The following terms have been used to index the description of this collection. They are grouped by name of person or organization, by subject or location, and listed alphabetically therein.
Gift of John Philip Sousa, Inc. represented by John Philip Sousa III and Thomas Sousa.
No further accruals are expected.
Initial inventory completed by Captain J. E. Bennett Jr. on February 7, 1977, and “JEB” numbers may be referred to in this document. Each series was processed by different individuals; refer to series for more detailed information. Finding Aid and appendices compiled in 2018 by MGySgt Jane Cross and Charles Willett, special assistant funded by the Marine Corps Heritage Foundation. MGySgt Cross coded the finding aid for EAD format in 2018. The findng aid was revised in 2019 to include the scripts.
According to U.S. Marine Corps historical property procedures, approximately three hundred and thirty artifacts were separated and accessioned through the National Museum of Marine Corps (NMMC). These items include conducting batons, uniforms, medals, personal effects, mementos, trophies, and gifts. All artifacts are stored at the US Marine Band Library and Archive except for items on display, statues stored with the Art section, and shotguns stored with the Ordnance section. Some archival items were also accessioned in 1975, but since 2000 NMMC has largely deaccessioned archival materials. NMMC accession numbers are noted where known; check with NMMC for latest accession/deaccession status for archival materials.
All items have been retained, except for the phonograph recordings and those items Thomas Sousa requested be returned or dispersed during the period when the collection was on deposit.
Please see appendices to this document for all other collections and materials in the US Marine Band Library and Archive related to the John Philip Sousa papers. Researchers are advised to reference the John Philip Sousa papers and related holdings at the Sousa Archives and Center for American Music at the University of Illinois, the Library of Congress, and the scrapbook (1904-32) located at Boston Public Library.
Materials from the John Philip Sousa papers are governed by the Copyright Law of the United States (Title 17, U.S.C.) and other applicable international copyright laws. Permission to publish, quote, or reproduce must be secured from the copyright holder.
The John Philip Sousa papers are open to research except for Series V. Personal Papers (restricted). Researchers must contact the Marine Band Library and Archives to schedule a research appointment.
Series I. Press Books of the John Philip Sousa papers is available on the Marine Band web site at
Researchers wishing to cite this collection should include the following information:[item, date, container number], John Philip Sousa papers, Marine Band Library and Archives, Washington, D.C.
John Philp Sousa was born on November 6, 1854, at 636 G Street, Southeast, Washington, DC, near Marine Barracks Washington where his father, Antonio, was a musician in the Marine Band. He received his grammar school education in Washington, D.C., and for several of his school years enrolled in a private conservatory of music operated by John Esputa Jr. There he studied piano and most of the orchestral instruments, but his first love was the violin. John Philip Sousa gained great proficiency on the violin, and at age thirteen he was almost persuaded to join a circus band. However, his father intervened and enlisted him as an apprentice musician in the Marine Band. Except for a period of six months, Sousa remained in the band until he was twenty. In addition to his musical training in the Marine Band, he studied music theory and composition with George Felix Benkert, a noted Washington, D.C. orchestra leader and teacher.
After his discharge from the Marine Corps, Sousa remained in Washington for a time, conducting and playing the violin. He toured with several traveling theater orchestras and moved, in 1876, to Philadelphia. There he worked as a composer, arranger, and proofreader for publishing houses. On December 30, 1879, he married Jane van Middlesworth Bellis, daughter of a Philadelphia carpenter.
Sousa was fascinated by the operetta form and toured with a company producing the musical Our Flirtation, for which he wrote the incidental music and the march. While on tour in St. Louis, he received a telegram offering him the leadership of the Marine Band in Washington, D.C. He accepted and reported for duty on October 1, 1880, becoming the band’s seventeenth leader.
The Marine Band was Sousa’s first experience conducting a military band, and he approached musical matters unlike most of his predecessors. He replaced much of the music in the library with symphonic transcriptions and changed the instrumentation to meet his needs. Rehearsals became exceptionally strict, and he shaped his musicians into the country’s premier military band. Marine Band concerts began to attract discriminating audiences, and the band’s reputation began to spread widely.
In 1889, Sousa wrote the “Washington Post” march to promote an essay contest sponsored by the newspaper; the march was soon adapted and identified with the new dance called the two-step. The "Washington Post" became the most popular tune in America and Europe, and critical response was overwhelming. A British band journalist remarked that since Johann Strauss Jr. was called the "Waltz King" that American bandmaster Sousa should be called the "March King." The immense popularity of the Marine Band made Sousa anxious to take his Marine Band on tour, and in 1891 President Benjamin Harrison gave official sanction for the first Marine Band tour. After the second tour in 1892, Sousa was approached by his manager, David Blakely, to organize his own civilian concert band, and on July 30 of that year, John Philip Sousa resigned as director of the Marine Band. In his twelve years as Leader of the Marine Band, the experience he gained was applied to his civilian band for the next thirty-nine years. With his own band, Sousa’s fame and reputation grew to even greater heights.
