
American Telephone and Telegraph, 1939.
Box 1 Folder 3
Articles cited, 1897-circa 1930.
Box 1 Folder 4
"Arts and Decoration" article, 1921.
Box 1 Folder 5
Bellevue Stratford Disclosure, 1916.
Box 1 Folder 6
Biebel-Westinghouse Patent Solicitor and Van Deventer, 1923-1924.
Box 1 Folder 7
Biebel-Westinghouse Patent Solicitor, 1923.
Box 1 Folder 8
Biebel-Westinghouse Patent Solicitor and Van Deventer, 1923.
Box 1 Folder 9
Bok Philadelphia Award, 1921-1930.
Box 1 Folder 10
Broadcasting, 1927.
Box 1 Folder 11
Calvary Church, Pittsburgh: Light Player Demonstration, 1924.
Box 1 Folder 12
Cole, Robert correspondence, 1923.
Box 1 Folder 13
College/university correspondence, 1919-1934.
Box 1 Folder 14
Colleges/schools correspondence, 1920-1935.
Box 1 Folder 15
Commercial Engineering Laboratories, 1922-1923.
Box 2 Folder 1
Commercial Engineering Laboratories, Mr. Allcutt, 1922-1924.
Box 2 Folder 2
Commercial Engineering Laboratories, 1923, undated.
Box 2 Folder 3
Cooper Hewitt mercury vapor lamp, 1917-1920.
Box 2 Folder 4
Corning Glass Works, 1922-1924.
Box 2 Folder 5
Cue sheets-early light scores, 1923-1930, undated.
Box 2 Folder 6
Cue sheets-first practice of the art, 1883-1928, undated.
Box 2 Folder 7
Cutler Hammer Co., 1922-1923, undated.
Box 2 Folder 8-9
Drexel Institute, 1918-1921.
Box 2 Folder 10
Driver-Harris Company, 1919-1929.
Box 2 Folder 11
Duo Music Club, 1926-1934, undated.
Box 2 Folder 12
E.I. du Pont de Nemours & Co./Arlington Works, 1917-1934.
Box 2 Folder 13
duPont, Coleman, 1923-1926.
Box 2 Folder 14
duPont, Pierre S., 1918-1934.
Box 2 Folder 15-16
Originals from Box 2, 1923-1933.
Box 2 Folder 17
Early light play mention, 1928-1929, undated.
Box 3 Folder 1
Eastman Kodak Co., 1916-1926.
Box 3 Folder 2
Eastman Kodak color filters, 1918.
Box 3 Folder 3
Eastman Kodak color filters-Welsbach Company, Department of Commerce, 1918-1927.
Box 3 Folder 4
Electric companies, 1925-1934.
Box 3 Folder 5
Encyclopedias, 1930-1933, undated.
Box 3 Folder 6-7
Encyclopedias-Investigations Physical Properties of Light, Color, Rhythm, 1918-1933, undated.
Box 3 Folder 8-9
First light color play instrument ever made (constructed to MHG specifications by J.E. Reid Instrument Co.), 1919.
Box 3 Folder 10
Large sketch removed from "First light color play instrument ever made" folder (Box 3, Folder 10), circa 1919.
Oversize Flat File 1
First performance-light play console, Wildwood, 1919, 1932, undated.
Box 3 Folder 11
Fowler and Smith (rep. Howson & Howson in Washington), 1921-1923.
Box 3 Folder 12
Fox theatres and Fox film corporation, 1924-1928.
Box 3 Folder 13
Fox theatre switchboard work chart removed from "Fox theatres and Fox film corporation" folder (Box 3, Folder 13), undated.
Oversize Flat File 2
Franklin Institute, 1917-1935, undated.
Box 3 Folder 14
Originals Box 3, 1917-1935.
Box 3 Folder 15
General Electric Company, 1916-1929, undated.
Box 4 Folder 1-2
Geo. Cutter Works of the Westinghouse Electric & Mfg. Co., 1920-1922, undated.
Box 4 Folder 3-4
Green, Harry G. (inventors reps.), 1930, 1932, undated.
Box 4 Folder 5
Mary Hallock Greenewalt v. Musical Arts Assoc., 1923-1924, undated.
Box 4 Folder 6
Greenewalt v. Musical Arts Assoc. (Ohio), 1934-1935.
Box 4 Folder 7
Greenewalt patent 1,731,772 (instrument for light/color play), 1924-1928.
Box 4 Folder 8
Hallock, Robert, 1918-1926, undated.
Box 4 Folder 9
History of development of light/color intensity play as a fine art by MHG, undated.
Box 4 Folder 10
Illuminating Engineering Society, 1918-1926.
Box 4 Folder 11
Japan, 1920-1921.
Box 4 Folder 12
John Wanamaker stores (N.Y.), 1922.
Box 4 Folder 13
Johns Manville, 1924-1928.
Box 4 Folder 14
Judges and courts, 1933-1935, undated.
Box 4 Folder 15
Keith, B.F., 1916-1917, undated.
Box 4 Folder 16
Kellogg Switchboard & Supply Co., 1933.
Box 4 Folder 17
Originals, 1916, 1920, undated.
Box 4 Folder 18
Laird & Company (Wilmington, Del.), 1934, undated.
Box 5 Folder 1
Libraries, 1921-1934.
Box 5 Folder 2
Licenses, 1925-1929, undated.
Box 5 Folder 3
Light/color instrument, undated.
Oversize Flat File 3
Light and music phonograph, 1919.
Box 5 Folder 4
Lighting appliances: application for patent 1,820,899, 1924-1931, undated.
Box 5 Folder 5-6
Large sketch and blueprint removed from "Lighting appliances: application for patent 1,820,899" folder (Box 5, folders 5-6), 1927.
Oversize Flat File 4
Magazines, 1918-1934.
Box 5 Folder 7
Mahaffy, William and Henry, 1931-1933.
Box 5 Folder 8
Major (later Frank Adams), 1923, 1929.
Box 5 Folder 9
Manufacture at E. Pittsburgh, 1921-1935.
Box 5 Folder 10
Masek, James C., 1919-1930, undated.
Box 5 Folder 11
Blueprint removed from "Masek, James C." folder (Box 5, Folder 11), undated.
Oversize Flat File 5
Mastbaum theatre, 1929, 1935, undated.
Box 5 Folder 12
Mercury switch-date of priority, 1920-1924.
Box 5 Folder 13
Minneapolis-Honeywell Reg. Co. (formerly AbsoluteContractor Corp.), 1933-1934.
Box 5 Folder 14
Motion Picture Prod. & Dist. Of America, 1925, 1933.
Box 5 Folder 15
National Pneumatic Co., 1932-1933.
Box 5 Folder 16
National Woman's Party, 1917-1936.
Box 5 Folder 17
N.Y. Edison Co., 1921-1927.
Box 5 Folder 18
Miscellaneous, 1920-1933.
Box 5 Folder 19
Originals, Box 5, 1919-1931.
Box 5 Folder 20
Miscellaneous, 1921-1935, undated.
Box 6 Folder 1-2
Weber artist water color chart removed from "Miscellaneous" folder (Box 6, folders 1-2), undated.
Oversize Flat File 6
Motion picture interests, 1920-1928, undated.
Box 6 Folder 3
Museum of Science & Industry (Chicago), 1923-1934, undated.
Box 6 Folder 4
Music stands (before and after arrival of light-color play), 1928, undated.
Box 6 Folder 5
"Notes", 1934, undated.
Box 6 Folder 6-7
Overbrook theatre, 1928.
Box 6 Folder 8
Patent information, 1912-1920.
Box 6 Folder 9
Patent negotiations, 1919-1923.