In a matter of months the Sousa Band assumed a position of equality with the finest symphony orchestras of the day. It was a concert organization, not a marching band. The finest available instrumentalists were engaged, and among the celebrated soloists to perform with the band over the years were Herbert L. Clarke (cornet), Arthur Pryor (trombone), Simone Mantia (euphonium), Estelle Liebling (soprano), and Maud Powell (violin). Numerous other artists of international fame performed with the band at one time or another. He employed a principle that endeared him to the public: Everything was played to perfection, whether it was a classical masterpiece or a popular song. The Sousa Band traveled the world in 1910- 1911, made four additional tours of Europe, and annual tours of America.
Not long after the United States entered the First World War, Sousa sought to serve once again in the armed forces. He was commissioned a Lieutenant in the Navy Reserve on May 31, 1917, and served as director of the Navy Band (“Jackie Band”) at Great Lakes Naval Training Station just north of Chicago, Illinois. He donated his salary, except for $1 per month, to charity. After his discharge in November 1918 he returned to conducting the Sousa Band.
Although Sousa is stereotyped as a march composer, he composed music of many forms, including fifteen operettas. Among his many original works for band are suites, humoresques, fantasies, descriptive pieces, and dances. In addition to the more than 200 songs of his operettas, he composed seventy other vocal works, and many of these vocal works were transcribed for use with the Sousa Band.
When Sousa was not traveling with his band, he enjoyed horseback riding, competitive trapshooting, and his home Wild Bank at Sands Point, New York. An author, he wrote three novels as well as his autobiography, titled Marching Along. He and his wife had three children: John Philip Sousa Jr., Jane Priscilla Sousa, and Helen Sousa (who married Hamilton Abert). John Philip Jr.’s children included John Philip III and Thomas, who formed John Philip Sousa, Inc. John Philip Sousa died on March 6, 1932, at Reading, Pennsylvania, following a rehearsal with the Ringgold Band. He is buried at Congressional Cemetery in Washington, D.C. On December 9, 1939, the Pennsylvania Avenue bridge across the Anacostia River was dedicated to the memory of the great American composer and bandmaster. Perhaps the most significant tribute to Sousa’s influence on American culture, “The Stars and Stripes Forever” was designated as the national march of the United States on Dec. 11, 1987.
The materials in the John Philip Sousa papers provide a fascinating look at both the man and his career. While the items officially span a period of more than 200 years, the bulk of the materials date from circa 1892 to 1932, the years in which Sousa led his own highly successful civilian concert band. His stellar reputation as a former Director of the Marine Band, along with continued triumphs as both composer and civilian conductor, resulted in his achieving a “living legend” status for several decades.
The Sousa Band Press Books are an invaluable resource. These detailed scrapbooks, also available for viewing through the Marine Band’s website, contain a wealth of information that includes concert reviews, publicity, programs, and articles both about and by Sousa. They also offer a glimpse into the ways cultural opinions were shaped and information was disseminated in a bygone era. The Images series contains a variety of photographs showing Sousa in both professional and more informal, personal settings. Included are photographs with celebrities of the day, musicians from his band (including his featured soloists), colleagues, his wife and daughters, and photographs of Sousa pursuing hobbies such as trapshooting and horseback riding. This series also contains items such as artist’s renderings of Sousa, original blueprints for his graveside memorial by architect H.C. Volz, and a rare original drawing by magazine illustrator Charles L. Hinton inscribed to his brother George, who was a member of the Sousa Band managerial staff. Correspondence in the collection, much of it from the last twenty years of Sousa’s life, shows the extent to which Sousa was involved in a myriad of activities related to his profession. Letters to and from Sousa concerning his individual compositions, discussions about royalties and copyright matters with ASCAP and music publishers, recommendations to him for performers to consider hiring, and information from accountants concerning tax filings comprise a large portion of the collection. Well-known figures of the day with whom Sousa corresponded include Charlie Chaplin, George M. Cohan, Victor Herbert, Percy Grainger, and Herbert L. Clarke. Birthday greetings, letters requesting Sousa’s opinions, communication with organizations of which Sousa was a member, and letters of condolence following Sousa’s death provide a more intimate look at the man and his widespread influence.
While a portion of Sousa’s personal papers, mainly financial in nature, remain restricted, a large number remain available for perusal. These include a variety of items, from Sousa’s baptismal certificate to concert programs to pages inscribed by or to Sousa. An impressive testament to Sousa’s popularity and prominence are the hundreds of newspaper clippings, culled from newspapers nationwide, reporting on his death and funeral. In addition, an assortment of objects best described as “ephemera” provide a look at Sousa and his family on an everyday basis; these objects include membership cards to various organizations in which he participated, passports, short music notation sketches quickly jotted down on whatever was handy, and even his daughter’s oatmeal cookie recipe. Surviving unrestricted financial documents indicate how Sousa and his musical empire carried out business on a daily basis. Detailed financial records for the Sousa Band show a highly-organized, well-oiled machine; weekly profit and loss statements were generated, by hand, with supporting documentation. Rather than being a quaint or archaic record of early twentieth-century arts management practices, these documents show how remarkably similar the requirements and procedures of the Sousa Band were to the touring musical organizations of today. Also of interest are the instances where Sousa, on an ever-upward trajectory of popularity and prosperity, apparently sought to diversify by creating additional accounts intended to more effectively handle his business ventures. Additionally, one cannot help but notice with some of the transactions in his personal accounts that even the legendary John Philip Sousa occasionally had to take time out from his artistic and business pursuits in order to write checks for routine items such as home repairs, auto insurance, and family allowances.
Befitting a major cultural figure of his day, Sousa was the recipient of numerous awards, citations, and honorary memberships from organizations that held him in high esteem. Chief among them were his honorary memberships in several temples of the Ancient Arabic Order of the Nobles of the Mystic Shrine (the “Shriners”), an appendant body to the Freemasonry that Sousa was affiliated with for more than half a century. The certificates bestowed upon Sousa by the Nobles of the Mystic Shrine are colorful, elaborate, and demonstrate the enormous respect the organization had for him. “Sousa Day” proclamations were issued by several American cities, honorary doctorates were bestowed, and World’s Fair certificates of participation were issued. Those items, along with many other types of citations, are preserved in the current collection.
Periodicals in this collection feature not only material written about Sousa, but also by him; of particular interest is a series of autobiographical articles that he wrote in 1925 for the Saturday Evening Post titled “Keeping Time.” These articles were eventually expanded into book form and serve as the framework for his 1928 autobiography, Marching Along. A nearcomplete run of the journal Musical Quarterly from 1915 through 1932, while containing no material about Sousa, indicates that he was interested in the scholarly writings related to his profession. A wide assortment of books and play scripts from Sousa’s personal library, to include volumes dealing with music history, orchestration and composition, as well as essays on music, dictionaries of music, and biographies of musicians, are further evidence that he was constantly engaged in the pursuit of knowledge about music. The scores in the Notated Music series suggest that, while Sousa also maintained study scores by the old masters, as well as collections of both piano music and song forms, he had a particular interest in opera; a large number of the holdings are piano/vocal scores to well- and lesser-known operas and operettas, including many works of his contemporaries Gilbert and Sullivan, who no doubt influenced Sousa’s own approach to creating works for the stage. Several scores and libretti for Sousa’s own operettas are included in the series.
The collection is organized into eleven series. Two appendices provide supplemental information.
Spanning the entire existence of the Sousa Band, newspaper clippings and concert programs were saved and mounted in large scrapbooks, totaling around 9,000 pages. These scrapbooks contain detailed information about Sousa Band performances including publicity materials, articles reviewing performances, and concert programs. Interviews with Sousa and articles written by him reveal a tremendous amount of information about Sousa the composer and conductor. The scrapbooks also include information about premières, programs, soloists, and concert venues.
In instances where the original press books contained a large volume of material, they were divided into multiple parts in their corresponding online version in order to create a more easily navigable digital file. Please visit the Press Books online at https://www.marineband.marines.mil/About/Library-and-Archives/SousaBand-Press-Books/
Organized chronologically.
Researchers will be served photocopies or microfilm due to brittleness of the originals.
The books were microfilmed in 1977 by the Marine Corps Museums Branch, Marine Corps Historical Center. In 1980, the scrapbooks were relocated to the Marine Band Library and were interleaved with acid-free tissue paper. GySgt Susan Koutsky and GySgt Russ Girsberger photocopied the books in the 1990s. The microfilm was digitized in 2016 by Creekside Digital in Glen Arm, Maryland. The PDF files were prepared for the internet by special assistant Eric Sonnenberg in 2017.
This series contains photographs (the bulk of the material), sketches, and artist’s reproductions. Also included are the architectural blueprints for the Sousa Grave in Washington, D.C.’s Congressional Cemetery. The majority of the photographs were taken in the years following Sousa’s tenure as Director of the Marine Band, after he had become the leader of his own highly successful civilian concert band. These photographs, which include both formal and informal portraits and settings, show Sousa alone or with family, colleagues, and celebrities of the era; many of the images also highlight Sousa’s interest in trap-shooting and horseback riding. Unless otherwise noted, all items listed are photographs; with rare exceptions, the photographs have corresponding digital file names (SOU). All items can be found by using either the Box/Folder location (most photographs are located at 12.5.17.5.1-3, Boxes 7-14 and 16-18) or the individual shelf location. Additionally, whenever an item was previously assigned a “JEB” number or accession number, that number is also included here.
List arranged alphabetically by subject.
Photographs were described and digitized by Kaitlin Mays and GySgt Kira Wharton in 2017
Four women (including Helen and Jane Priscilla) pictured in photo with one man.
35-4-27(LARGE), 35-4-27(SMALL)
First convention ABA, Middletown, Ohio, photo includes Taylor Branson, Karl King, Frank Simon, Herbert L. Clarke.
SOU_1930_536(LARGE), SOU_1930_536(SMALL), names of men in above photo SOU_1930_536(BACK)
Colored photogprah of Sousa Band's 10th anniversary cake.
1976.173.1
SOU_1950c_296_1(FRONT), writing on reverse SOU_1950c_296_1(BACK)
Caricature of the life of John Philip Sousa by cartoonist Salvador Baguez.
1976.227.1
Winifred Bambrick, harp soloist, Sousa Band portrait.
SOU_1927_175(FRONT), writing on reverse SOU_1927_175(BACK)
Winnifred Bambrick, harp soloist, Sousa Band.