Box 6 Folder 10
Patents in suit, 1920-1929, undated.
Box 6 Folder 11
Patent 1,385,944, 1919-1934, undated.
Box 6 Folder 12
Patent 1,654,873, 1920-1935, undated.
Box 6 Folder 13-16
Patent 1,714,504, 1923-1928, undated.
Box 6 Folder 17
Patent 1,793,284, 1935, undated.
Box 6 Folder 18
Blueprint and attached printed materials removed from "Patent 1,654,873" folder (Box 6, folders 13-16), undated.
Oversize Flat File 7
Pathé news demonstration, 1921, 1924.
Box 6 Folder 19
Personal Stationery, circa 1923.
Box 7 Folder 1
Philadelphia Electric, 1918-1934.
Box 7 Folder 2
Pittsburgh Malleable Iron Company, 1925.
Box 7 Folder 3
Prabar, Renee, Design for Light Play Console, 1922.
Box 7 Folder 4
Precision Tool and Instrument Company, 1920-1922.
Box 7 Folder 5
Preliminary Preparation of Brief for Suit vs Patent Infringement, 1936, undated.
Box 7 Folder 6
Press Clippings, 1912-1935, undated.
Box 7 Folder 7
Princess Theatre, New York, 1922-1928, undated.
Box 7 Folder 8
Prindle, Edwin J., 1923-1932, undated.
Box 7 Folder 9
Prindle, Edwin J., Patent Correspondence, 1923-1932.
Box 7 Folder 10
Programs (Church, Theatre, Department Stores, Auditorium) and Demonstrations, 1896-1920, undated.
Box 7 Folder 11
Programs (Church, Theatre, Department Stores, Auditorium) and Demonstrations, 1921-1929, undated.
Box 36 Folder 1
Promotional Materials, 1904, undated.
Box 36 Folder 2
Popular Science Monthly, 1919-1921.
Box 7 Folder 12
Public Ledger of Philadelphia, 1916-1931.
Box 7 Folder 13
Publicity, 1920-1929, undated.
Box 7 Folder 14-15
Publicity Negotiations (Dropped, Westinghouse), 1920-1923.
Box 7 Folder 16
Publishers, 1934, undated.
Box 7 Folder 17
Radio Corporation of America, 1929-1933.
Box 7 Folder 18
Radium Luminous Material, 1918-1919.
Box 7 Folder 19
Remington, J. Percy, 1921, 1925, undated.
Box 7 Folder 20
Report on Instrument for Light-Color Play, 1928.
Box 7 Folder 21
Rheostats (Patent 1,357,773), 1912-1930, undated.
Box 7 Folder 22
Rheostats, 1,357,773, 1923, 1932, undated.
Box 7 Folder 23
Rothaptel (Roxy), 1921-1927.
Box 7 Folder 24-25
Russian Symphony Orchestra, 1915.
Box 7 Folder 26
Scale of least visible increments, Charles E. Rauda, 1919, 1927, undated.
Box 8 Folder 1
Sears-Roebuck, 1933, undated.
Box 8 Folder 2
Schairer, O.S. (Head of Patent Dept., Westinghouse, partner with Van Deventer & Alcott, vice president of RCA), 1923-1933.
Box 8 Folder 3
Serial No. 793,839, Method and Means for Associating Light and Music, 1924-1925.
Box 8 Folder 4
Sesqui-centennial exposition, 1925-1926, undated.
Box 8 Folder 5-6
Severance Hall, 1914-1935, undated.
Box 8 Folder 7-9
Severance Hall: bill of particulars and proofs, 1934-1935.
Box 8 Folder 10
Severance Hall: conduct of case, undated.
Box 8 Folder 11
Severance Hall console (printed descriptions), 1931-1933, undated.
Box 8 Folder 12
Severance Hall court papers, 1932-1935, undated.
Box 8 Folder 13-14
Severance Hall: experimental tryout, 1930-1935, undated.
Box 8 Folder 15
Severance Hall: interrogation, stipulations, definitions, quotations, 1934, undated.
Box 8 Folder 16
Severance Hall proofs, 1925-1935, undated.
Box 8 Folder 17
Severance Hall: witnesses in prior suit, 1929-1930, undated.
Box 8 Folder 18
Severance Hall: letters from Newton D. Baker, Charles F. Thwing, S. R. McCandless, 1931-1933, undated.
Box 8 Folder 19
Severance Hall: scientific & other points on light and material, 1924-1935, undated.
Box 8 Folder 20
Sheet music, 1928, undated.
Box 9 Folder 1
Webster's international dictionary, 1932, undated.
Box 9 Folder 2
Shipman, Frederic (manager for series of concerts in Canada and West), 1914-1915, undated.
Box 9 Folder 3
Slavic rhapsody (and other music) colorized, 1928, undated.
Box 9 Folder 4
Slough and Canfield, 1932-1935.
Box 9 Folder 5-6
Stanley Company now Warner Brothers, 1919-1929, undated.
Box 9 Folder 7
Steinway and Sons, 1917, 1919.
Box 9 Folder 8
Stotesbury, 1919-1923, undated.
Box 9 Folder 9
Stowkowski, 1918-1931.
Box 9 Folder 10
Strand Theatre, 1922-1925, undated.
Box 9 Folder 11
Tabet genealogy (Maternal), undated.
Box 9 Folder 12
Theatre, 1934, undated.
Box 9 Folder 13
Three cornered reflector, 1932, undated.
Box 9 Folder 14
Transom, Frederick, 1924-1925, undated.
Box 9 Folder 15
U.S. Dept. of Justice, 1927-1931, undated.
Box 9 Folder 16
United Gas Improvement Co., 1917-1927.
Box 9 Folder 17
Universal Stage Lighting Co. (Kliegl Bros.), 1922-1935, undated.
Box 9 Folder 18-19
Vauclain, Samuel (president Baldwin Locomotive, on board of Westinghouse), 1919-1934.
Box 9 Folder 20
Ward Leonard Electric Co., 1929.
Box 9 Folder 21
Wertsner & Sons: silver screen background for light/play reflection, 1921-1931.
Box 9 Folder 22
Originals, Box 9, 1928, 1932, undated.
Box 9 Folder 23
Westinghouse, 1921-1923, undated.
Box 10 Folder 1-2
Westinghouse: light and music phonograph, 1918-1922.
Box 10 Folder 3
Westinghouse litigation, 1932-1934, undated.
Box 10 Folder 4
Westinghouse letters: Severance Hall Ellipdomeria, 1920-1933, undated.
Box 10 Folder 5
Westinghouse: McNary, White, Smith, Bellerjian, 1919-1926.
Box 10 Folder 6
White, Thomas U., 1933-1935.
Box 10 Folder 7
Wilfred, Thomas, 1922-1923, undated.
Box 10 Folder 8-9
Williams, Talcott (first director, Columbia School of Journalism), 1907-1934, undated.
Box 10 Folder 10
Wobensmith, 1934.
Box 10 Folder 11
Zelov, Victor has one of my instruments in his shop, 1927, undated.
Box 10 Folder 12
Magazines, 1922-1925, undated.
Box 11 Folder 1
Columbia Graphophone Company, 1917-1921.
Box 11 Folder 2
Method and Means, 1930.
Box 11 Folder 3
General Electric Litigation, 1923-1934.
Box 11 Folder 4
A Nomenclature to Underly the Use of Light as a Fine Art, undated.
Box 11 Folder 5
Manuscript of Light, 1918-1921.
Box 11 Folder 6
Extra Copies of Letters, Autobiography, 1885-1907.
Box 11 Folder 7