SOU_1927_171_1(FRONT), writing on reverse SOU_1927_171_1(BACK), SOU_1927_171_3(FRONT), writing on reverse SOU_1927_171_3(BACK), SOU_1927_171_4(FRONT), writing on reverse SOU_1927_171_4(BACK)
Massed Band Concert at Soldiers Field, Chicago.
36-2-41(FRONT), writing on reverse 36-2-41(BACK)
Band performing in background, left side.
36-2-50
As La Pastorella in
SOU_1900c_306(FRONT), writing on reverse SOU_1900c_306(BACK)
Jim Bower, Navy Lietenant, with open cape, cover in hand.
36-2-26(FRONT), writing on reverse 36-2-26(BACK)
Portrait of Navy officer Adam Bull.
36-2-47
Eileen Sousa Cary sitting for photo in a striped dress.
SOU_1930c_354(LARGE), SOU_1930c_354(SMALL)
Men and women standing around memorial.
SOU_1948c_369_6, SOU_1948c_369_7(FRONT), writing on reverse SOU_1948c_369_7(BACK)
Man in Sousa band uniform holding baton, may be Pat Conway at Willow Grove.
SOU_1922_216
Pres. Coolidge and Pres. of Cuba with other distinguished men.
36-2-27(FRONT), writing on reverse 36-2-27(BACK)
Sousa band member swimming with an unidentified woman.
SOU_1910c_52
SOU_1922_145_2, SOU_1922_145_3(FRONT), SOU_1922_145_3(BACK), SOU_1922_145_4(FRONT), SOU_1922_145_4(BACK), SOU_1922_145_5
Mr. Dolan, (cornet player) standing at Pier in Sousa Band uniform.
SOU_1928_225
Photo of the Emmett grave; Emmett was the composer of “Dixie," writing on reverse
Photo in small oval frame, thought to be of John Esputa, Jr., director of the music conservatory where Sousa studied as a boy
Unknown group of foreigeners and natives.
SOU_1910c_310(FRONT), description of photo on reverse SOU_1910c_310(BACK)
Harry A. Fricke, Sousa band member french horn.
SOU_1895c_307(FRONT), writing on reverse SOU_1895c_307(BACK)
Girl ready to cut huge birthday cake decorated with flags.
SOU_1929c_250
Gus Helmeke posing with bass drum.
SOU_1928c_329(FRONT), writing on reverse SOU_1928c_329(BACK)
Pencil drawing, 14” x 11.5”, by Charles L. Hinton, inscribed to George F. Hinton, April 25, 1892.
JEB 1082
View with trees near shore.
SOU_1929_308_1(FRONT), writing on reverse SOU_1929_308_1(BACK)
Portrait autographed and inscribed ‘To my dear Princess Pat from her loving friend’
Marcella Lindh posed in front of harp and piano autographed to Jane Priscilla Sousa.
SOU_1905_302_1, caption to above photo SOU_1905_302_2
Photo of man and woman standing.
SOU_1930c_291_6, copy of above photo SOU_1930c_291_9
Conducting a band.
SOU_1948c_369_5
Sitting in a lawn chair.
SOU_1950c_296_6
In pinstripe suit seated on wood chair, autographed to J.P. Sousa Jr. and Mr. and Mrs. John Philip Sousa.
35-7-31_1, 35-7-31_2
Reproduction of a sketch of an unidentified man
Newsprint copy of 1882 U.S. Marine band photo.
SOU_1882_332(LARGE), SOU_1882_332(SMALL)
U.S. Marine Band in Albany.
SOU_1885_7(FRONT), writing on reverse SOU_1885_7(BACK)
Marine Corps Bugler, Drummer boy on board ship.
36-2-45
Portrait of a Marine Corps Brigadier General, autographed, darker uniform.
SOU_1931_259(LARGE), SOU_1931_259(SMALL)
Two men and hunting dogs at Pinehurst, Christmas 1907.
SOU_1907_39(LARGE), SOU_1907_39(SMALL)
Standing in grass in front of car.
SOU_1948c_369_4
Grainy image of men standing in a field.
35-1-34(FRONT), description of photo? 35-1-34(BACK)
Marjorie Moody portrait.
SOU_1928c_176_1(FRONT), writing on reverse SOU_1928c_176_1(BACK), SOU_1928c_176_2(FRONT), writing on reverse SOU_1928c_176_2(BACK), SOU_1928c_176_3(FRONT), writing on reverse Sou_1928c_176_3(BACK)
Portrait of Marjorie Moody wearing crown in hair and long necklace.
SOU_1928c_335_1(FRONT), writing on reverse SOU_1928c_335_1(BACK), SOU_1928c_335_2(FRONT), writing on reverse SOU_1928c_335_2(BACK)
Full length photo of Marjorie Moody.
SOU_1928c_236(FRONT), writing on reverse SOU_1928c_236(BACK)
Men and women sitting and standing for photo.
SOU_1948c_369_3
Autographed picture of Gen. G.E. Richards, dated March 1st, 1932 and inscribed to Sousa.
SOU_1931_259
Virginia Root portrait, Sousa Band soloist.
SOU_1910c_240
Virginia Root, Soprano soloist.
SOU_1917_94
Sculptor Walter Russell completes statue of John Philip Sousa and a fresco of Sousa directing his famous band.
35-4-22(FRONT), Writing on reverse 35-4-22(BACK)
Four color prints used by Sousa Band for World Tour of 1911.
1976.166.1
Photo of shoe cllection.
SOU_1917c_99(FRONT), writing on reverse SOU_1917c_99(BACK)
Framed, pen and ink, 8x10, unknown subject.
JEB 1080
USN Captain Moffett; pen and ink sketch; 6 x 8 framed; signed by artist and autographed to Sousa.
JEB 1081
Sousa Band Fraternal Society twelfth annual dinner (6 November 1955).
SOU_1955_362
Sousa band posed with instruments in Hamburg, Germany, May 1900.
35-7-7_1(LARGE), 35-7-7_1(SMALL), 35-7-7_2
Stereoscope card of the band heading the crew of the Olympia in the Dewey Land Parade, New York.
35-7-7_1(LARGE), 35-7-7_1(SMALL), 35-7-7_2
Sousa Band posed in front of building at Willow Grove Park, Pennsylvania, 1905.
35-7-6
Sousa Band in Johannesburg South Africa, 1911.
35-7-1, 35-7-2(FRONT), writing on reverse 35-7-2(BACK)
Philadelphia Metropolitan Opera House program for Sousa Band, photo autographed.
SOU_1922_147
Sousa Band Cornet section.
SOU_1924c_160(FRONT), names of members on reverse SOU_1924c_160(BACK)
Band members in uniform holding Sousaphone.
SOU_1925c_392
John Sousa Philip Bridge under construction.
SOU_1939_352_1, SOU_1939_352_2, SOU_1939_352_3
John Philip Sousa Memorial Bridge dedication ceremony.
SOU_1939_353(FRONT), writing on reverse SOU_1939_353(BACK)
Group of men standing beside a plaque of John Philip Sousa bridge.
35-1-6
View of completed John Philip Sousa bridge.
35-1-9
Nine men standing on the John Philip Sousa bridge.
35-1-10
Three generations of Sousas at piano, 1919.
SOU_1922_150(FRONT), writing on reverse SOU_1922_150(BACK)
Three generations of Sousas standing.
SOU_1930c_149(FRONT), writing on reverse SOU_1930c_149(BACK)
Backed bench at Sousa grave.
SOU_1932c_348_1(LARGE), SOU_1932c_348_1(SMALL)
Backed bench and gravestone at Sousa grave.
SOU_1932c_348_2(LARGE), SOU_1932c_348_2(SMALL), SOU_1932c_348_3(LARGE), SOU_1932c_348_3(SMALL), writing on reverse SOU_1932c_348_3(BACK), SOU_1932c_348_4(LARGE), SOU_1932c_348_4(SMALL)
View of grave, the church in the background.
SOU_1933c_348_1, SOU_1933c_348_2
View of grave from behind the wreath.
SOU_1933c_348_3(FRONT), writing on reverse SOU_1933c_348_3(BACK)
View of grave from in front of wreath.
SOU_1933c_348_4
Architect’s blueprint (full-size) for John Philip Sousa memorial, dated May 1933, H.C. Volz, architect
Architect’s blueprint (perspective sketch) for John Philip Sousa memorial, dated May 19, 1933, Hans C. Volz, architect (See also: correspondence in Box 5, Folder 10)
Architect’s blueprint for the headstone of John Philip Sousa, II, J.F. Manning Co. Inc., dated May 9, 1938
Group of men and women (including Jane Priscilla Sousa and Helen Sousa Abert) standing at Sousa's grave, one man is playing an instrument.
35-1-4
Two men standing beside a flower wreath embellished with Sousa, at Sousa's grave.
35-1-5
John Philip Sousa's daughters, and men standing at Sousa's grave.
35-1-12
Group of people at grave.
SOU_1948_355(FRONT), writing on reverse SOU_1948_355(BACK)
Band playing at the dedication of the monument.
SOU_1948c_369_1(FRONT), writing on reverse SOU_1948c_369_1(BACK)
Men and women in front of grave.
SOU_1948c_369_2
View of grave at a close distance.
SOU_1960c_372_1
View of grave at further distance.
SOU_1960c_372_2
View of grave up close.
SOU_1960c_372_3
View of John Philip Sousa grave.
35-1-6
Man standing talking to a group of men near Sousa's grave.
35-1-7
Trumpeter playing before Sousa's grave surrounded by men and women, including Jane Priscilla Sousa and Helen Sousa Abert.
35-1-7(BACK)
View of Sousa's grave, bench in front.
35-1-8
Closeup view of Sousa's grave.
35-1-8
Four men standing at Sousa grave in uniform.
35-1-10
Trumpeter playing at Sousa's grave.
35-1-11
Women (including Jane Priscilla Sousa and Helen Sousa Abert) and men standing at Sousa's grave.
35-1-11
Sousa Memorial Fountain, Willow Grove Park, PA, dedicated July 1, 1934
Architect's drawing of proposed monument to Lt. Cmdr Sousa to be erected at Port Washington.