Scope and Contents

Box 12 serves as the heart of this series in that it contains Greenewalt’s sketches, calculations, and notes for the rheostat and the slider which produced the gradated color operations and formed the basis of her early patent applications. Of particular interest are five files of “Notes on Color Light Play” containing drawings and commentary which offer a history of the color organ’s conception and development and refute others’ claims to similar inventions. This box also contains an unedited 1940 typescript of The Fine Art of Nourathar. In addition, a folder titled “Miscellaneous Correspondence and Legal Papers” contains the copy of a January 12, 1941, letter to the publishers, Messrs. Simon and Shuster, regarding Walt Disney’s Fantasia by Deems Taylor (1940). In this letter Greenewalt claims to hold priority in creating painted films. Box 14 of this series contains additional writings, correspondence, and sketches concerning the color organ’s design. Also included are notes on choosing a name for the new art, a copy of a light score for Beethoven’s “Moonlight Sonata” for use with the Sarabet (Greenewalt’s name for the color-organ) and a teaching manual for the color organ entitled “Text Book for Light Color Play: Instruction.” Flat files in this series contain color organ sketches and blueprints.

Physical Description

; 3 boxes, 2 flat files

Autograph Collection, The Historical Society of Pennsylvania, 1932-1933.
Box 12 Folder 1
Miscellaneous Correspondence and Legal Papers, 1937, 1943, undated.
Box 12 Folder 2
Notes, Sketches, Material Samples for Light Color Player, undated.
Box 12 Folder 3
Notes, Sketches, Material Samples for Light Color Player, undated.
Oversize Flat File 8
"The Fine Art of Nourathar", 1940.
Box 12 Folder 4
"Nourathar", 1926-1942, undated.
Box 12 Folder 5
"Nourathar" - An Account of the Color Organ, 1937-1942, undated.
Box 12 Folder 6
Drawings and Sketches, A Fine New Art, 1919-1920, undated.
Box 12 Folder 7
Notes on Light Color Play - 1, 1903-1935, undated.
Box 12 Folder 8
Notes on Light Color Play - 2, 1915-1919, undated.
Box 12 Folder 9
Notes on Light Color Play - 3, 1921, undated.
Box 12 Folder 10
Notes on Light Color Play - 4, 1923-1924, undated.
Box 12 Folder 11
Notes on Light Color Play - 5, 1919, 1923, undated.
Box 12 Folder 12
Patent Materials - 1, 1919-1923, undated.
Box 12 Folder 13
Patent Materials - 2, 1920-1924, undated.
Box 12 Folder 14
"Development of Ellipdomeria" drawing and blueprint, 1921.
Oversize Flat File 9
Originals, Color Organ Box, undated.
Box 12 Folder 15
Patterns for Light Color Player, undated.
Box 12 Folder 16
Instructions for "B1 Type Keys", 1923, undated.
Box 12 Folder 17
B1 Type Keys, undated.
Box 39
Light Control, Rheostat Designs, Lamp Designs, Color Sequencing, 1918, 1920, 1928, undated.
Box 13 Folder 1
Sarabet Light Player, Design, Color Scoring, Instructions for Playing, 1919-1921.
Box 13 Folder 2
Major Light Controls, Sketches and Notes, 1923.
Box 13 Folder 3
Correspondence with Mr. Randa, Specifications for Rheostat for Light Player, 1919.
Box 13 Folder 4
Correspondence on Color Lamp Assembly, 1920-1925.
Box 13 Folder 5
Light and Rhythm Color Scale, Stanley Theatre, April 6, 1928, 1928.
Box 13 Folder 6
Light Control, Rheostat Designs, Lamp Designs, Color Sequencing, Originals, 1918, 1920, undated.
Box 13 Folder 7
Sarabet Light Player, Design, Color Scoring, Instructions for Playing, Originals, 1919-1921.
Box 13 Folder 8
Major Light Controls, Sketches and Notes, Originals, 1923.
Box 13 Folder 9
Originals, Correspondence with Mr. Randa, Specifications for Rheostat for Light Player, 1919.
Box 13 Folder 10
Correspondence on Color Lamp Assembly, Originals, 1920-1925.
Box 13 Folder 11

Scope and Contents

This section offers correspondence surrounding Greenewalt’s patent filings as well as copies of the original patents.