SOU_1932_347
From the chest up, in uniform.
SOU_1860c_1(LARGE), SOU_1860c_1(SMALL), writing “Antonio Sousa” on reverse SOU_1860c_1(BACK)
At a drum set.
SOU_1900c_313(FRONT), writing on reverse SOU_1900c_313(BACK)
SOU_1898c_12
Photo of drawing of woman, maybe Jane Priscilla Sousa.
SOU_1900_327_1b(LARGE), SOU_1900_327_1b(SMALL), SOU_1900_327_2b(LARGE), SOU_1900_327_2b(SMALL), SOU_1900_327_3(LARGE), SOU_1900_327_3(SMALL)
photo of drawing of woman maybe Jane Priscilla Sousa.
SOU_1900_327_1(LARGE), SOU_1900_327_1(SMALL), SOU_1900_327_2(LARGE), SOU_1900_327_2(SMALL), SOU_1900_327_3(LARGE), SOU_1900_327_3(SMALL), SOU_1900_327_4(LARGE), SOU_1900_327_4(SMALL), SOU_1900_327_5(LARGE), SOU_1900_327_5(SMALL)
Jane Priscilla Sousa sitting with shoe collection.
SOU_1917_98_1(FRONT), writing on reverse SOU_1917_98_1(BACK), SOU_1917_98_2(FRONT), writing on reverse SOU_1917_98_2(BACK)
Jane Priscilla sitting on bench in woods with three dogs.
SOU_1918_110(FRONT), writing on reverse SOU_1918_110(BACK)
Priscilla sitting on a bench surrounded by three dogs.
SOU_1918_110(LARGE), SOU_1918_110(SMALL)
Oval drawing in gilt frame. Pencil portrait of bust of woman in hat, possibly Jane Priscilla Sousa, signature illegible. Gilt frame mfg OPR w/ paper backing w/ pencil handwriting: "Pris?"
JEB 1137, 1976.139.1
and friend in bathing suits in water.
SOU_1955c_371_1(FRONT), writing on reverse SOU_1955c_371_1(BACK)
and a friend.
SOU_1955c_371_2(FRONT), writing on reverse SOU_1955c_371_2(BACK)
And two men in front of a car.
SOU_1955c_371_3
Jane Priscilla Sousa, Mrs. Sousa and Helen Sousa Abert standing side by side.
SOU_1934_349(FRONT), writing on reverse SOU_1934_349(BACK)
Jane Priscilla Sousa and Mrs. John Philip Sousa with a male high school band student.
SOU_1938c_365(FRONT), writing on reverse SOU_1938c_365(BACK)
standing in a formal dress.
SOU_1880c_305
Young woman in light colored lace dress, presumed to be Jane van Middlesworth Sousa
Mrs. Sousa standing for a picture in a white dress.
SOU_1898c_15(FRONT), writing on reverse SOU_1898c_15(BACK)
Mrs. Jane Van Middlesworth Bellis Sousa portrait.
SOU_1898c_15_1(LARGE)
Mrs. Jane Van Middlesworth Bellis Sousa portrait.
SOU_1898c_15(SMALL) SOU_1898c_15_2(LARGE)
portrait of Mrs. Sousa in white dress and hat.
SOU_1898c_15_1(LARGE), SOU_1898c_15_1(SMALL), SOU_1898c_15_2(LARGE), SOU_1898c_15_2(SMALL)
SOU_19061114_391(LARGE), writing on reverse SOU_19061114_391(SMALL)
Mrs. Sousa in formal dress with hat.
SOU_1911_61(LARGE), SOU_1911_61(SMALL)
Portrait of Mrs. John Philip Sousa seated on chair.
SOU_1915c_303
Mrs. Sousa portrait posed in front of large tree trunk.
35-7-12
Sousa at age 21.
SOU_1875_2_1(FRONT), writing on reverse SOU_1875_2_1(BACK), SOU_1875_2_2(FRONT), writing on reverse SOU_1875_2_2(BACK), nine more copies of above photo, SOU_1875_2
Sousa portrait at age 21.
SOU_1875_2(FRONT)(2), writing on reverse SOU_1875_2(BACK)(2)
Sousa and Marine Band Cape May NJ 1882.
SOU_1882_332(FRONT), writing on reverse SOU_1882_332(BACK)
Sousa and Marine Band Palace Hotel San Francisco, 4 April 1892.
SOU_1882_332_1(FRONT), writing on reverse SOU_1882_332_1(BACK)
Sousa with Marine Band in Cape May 1882.
35-7-5(LARGE), 35-7-5(SMALL), writing on reverse 37-7-5(BACK)
Portraits in Marine Band uniform.
SOU_1889_3_1 through SOU_1889_3_6, and SOU_1889_3 through SOU_1889_3_3
Sousa with Marine Band, September 1891, advance publicity for First Pacific Coast Concert Tour of 1892.
SOU_189109_5
Portrait in civilian band uniform in spectacles, beard and moustache.
SOU_1893c_128(FRONT), writing on reverse, says “about 1910” SOU_1893c_128(BACK)
In uniform, seated on large carved chair,
SOU_1898c_129
Sousa portrait in civilian uniform sitting on ornate chair, leaning forward with hands folded.
SOU_1898c_129(LARGE), writing on reverse SOU_1898c_129(SMALL)
With five men at Trap Shoot, titled “After the Doubles."
SOU_1900c_328(FRONT), Writing SOU_1900c_328(BACK)
With Sousa Band in bandstands in Paris.
SOU_1900_23(FRONT), writing on reverse SOU_1900_23(BACK)
With a group of adults.
SOU_1900_34(FRONT), writing on reverse SOU_1900_34(BACK), copy of above photo SOU_1900_34_1, SOU_1900_34_2
Sousa with Band in Paris outside of building, view from the right.
SOU_1900_21
Sousa with band in Paris outside of building, view from the left.
SOU_1900_20
Sousa with Band in Paris outside building, full band in view.
SOU_1900_19
Sousa and friend on horses at full gallop.
SOU_1902c_28(FRONT), writing on reverse SOU_1902c_28(BACK), SOU_1902c_28(SMALL)
Sousa riding a horse on a dirt road.
SOU_1902c_315(LARGE), SOU_1902c_315(SMALL)
Sousa and Sousa Baseball Club 1904-1905.
SOU_1904_190(FRONT), writing on reverse SOU_1904_190(BACK)
On horseback.
SOU_1905c_293
Sitting on horse, tree behind him, right side.
SOU_1905c_293_1
Sitting on horse, tree behind him, left side.
SOU_1905c_293_2, copy of above photo SOU_1905c_293_5
Sitting on horse, near unidentified man.
SOU_1905c_293_3
Sitting on horse, house behind him, left side.
SOU_1905c_293_4(FRONT) copy of above photo SOU_1905c_293_6, writing on reverse, says “on Aladdin?” SOU_1905c_293_4(BACK)
John Philip Sousa 3/4-length portrait in civilian uniform with three miniature medals.
SOU_1905_317
Sousa riding bicycle with an unknown man.
SOU_1905_33
Sousa riding a horse with George O’Donnel riding beside him.
SOU_1905_32_1(LARGE), SOU_1905_32_1(SMALL)
Sousa racing a horse against George O’Donnel, at a full gallop.
SOU_1905_32_2(LARGE), SOU_1905_32_2(SMALL)
Portrait of Sousa in civilian band uniform with beard and handlebar.
SOU_1905_132(LARGE), SOU_1905_132(SMALL)
With four men holding rifles.
SOU_1908_45_1(FRONT), copy of above photo SOU_1908_45_2, writing on reverse SOU_1908_45_1(BACK)
In countryside with horse and buggy.
SOU_1908c_46(FRONT), writing on reverse SOU_1908c_46(BACK)
Studio portrait of Sousa in hunting outfit.
SOU_1908c_47(LARGE), SOU_1908c_47(SMALL)
Sousa with unidentified man; wearing riding outfits, with two horses, writing on reverse
Photo of Pinehurst medallion.
SOU_1909_49
On horseback at Virginia Hot Springs.
SOU_1910c_298_1
On horseback next to another man on horseback.
SOU_1910c_298_2(FRONT), description of photo SOU_1910c_298_2(BACK)
Sousa on horseback with a friend, standing in front of a stone fence.
SOU_1910c_320
Sousa in rickshaw.
SOU_1910c_304
Sousa posing at Trap Shoot with four men, two seated, three standing.
SOU_1910c_54(LARGE), SOU_1910c_54(SMALL)
At a costume party.
SOU_1911_35(FRONT), writing on reverse SOU_1911_35(BACK)
Sousa firing on trap line, view from behind.
SOU_1912_63_3(LARGE), SOU_1912_63_3(SMALL)
Sousa with five other people sitting in a tent at a trap shoot.
SOU_1912_63_1(LARGE), SOU_1912_63_1(SMALL), writing on reverse SOU_1912_63_1(BACK), SOU_1912_63_2(LARGE)(2), SOU_1912_63_2(SMALL)(2)
Sousa at 7th Southern handicap tournament in Columbus, Georgia.
SOU_1912_63_1(FRONT), writing on reverse SOU_1912_63(BACK), SOU_1912_63_2(FRONT)
With gun, hat brim turned up.
SOU_1913c_334
At Traps.
SOU_1913c_105(LARGE), SOU_1913c_105(SMALL)
Sousa on trap line with four other men, view from right front.
SOU_1913c_68(LARGE), SOU_1913c_68(SMALL), writing on reverse SOU_1913c_68(BACK)
Sousa in civilian band uniform in conducting pose.
SOU_1914_120
Sousa in light colored suit, hat, and white shoes standing on large brick patio.
SOU_1914c_73, SOU_1914c_73(SMALL)
Looking at camera holding rifle upward.
SOU_1915_295_1
Standing with three women and one man.
SOU_1915_295_2
Shooting from a raised platform.
SOU_1915_295_3(FRONT), “Mr.Sousa” on reverse SOU_1915_295_3(BACK)
Standing with three men in front of canoes.
SOU_1915_295_4
Standing with four men and one sitting.
SOU_1915_295_5(FRONT), description of picture on reverse SOU_1915_295_5(BACK)
Standing, aiming rifle at eye level.