Physical Description

; 9 boxes, 1 flat file

Patent 1,345,168, Illuminating Means and Notes on Similar Inventions, 1918, undated.
Box 14 Folder 1
Patent No. 1,357,773, Improvement in Rheostat, 1920.
Box 14 Folder 2
Patent No. 1,385,944, Notation for Indicating Lighting Effects, 1921.
Box 36 Folder 3
Patent No. 1,481,132, Improvement in Methods of and Means for Associating Light and Music, 1924.
Box 14 Folder 3
Patent No. 16,825, Improvement in Methods of and Means for Associating Light and Music, 1927.
Box 14 Folder 4
Patent No. 16,825 Certification, Improvement in Methods of and Means for Associating Light and Music, 1927.
Box 14 Folder 5
Patent No. 1,654,873, Means for Controlling Light, 1928.
Box 36 Folder 4
Patent No. 1,714,504, Improvement in Color Systems for Light and Color Players, 1929.
Box 14 Folder 6
Patent No. 1,731,772, Improvement in Instruments for Light and Color Play, 1929.
Box 14 Folder 7
Patent No. 1,731,772 Certification, Improvement in Instruments for Light and Color Play, 1929.
Box 14 Folder 8
Patent No. 1,945,635, Improvement in Light Color Instruments, 1934.
Box 14 Folder 9
Patent No. 1,945,635 Certification, Improvement in Light Color Instruments, 1934.
Box 14 Folder 10
Serial No. 165,621 Systems in Illumination (Patent No. 1,949,101), 1927-1933.
Box 15 Folder 1
Patent No. 1,949,101, Systems in Illumination (Serial No. 165,621), 1934.
Box 36 Folder 5
Serial No. 676,201 Improvement in Light Regulator and Intensity Indicators, 1923-1928.
Box 15 Folder 2
Serial No. 159,609 Improvement in Motor-Actuated Switches, 1927-1931.
Box 15 Folder 3
Patent No. 1,854,547, Motor-Actuated Switches (Serial No. 159,609), 1932.
Box 36 Folder 6
Serial No. 164,597 Light-Color Instrument, 1927-1933.
Box 15 Folder 4
Serial No. 753,911 Mercury Switches and Mercury Switch Systems, 1921-1931.
Box 15 Folder 5
Serial No. 709,283 Current Translating Mechanisms, 1924-1931.
Box 15 Folder 6-7
Patent No. 1,793,284, Current Translating Mechanisms (Serial No. 709,283), 1931.
Box 36 Folder 7
Serial No. 179,697 Improvement in Signaling Means, 1927-1931.
Box 15 Folder 8
Serial No. 705,568 Lighting Appliances, 1924-1931.
Box 15 Folder 9
Patent No. 1,820,899, Lighting Appliances (Serial No. 705,568), 1931.
Box 36 Folder 8
Originals, Serial No. 753,911 Mercury Switches and Mercury Switch Systems, 1921-1931.
Box 15 Folder 10
Greenewalt Patents, 1920-1934.
Box 36 Folder 9
Original Patent Application Envelopes, 1923-1933.
Box 15 Folder 11
Patent Applications, Receipts, 1922-1927.
Box 16 Folder 1
Patent Applications, Light & Color Play Improvements, 1924-1930.
Box 16 Folder 2
Light-Scale Shorthand Design & Notes, 1920.
Box 16 Folder 3
Writings Supporting Patent Claims, undated.
Box 16 Folder 4
Patent Materials, Colored Arc, undated.
Box 16 Folder 5
Patent Materials, Colored Strips, undated.
Box 16 Folder 6
Patent Materials, Color Paper Disks, undated.
Box 16 Folder 7
Originals, Box 16, undated.
Box 16 Folder 8
Greenewalt v. Stanley Company of America, Volume 1, Three Briefs, 1930.
Box 16 Folder 9
Patents Cited Against Greenewalt, 1,820,899, undated.
Box 17 Folder 1
Patents Cited Against Greenewalt, 1,945,635, undated.
Box 17 Folder 2
Patents Cited Against Greenewalt, 1,731,772, undated.
Box 17 Folder 3
Patents Cited Against Greenewalt, 1,793,284, undated.
Box 17 Folder 4
Patents Cited Against Greenewalt, 1,357,773, undated.
Box 17 Folder 5
Patents Cited Against Greenewalt, 1,714,504, undated.
Box 17 Folder 6
Methods for Controlling Light, Color Sketches, Graphs, Musical and Color Notes and Drawings, 1928, undated.
Box 17 Folder 7
Methods for Controlling Light, Color Sketches, Graphs, Musical and Color Notes and Drawings, circa 1928.
Oversize Flat File 10
Patent Applications, Light Control, 1923-1935, undated.
Box 17 Folder 8
Patents on Color Lighting Fountains, 1934, undated.
Box 17 Folder 9
Congressional Reports, Trademarks, Copyright, 1927, 1935.
Box 17 Folder 10
Originals, Patent Applications, Light Control, 1925, 1935, undated.
Box 17 Folder 11
Scope and Contents

A good portion of boxes 18-22 contain a record of Greenewalt’s court filings, trial exhibits and testimony. Included in this record of Greenewalt’s legal battles are typed drafts in Box 19 of an unpublished 1934 manuscript titled: A to Z compilation of Patent Letters with Letters Patent depicting the Ways of the Large Capital Aggregations in which the United States Patent Office Proposes, Big Business Structure Disposes. Folder One contains a handwritten list of chapters. The letters touch on personal details such as Greenewalt’s family background, early investigations of pulse and rhythm, efforts to manufacture and market the color organ, and subsequent patent infringement suits. Some letters contain specific allegations of infringement, naming theatre owners, specific businesses, e.g. Cutler Hammer Company, whom Greenewalt claims reinvented its switches according to her designs These letters also provide references to other artists working with light and color during the 1920s and 1930s.

Physical Description

; 5 boxes, 1 flat file

Federal Reporter, (Vol. 39 (2nd)-No. 1), May 26, 1930, "Greenewalt v. Stanley Co. of America, No. 684, pp. 102-104, 1930.
Box 18 Folder 1
Transcript of Record, Mary Hallock Greenewalt v. Stanley Company of America, Volume II, Exhibit Record, 1930.
Box 18 Folder 2
Mary Hallock Greenewalt v. Musical Arts Society, "Conclusion Answer to Defendant's Brief", 1936.
Box 18 Folder 3
Mary Hallock Greenewalt v. Musical Arts Society, Draft of "Conclusion answer to Defendant's Brief", 1936.
Box 18 Folder 4
Mary Hallock Greenewalt v. Musical Arts Society, Proofs, 1936.
Oversize Flat File 11
Mary Hallock Greenewalt v. Musical Arts Society, Transcript of Testimony, pages 1-356, 1935.
Box 18 Folder 5-8
Mary Hallock Greenewalt v. Musical Arts Society, Transcript of Testimony, pages 1-356, 1935.
Box 36 Folder 10
Light Color Play Notes, Hoffmann Machinery Corporation, v. Pantex Pressing Company, 1929.
Box 18 Folder 9
A to Z, A Compilation of Patent Letters with Letters Patent, First Draft, 1934.
Box 19 Folder 1-6
A to Z, A Compilation of Patent Letters with Letters Patent, Second Draft, 1934.
Box 19 Folder 7-16
Court Case, Various Patent Specification Pamphlets, circa 1930, undated.
Box 20 Folder 1-2
Greenewalt v. Stanley, 1932, undated.
Box 20 Folder 3
Syria Improvement Association and the Clavilux, 1923-1924.
Box 20 Folder 4
Court Case, Affidavits, 1920-1928.
Box 20 Folder 5
Greenewalt v. Musical Arts Society, Notes, 1929, undated.
Box 20 Folder 6
Greenwalt v. Musical Arts Society, Slough and Canfield, Attorneys, 1935.
Box 20 Folder 7
Court Case, "Patents in Suit", undated.
Box 20 Folder 8
Greenewalt v. Stanley, Arguments, Personal Notes, 1929.
Box 20 Folder 9
Greenwalt v. Stanley, Exhibits, circa 1930, undated.
Box 20 Folder 10
Other Dimmers, Citations, Exhibits. Electrical World, "Electricity at the New York Hippodrome", undated.
Box 20 Folder 11
Court Case, Various Patent Specification Pamphlets, undated.
Box 20 Folder 12
Court Case, "Developments in the Electrical Industry During 1932", 1932.
Box 20 Folder 13
Court Case, Stage Lighting, Print Material, 1919, 1926, undated.
Box 20 Folder 14
Exhibits, Photostatic Copies, Color Organ Designs, undated.
Box 20 Folder 15
Evidence, 1929.
Box 20 Folder 16
Defendant's Exhibits, undated.
Box 20 Folder 17
Defendant's Exhibits, copy from 1915 Scientific America, "The Art of Mobile Color", 1931, undated.
Box 20 Folder 18
Writings Concerning Musical Arts Suit, Equity No. 4976, 1923-1936.
Box 21 Folder 1
Writings Concerning Musical Arts Suit, Equity No. 4976, Originals, 1923-1936.
Box 21 Folder 2
Color Organ Manufacturing Costs, Invoices and Checks, 1926-1933.
Box 21 Folder 3
Color Organ Manufacturing Costs, Invoices and Checks, Originals, 1926-1933.
Box 21 Folder 4
Greenewalt v. Westinghouse, Notes and Drafts, circa 1934.
Box 21 Folder 5
Greenewalt v. Westinghouse, Notes and Drafts Originals, circa 1934.
Box 21 Folder 6
Copy of Proofs, Plaintiff's Brief Greenewalt v. Musical Arts Association, Equity No. 4976, 1936.
Box 21 Folder 7
Greenewalt v. Musical Arts Association, Draft Brief for Plaintiff, 1936.
Box 21 Folder 8
Duplicates Box 21.
Box 21 Folder 9
Copies from Binder, "Mary Hallock Greenewalt, Stanley Company of America In Equity No. 684 Trial at Wilmington Delaware from 30th September 1929 Pages 383 to 684", 1920-1930.
Box 22 Folder 1
Originals, from Binder, "Mary Hallock Greenewalt, Stanley Company of America In Equity No. 684 Trial at Wilmington Delaware from 30th September 1929 Pages 383 to 684", 1920-1930.
Box 22 Folder 2
Greenewalt v. Stanley Company, Deposition of Samuel L. Rothafel, Defendant, 1929.
Box 22 Folder 3
Greenewalt v. Stanley Company, Brief for Plaintiff, 1929.
Box 22 Folder 4
Personal Notecards Regarding Court Cases, undated.
Box 36 Folder 11
Personal Notes Regarding Patents and Reissues, 1935, undated.
Box 36 Folder 12

Scope and Contents

These materials contain Greenewalt’s unpublished autobiography in handwritten and typed format. Greenewalt’s autobiography encompasses memories of her early life in Beirut, relations between her parents, her mother’s mental illness, and the children’s departure for care in the United States. Also included are early family letters, such as those written by her mother from a sanitarium in England, and later, letters from her father when he worked supervising shipping for the DuPont Company. The autobiography also described Greenewalt’s life in the United States, and her career as an inventor and artist. Included are copies of letters by her son Crawford (age six) sent while Greenewalt toured. The autobiography also offers a detailed portrait of her father, his career as a consul, a printer, a member of the Masons, and his years as an employee of the DuPont organization. In addition, other writings in this series offer drafts and final copy of writings and press releases concerning Greenewalt’s color organ.

Of particular interest in the Writing Series are Greenewalt’s addresses to the Illuminating Engineering Society of Philadelphia. The addresses, given over a span of several years, provide insight into the inspiration for the color organ as well as a time-line highlighting the organ’s developmental stages. In an address of April 19, 1918, titled “Light” Fine Art the Sixth,” Greenewalt cited innovations in painting by the artist Corot which encouraged her to investigate light and color as a means of enriching musical expression. Greenewalt also referenced reports of synaesthetes, people who experience cross-sensory perceptions such as those who see letters or numbers in different colors. Subsequent addresses by Greenewalt to the Illuminating Engineering Society include that of February 20, 1920 titled, “A Light Scale Keyboard and Rheostat,” which discussed the design underlying her timed, sequential process for controlling color and light intensities; a 1923 address titled “A Light Scoring for the Episcopal Service,” discussed the color-console’s design and the patents covering the instrument; and Greenewalt’s 1926 lecture, “The Light-Color Player,” discussing the console’s modifications which offered increased lighting capacity for large auditoriums.

Other writings in this series offer insights into Greenewalt’s personal views and her interest in psychic phenomena. This series also includes one folder each of family and general correspondence.

Physical Description

; 5 boxes, 3 volumes

Autobiography, Typewritten Copy of Handwritten Draft, undated.
Volume 18
Autobiography, First Rought Draft, Handwritten, undated.
Volume 19
Autobiography, First Rough Draft, Handwritten (copy), undated.
Box 23 Folder 1
Notes, Programs, Clippings on Events, 1896-1944, undated.
Box 23 Folder 2
Manuscript and Drafts, Addresses to Philadelphia Illuminating Engineering Society, 1916-1926.
Box 23 Folder 3
Miscellaneous Clippings on Color Music, Popular Science Interests, 1912, 1935-1941.
Box 23 Folder 4
Political Addresses, Personal Views, Psychic Interests, 1919-1935, undated.
Box 23 Folder 5
Prepared Press Copy, Developing Color Organ, circa 1920-circa 1936.
Box 23 Folder 6
Notebook on Accomplishments, circa 1930-circa 1932, undated.
Box 23 Folder 7
Correspondence, Writings on Democratic Party, 1935-1936, undated.
Box 23 Folder 8
Donation of Papers, 1939-1944.
Box 23 Folder 9
Originals, Box 23, 1896-1944, undated.
Box 23 Folder 10
Lectures on Pulse and Rhythm, 1903, undated.
Box 24 Folder 1
Lectures on Music on 8.5" x 5.5" Paper, circa 1903-1911, undated.
Box 24 Folder 2
Lectures on Listening to and Teaching Music, circa 1903-circa 1915, undated.
Box 24 Folder 3
Addresses, Press Copy Drafts, Light Color Player, 1918-1925, undated.
Box 24 Folder 4-5
Lectures to Musical Clubs, Address to 1932 Patent Exposition, circa 1920-1932.
Box 24 Folder 6
Originals, Lectures, Addresses, 1903-1931.
Box 24 Folder 7
Originals, Press Copy Drafts on Light Color Player, circa 1918-1925, undated.
Box 24 Folder 8
Radio Broadcasts, 1922-1923.
Box 25 Folder 1
Genealogy Notes and Correspondence, Hallock and Tabet, 1906-1944, undated.
Box 25 Folder 2
Family Correspondence, Clippings, 1885-1906.
Box 25 Folder 3
Family Correspondence, Clippings, 1907-1910.
Box 37 Folder 1
Family Correspondence, Clippings, 1915-1927.
Box 37 Folder 2-3
Family Correspondence, Clippings, 1930-1936, 1943.
Box 37 Folder 4-5
Family Correspondence, Clippings, undated.
Box 37 Folder 6
Hard Bound Diary, 1926-1932, undated.
Volume 12
Passport, 1922-1928.
Box 25 Folder 4
Hard Bound Diary, Loose Clippings, Personal Correspondence, 1926-1932, undated.
Box 25 Folder 5
General Correspondence, 1879-1904.
Box 25 Folder 6
General Correspondence, 1905-1910.
Box 37 Folder 7-9
General Correspondence, Library Acknowledgement for "Time Eternal", 1910.
Box 37 Folder 10
General Correspondence, 1911-1944, undated.
Box 38 Folder 1-13
The Sesqui-Centennial International Exposition, June 1-December 1, 1926, 1926.
Box 25 Folder 7
Girard College, "Steel and Garnet", 1935.
Box 25 Folder 8
Miscellaneous Writings, undated.
Box 25 Folder 9
Benjamin Homan Hallock and The New Arabic Type & Notes on American Board of Commissioners for Foreign Missions, 1929, 1935, undated.
Box 25 Folder 10
Reminiscences by Annie Heacock, 1926.
Box 25 Folder 11
Golden Bow by Benjamin Musser, 1934.
Box 25 Folder 12
Miscellaneous News Clippings, 1888-1934, undated.
Box 25 Folder 13
Miscellaneous News Clippings, English and Arabic, 1939-1942, undated.
Box 38 Folder 14
Envelopes, 1903-1906, 1928-1943, undated.
Box 25 Folder 14

Scope and Contents

The majority of booklets and articles in this series refer to electrical manufacturers’ stage lighting products and their use in specific theatres; a few booklets offer accounts of lighting exhibitions such as that in Barcelona, Spain in 1929. Two articles concerning the history of the color organ are represented by an 1893 pamphlet by Bainbridge Bishop titled “ A Souvenir of the Color Organ” and a 1912 article, “The Romance of Colour-Music,” by Sarah A. Tooley. Other materials reflect Greenewalt’s interest in musical innovation and education, represented by a pamphlet describing the Theramin, an electrical-musical instrument offered by the Aeolian Company, and a booklet concerning the “Visuloa,” a teaching piano with a dual or “dictating” keyboard. Included also in this series is a copy of the Theatre Guild Magazine, July 1930, containing articles on Thomas Wilfred and his Clavilux and an article, “Camera!,” which cites work by Francis Bruguiere who created film narratives using illuminated paper shapes. Many of the booklets and articles contain Greenewalt’s handwritten commentary. In addition, this series contains the press clippings representing the numerous articles collected by Greenewalt concerning James G. Blaine (1830-1893), former U.S. congressman and secretary of state.

Physical Description

; 2 boxes, 2 flat files

Leaflets, Pamphlets, Brochures, Lighting and Lighting Displays, 1922-1930, undated.
Box 25 Folder 15
Chicago Television & Research Laboratories Inc., "A Brief Survey of the Present Status of Television in the United States", 1933.
Box 25 Folder 16
Cultural Events, 1904-1935.
Box 26 Folder 1
"Clavilux Color Organ," Theatre Guild Magazine, 1930.
Box 26 Folder 2
Visuola Piano Dictating Keyboard, 1927.
Box 26 Folder 3
Theremin, Leon: "Inventor of the Victor Theremin" (Copy), 1929, undated.
Box 26 Folder 4
Painting with Light, Westinghouse Company, 1929.
Box 26 Folder 5
"This is Du Pont," E.I. Du Pont De Nemours & Company, 1949.
Box 26 Folder 6
Mastbaum Theatre, 1929, undated.
Box 26 Folder 7
"The Color Organ," Theatre Arts Magazine, 1922.
Box 26 Folder 8
The Stanley Theatre, 1927-1928.
Box 26 Folder 9
"On Color Theories and Chromatic Sensations," by Christine Ladd Franklin, 1916.
Box 26 Folder 10
Cutler Hammer Manufacturing Company, 1919, 1926.
Box 26 Folder 11
Trumbull Electric Manufacturing Company, 1927, 1929.
Box 26 Folder 12
"Pennsylvania in Music," Educational Monographs, 1926.
Box 26 Folder 13
School Music Materials, 1931.
Box 26 Folder 14
Ward Leonard Electric Company, 1923, 1927, 1928.
Box 26 Folder 15
Bulldog Mutual Electric and Machine Company, 1928-1929.
Box 26 Folder 16
Major Equipment Company, 1928-1929, undated.
Box 27 Folder 1
Edison Lighting, undated.
Box 27 Folder 2
Kliegl Bros Universal Electric Stage Lighting Co., Inc., 1928, undated.
Box 27 Folder 3
"Colors in Relation to Business," Trade Winds, 1927.
Box 27 Folder 4
“The Colored Floodlighting of the International Exposition at Barcelona, Spain”, 1929.
Box 27 Folder 5
Chicago Cinema Equipment Company, 1926, 1928, undated.
Box 27 Folder 6
The Lumitone Corporation of America, 1929.
Box 27 Folder 7
Sears, Roebuck and Company, 1933.
Box 27 Folder 8
Electrical Manufacturers and Suppliers, 1924, 1927, 1928.
Box 27 Folder 9
Display Stage Lighting Co., Catalog, 1927.
Box 27 Folder 10
Reeves Variable Speed Transmisssions, Catalog, 1931.
Box 27 Folder 11
"The Use of Color in Fifth Avenue Hospital," Dutch Boy Quarterly, 1923.
Box 27 Folder 12
News and Press Clippings, Death of James G. Blaine, January 27, 1893, 1893.
Box 27 Folder 13
Sound Recording (reformatted to CD), Preservation Master & Copy, 1905.
Box 27 Folder 14
Picture Backing of Horse Shoe Framed Photos, undated.
Box 27 Folder 15
Skate Shoe Spring, undated.
Box 27 Folder 16
Color and Its Applications, Luckiesh, M[atthew], 1915.
Box 27
Colour-Music The Art of Light. Klein, Adrian Bernard, 1926.
Box 27
Miscellaneous, 1920-1933, undated.
Oversize Flat Files 12-13

Scope and Contents

A photograph album prepared by Greenewalt houses photos, sketches, and commentary on the development of her color organ and her subsequent efforts to sue for patent infringements. In addition, the album contains several family photos and copies of childhood notes written by the Greenewalts’ son, Crawford. Also included in this series, and separate from the album, are Greenewalt and Hallock family photographs, photos of Greenewalt’s early light player, and several photos related to early patent applications.

Physical Description

; 2 boxes, 2 volumes, 1 flat file

Greenewalt and Hallock Families, Color Organ, Miscellaneous Photographs, circa 1870-circa 1930, undated.
Box 28
Black and White Photo, Lighted Fountain, undated.
Box 29 Folder 1
Photo, Theatre Installation, Equipment for Light Color Play, 1925.
Box 29 Folder 2
Three Photos, Crawford Hallock Greenewalt and Margaretta du Pont Greenewalt and Daughter, Nancy, 1929.
Box 29 Folder 3
Four Photos, Frank Lindsay Greenewalt, undated.
Box 29 Folder 4
Photo, Mary Hallock Greenewalt, 1910.
Box 29 Folder 5
Wedding Photo, Margaretta du Pont Greenewalt, undated.
Box 29 Folder 6
Two Photos, Neighborhood Playhouse Production, “A Pagan Poem,” Press Clipping, Correspondence, Musical Scores, 1931-1932.
Box 29 Folder 7
Four Photographs of Early Light-Color Play Console, from Scrapbook, “Who’s Who and Other Reference Works”, 1919-1922.
Box 29 Folder 8
Two photos in horse shoe frames, undated.
Volume 4
Photos, Clippings, Writings Pasted into Red, Wire Bound Book, 1920-1933, undated.
Volume 20
Photo, National Convention, National Woman’s Party, Washington, D.C., 1921.
Oversize Flat File 14

Scope and Contents

This series offers materials reflecting Greenewalt’s early attempts to incorporate color and light in her performances. Included are pastels on cardboard, some with musical notations, painting on woven material, and a tube of Kodak film. Paper graphs and color charts indicate markings Greenewalt used to work out a color notation system. Several scrapbooks that document Greenewalt’s career also contain letters and materials about her parents, Samuel Hallock and Sara Tabet Hallock. Blue prints and tissue drawings depict the interior and exterior of Greenewalt’s color console. Other items include Greenewalt’s Bridal Souvenir booklet, the Sesqui-Centennial diploma and gold medal awarded in 1926, books printed in Arabic and French, and Greenewalt’s sound recording of works by Chopin, created in 1920, which has been reformatted from phonograph disk to CD.

Physical Description

; 6 boxes, 24 volumes, 9 flat files

Scrapbook: Clippings, “Earliest Press Notices of Piano Recitals”, 1891-1898.
Box 30 Folder 1
Scrapbook: Clippings, “Earliest Press Notices of Piano Recitals” (Originals), 1891-1898.
Box 30 Folder 2
Scrapbook: “Press Clippings of Mary Hallock Greenewalt’s Concerts, Pulse and Rhythm Research and Light Color Play as Fine Art the Sixth”, 1895, 1903-1923, 1932, undated.
Box 30 Folder 3
Scrapbook: “Mary Hallock Greenewalt and Light Color Play,” Copies of Published Articles, News Clippings, 1899-1927, 1934, undated.
Box 30 Folder 4
Scrapbook: “Mary Hallock Greenewalt and Light Color Play,” Published Articles, Press Releases, Program Notes, 1899-1927, 1934, undated.
Box 30 Folder 5
Scrapbook: “Mary Hallock Greenewalt, See the Who’s Who and Other Reference Works," Clippings, Miscellaneous Correspondence, 1931, 1933, undated.
Box 30 Folder 6
Scrapbook: “Mary Hallock Greenewalt, See the Who’s Who and Other Reference Works," Articles, Clippings, Programs, Miscellaneous Correspondence, Ephemera, 1895-1932, undated.
Box 30 Folder 7-8
Scrapbook: “Samuel Hallock Facts of Importance to the First Printing Press in Beyrouth, Syria,” Sara Hallock Correspondence, 1870, undated.
Box 30 Folder 9
Scrapbook: “Samuel Hallock Facts of Importance to the First Printing Press in Beyrouth, Syria,” Correspondence, Hallock Genealogy, 1836-1886, 1932, undated.
Box 30 Folder 10
Scrapbook: “Samuel Hallock Facts of Importance to the First Printing Press in Beyrouth, Syria,” Articles, News Clippings, Arabic Ephemera, 1836-1903, 1931-1932.
Box 30 Folder 11
Diploma, Sesqui-Centennial International Convention, Philadelphia, 1926.
Oversize Flat File 15
Tube that contained Sesqui-Centennial Diploma, 1926.
Box 34
Concert program with Biographical Data and Picture, Handwritten Musical Score, 1907-1908, undated.
Box 31 Folder 1
Schematic Diagram of Motor Control, undated.
Box 31 Folder 2
Scrapbook, “See the Who’s Who and Other Reference Works Two copies, “Light Score for the First Movement Moonlight Sonata,” one copy with Small Daily Diary, 1919, undated.
Box 31 Folder 3
Record Holder for Original Recording with note by Mary Elizabeth Hallock Greenewalt, 1905.
Box 31 Folder 4
Two Articles: “A Souvenir of the Color Organ,” by Banbridge Bishop and “The Romance of Colour-Music,” Sara A. Tooley, 1893, 1912.
Box 31 Folder 5
Poster board illustrating patent 1,945,635, Titled: “M.H. Greenewalt” “Light Color Instrument” Filed Jan. 29, 1927, 1934.
Box 31 Folder 6
“Chicago’s Century of Progress, 1833-1933”, 1933.
Box 31 Folder 7
Theremin, Leon: “Inventor of the Victor Theremin” (Originals), 1929, undated.
Box 31 Folder 8
Four Photostatic Negatives “Original drawings on reduced scale, Beau’s complete Specifications. April, 11, 1902. No. 8479”, 1902.
Box 31 Folder 9
Pedal Mechanism for Rheostat, Wiring Diagram, Light Control, Motor and Hinges, Base, Partial Photostat of Blueprint 12-A-214 (Part of Sarabet Light Player, 1919-1921, 1919-1920, 1930, undated.
Box 31 Folder 10
Various blueprints and schematics (FRAGILE!—inventories available in Appendix), 1919-circa 1930, undated.
Oversize Flat Files 16-18
Miscellaneous drawings on spectrums, scales, arcs, etc. (inventory available in Appendix), undated.
Oversize Flat File 19
Paper/pencil sketches of console interior and exterior, undated.
Oversize Flat File 20
Miscellaneous drawings on tissue, undated.
Oversize Flat Files 21-22
Letter on Birch Bark, Lock of Hair, Frank L. Greenewalt, M.D. Receipt, 1894, undated.
Box 31 Folder 11
Musical Courier, 1912.
Box 31 Folder 12
The New Delawarean, “A House in the Valley”, undated.
Box 31 Folder 13
The New Delawarean, “A New Fine Art Arrives”, 1939.
Box 31 Folder 14
Scrapbook: “Mary Hallock Greenewalt and Light Color Play,” Etude Articles, 1899-1905, undated.
Box 31 Folder 15
Design and Notes for Color Tints, for Debussy Composition, “And the moon descends on the temple which was”, 1906.
Box 31 Folder 16
Scrapbook: “Who’s Who and other Reference Works,” Publications of “Pulse and Rhythm,” and “Pulse in Verbal Rhythm”, 1903, 1905.
Box 31 Folder 17
Scrapbook: “Who’s Who and other Reference Works,” Poster, “Third International Patent Exposition,” Philadelphia, Pennsylvania, 1932.
Box 31 Folder 18
Scrapbook: “Samuel Hallock,” Patent No. 63,512, “Improved Surface Conductor for Electrotyping”, 1867.
Box 31 Folder 19
Folder: “Text Book for Light Color Play Instruction”, 1920.
Box 32 Folder 1
Design, Notes for Color Tints, Published Light Score for Debussy and Beethoven Compositions, 1906, 1919, undated.
Box 32 Folder 2
Notes for “Text Book or Instruction Method”, 1920, undated.
Box 32 Folder 3
“Method of Instruction in the use of a light player table,” Lesson I, 1920.
Box 32 Folder 4
Notes on and Examples of Color Symbolisms for Scoring Music, 1920.
Box 32 Folder 5
“Methods of Playing the Sabaret”, 1920.
Box 32 Folder 6
Photostats, Lamp and Switch Diagrams; Printed Notes: “Suggested Paragraph to Follow Reference in the Specification to a Light Mechanism”, 1920, undated.
Box 32 Folder 7
Notes on Conducting with Light, 1920.
Box 32 Folder 8
Notes and Sketches for Color History and Symbolisms, 1920.
Box 32 Folder 9
“Text Book for Light Color Play Instruction” Originals, 1920.
Box 32 Folder 10
Painting, Black background with color rays, note: “1,793,284”, undated.
Box 33 Folder 1
Lithograph, “Hallock”, 1912.
Box 33 Folder 2
Pastel, Stage Scene, 20” x 28”, undated.
Box 33 Folder 3
Pastel, Stage Scene, 20” x 28”, undated.
Box 33 Folder 4
Pastel, Stage Scene, 20” x 28”, undated.
Box 33 Folder 5
Negatives (Nitrate), 1921.
Box 35
Blueprint – reflector, undated.
Oversize Flat File 23
Printing Blocks (1 lg. 2 sm.) Piano and Playing Hands, undated.
Volume 1
Printing Blocks (1 lg. 2 sm.) Silhouettes, undated.
Volume 2
Souvenir Album (Cards, cartoons, poems), 1880-1887, undated.
Volume 3
Alfred de Musset, “ Contes et Nouvelles”, 1894.
Volume 5
Arabic book, undated.
Volume 6
Arabic book (Mary Hallock in pencil on inside, back cover), undated.
Volume 7
Nouvelle Methode Facile Et Curieuse, Pour Connoitre Le Pouls Par La Musique, 1769.
Volume 8
Wallet Sized Account Book, dried flowers, 1910.
Volume 9
Bridal Souvenir. Hard bound, gold leaved pages. Writing on front cover: “Certificate of the marriage of Miss Mary E. Hallock to Dr. Frank Lindsay Greenewalt, 1898.
Volume 10
Hawthorne, Julian, The Golden Fleece, 1896.
Volume 11
Sesqui-Centennial Gold Medal (Eagle), 1926.
Volume 13
Film Year Book, Ninth Edition, 1927. Kann, Maurice, ed. New York, Los Angeles: John W. Alicoate Publisher, 1927.
Volume 14
Hard bound Book of Music, “Symphonies de Beethoven, Arrangée par W. Mever, Vol. 1, undated.
Volume 15
Hard bound book of music, “Property of Mary Hallock, Chelten School, Wyncote, Penna.,” Sketches, Brochures, Dried Flowers, undated.
Volume 16
Two medals, Musical Prizes, from Scrapbook, “Mary Hallock Greenewalt, See the Who’s Who and Other Reference Works”, 1895, undated.
Volume 17
Mary Hallock Greenewalt v. Stanley Company of America, Trial at Wilmington, Delaware, 1929.
Volume 21
Binders: “Light Color Play Notes, Mary Hallock Greenewalt”, 1929, undated.
Volume 22-24
Three Small Pastels on Cardboard with Suggested Musical Accompaniment, undated.
Volume 25
Colored Kodak Film and Kodak Tube, undated.
Volume 26
Two Rolled, Colored Materials, undated.
Volume 27
Five Acetate or Cellulose Rolls, used for Demonstration at Bellevue-Stratford, Philadelphia; Paper Chart of Color Symbols with Note by Greenewalt on Two Index Cards, 1916, undated.
Volume 28
"Album of very old and quaintly old music", circa 1850-circa 1880.
Volume 29

1.. [Detail Interior Console], undated.
Object 17” x 21”

2 prints, one torn in half D-7B Fragile

2.. Lamp Assembly, 1924.
Object 24” x 20”

D-7B Fragile; Duplicate of No. 14

3.. Direction Indicator US Naval Station; # 50849/PO 12508-77, April 25, 1919.
Object 13” x 12”

D7-A (torn in half)

4.. Front View Rheostat; #24-2, December 22, 1922.
Object 19” x 26”

15-B-Crumbling at Edges

5.. Reflector, Details and Text, undated.
Object 17” x 21”

Crumbling badly D-7A; In separate folder

1.. Lease Arrangement for Color Control Screen; # Y-769-1009, July 15, 1921.

Some edges crumbling

2.. Sector Reflector, circa 1924.
3.. Lamp, June 28, 1924.

3 copies

4.. Sketch for Case.


5.. Light Player Rheostat Base; # 24-4, January 1, 1923.
Object 24” x 20”

Some edges crumbling

6.. Connections for Organ, Sesqui-Centennial Exposition, 1926.
Object 16” x 24”


7.. Switch Support; # 24-11, September 1, 1923.
Object 26” x 20”


8.. Light Player, Diagram of Internal Connections; # 24-26, December 13, 1923.

Some discoloring & crumbling edges

9.. Light Player, Diagram of Connections; # 24-6, February 17, 1923.


10.. Musical Arts Association, Severance Hall, Cleveland, Control Board; # 13-B-717, 1924.
Object 14” x 20”

Some tearing

11.. Lift Size Reflector, circa 1924.
Object 30” x 20”

Some fading at edges

12.. Lamp Assembly, February 8, 1924.
Object 24” x 20”

Splitting, crumbling

13.. Life Size Reflector.
Object 20" x 30"

Fading, & may be duplicate of #12

14.. Strand Theatre, January 14, 1925.
Object 21” x 18”


15.. Console, Exterior.
Object 15.5" x 10.5"

Very faded

16.. Light Organ Console.
Object 16” x 16”


17.. (Graphs).
Object 34” x 22”


18.. General Arrangement, Electro-magnetic Induction Long Distance Controlling Devise for Changing Color in front of Unit; # P-101, December 28, 1922.
Object 37” x 24”

Some ripping

19.. Musical Arts Association of Cleveland, Severance Hall – Stage Switchboard Console Wiring Diagram; # 8-A-510, circa 1924.
Object 38” x 14”

Very faded

20.. Thermionic Control of Theatre Lighting, Organ Console Type, Severance Hall, Cleveland, Ohio; # 9-A-418, circa 1924.
Object 38” x 14”

Some ripping, fading

21.. Thermionic Control of Theatre Lighting, Organ Console Type Scene Selector Details; # 12-A-313, circa 1930.
Object 36” x 24”


22.. Thermionic Control of Theatre Lighting, Organ Console Type, Severance Hall, Cleveland, Ohio, Details; # 12-A-206, circa 1930.


23.. Electric Lighting for Garden of E.T. Stotesbury, Esq., Chestnut Hill.
Object 46” x 20”

Ripped in center

Rough Suggestion of Scale on Outside of Light Player Table: Rheostatt [sic] to Project as Shown or represented by Pointer.
Object 30” x 7.5”

Paper with color scale and commentary

Object 15” x 10”

Paper, Crumbling around edges Fig. 23 and Fig. 24 Light Control Diagrams with penciled notes

____ Light “Scale Shorthand Marks used in conjunction with increase and decrease marks.”.
Object 12” x 15”

Stiff paper, very dirty and beginning to crumble. Contains graph of arcs assigned to indicating light changes (Starligh Arc, Moonlight Arc, etc)

No Title, No comments.
Object 14” x 14”

Stiff paper, very dirty and beginning to crumble. Contains graph of arcs

Rainy-Day Spectrum An imitation of the solar spectrum made from the Bradley Educational Colored Papers.
Object 16” x 4”

Cardboard, dirty at edges. Color spectrum pieces of paper

Object 14” x 10”

4 pages, paper with musical scores pasted on for Color Representations in the Score. Penciled notes. Score represents hymns and Braham’s Requiem

Object 16” x 20”

Graph Paper, split in center, with numerical notations

Object roughly 2.5” x 3.5”

Colored block, orange

Object 4” x 10”

Clear plastic

Print, Suggest