SOU_1915_295_6
Sitting surrounded by four men and baskets.
SOU_1915_295_7
Sitting on a bench.
SOU_1915_295_8(FRONT), description of picture and funny comment on reverse SOU_1915_295_8(BACK)
Sousa at trap shoot wearing checkered shooting outfit with dog laying at his feet.
SOU_1915c_72
Sousa in a suit.
SOU_1915c_135A SOU_1915c_135B
Sousa portrait in civilian clothing.
SOU_1915_134_1(FRONT), SOU_1915_134_2(FRONT), writing on reverse SOU_1915_134_2(BACK), SOU_1915_134_3(FRONT), writing on reverse SOU_1915_134_3(BACK), SOU_1915_134_4(FRONT), writing on reverse SOU_1915_134_4(BACK), SOU_1915_134_5(FRONT), writing on reverse SOU_1915_134_5(BACK), SOU_1915_134_6
Sousa sitting on horseback in field near building.
SOU_1915c_289_1(FRONT), writing on reverse SOU_1915c_289_1(BACK)
Sousa sitting on horseback in field near building.
SOU_1915c_289_1(SMALL)
Sousa with friend riding horse.
SOU_1915c_289_2(LARGE), SOU_1915c_289_2(SMALL)
Sousa with a friend on a horse.
SOU_ 1915c_319(LARGE), SOU_ 1915c_319(SMALL)
John Philip Sousa sitting atop a horse.
SOU_1915_289(LARGE), SOU_1915_289, writing on reverse SOU_1915_289(BACK)
In white suit checking a gun.
SOU_1916c_87(FRONT), writing on reverse SOU_1916c_87(BACK)
Sousa wearing striped winter coat with patch marked St. Paul Outdoor Sports Festival.
SOU_1916_107_1, copy of above photo SOU_1916_107_4, SOU_1916_107_2(FRONT), writing on reverse SOU_1916_107_2(BACK)
Sousa wearing striped winter coat with patch marked St. Paul Outdoor Sports Festival, Sousa sitting, view from waist up.
SOU_1916_107_3(FRONT), writing on reverse SOU_1916_107_3(BACK)
Sousa marching with his band in New York City Hip Hip Hourly Parade.
SOU_19160612_93(FRONT), writing on reverse SOU_19160612_93(BACK)
Sousa seated in wicker chair with white dog (Tessie) at Sands Point Home.
SOU_1916_81(LARGE), SOU_1916_81(SMALL)
Sousa and another man with two horses.
SOU_1916_89(LARGE), SOU_1916_89(SMALL)
Sousa sitting on a log fence overlooking a body of water.
SOU_1916_90(LARGE), SOU_1916_90(SMALL)
Sousa standing beside a horse.
SOU_1916_85(LARGE), SOU_1916_85(SMALL)
Sousa on favorite horse “Patrician Charles.”
SOU_1916_88(LARGE), SOU_1916_88(SMALL)
Sousa with double-barreled shotgun at rest (five copies).
Sousa with double-barreled shotgun pointed upward (four copies).
Throwing a ball; sepia.
SOU_1917_97
Posed in Navy Lt. uniform.
SOU_1917_95(FRONT), writing SOU_1917_95(SIDE PANEL)
Face, up close in civilian band uniform, in moustache/no beard.
SOU_1917_138(FRONT), writing on reverse SOU_1917_138(BACK)
Standing beside three phonographs.
SOU_1917c_105(FRONT), writing on reverse SOU_1917c_105(BACK)
Portrait in white civilian uniform, coat, and hat.
SOU_1917c_43
in Lt. Commander uniform sitting on ornate wood chair with cover on.
SOU_1917_92(FRONT), writing on reverse SOU_1917_92(BACK)
Lt. Commander Sousa marching in parade with Jackie Band with sword over right shoulder.
SOU_1917_423(FRONT), writing on reverse SOU_1917_423(BACK)
Sousa in Navy Lieutenant Commander uniform with a cavalry officer.
SOU_1917_106
Sousa marching with Jackie Band in New York City, 1st Liberty Loan Drive.
SOU_19171005_100_1(FRONT), writing on reverse SOU_19171005_100_1(BACK), SOU_19171005_100_2(FRONT), writing on reverse SOU_19171005_100_2(BACK), SOU_19171005_100_3(FRONT), writing on reverse SOU_19171005_100_3(BACK)
Sousa marching with Jackie Band in Liberty Loan drive in Cleveland.
SOU_1917c_376_1, SOU_1917c_376_2
In between two naval officers.
SOU_1918c_297_1(FRONT), writing on reverse SOU_1918c_297_1(BACK)
Talking to a naval officer.
SOU_1918c_297_2
Conducting Jackie Band in Peoria, Illinois.
SOU_1918_114(FRONT), writing on reverse SOU_1918_114(BACK)
Sousa marching with Jackie Band, view from directly over band.
SOU_1918c_101_1(FRONT), writing on reverse SOU_1918c_101_1(BACK), SOU_1918c_101_2(FRONT), writing on reverse, "Great Lakes Navy Band" SOU_1918c_101_2(BACK), SOU_1918c_101_3
Sousa checking gun in Sousa band uniform.
SOU_1918_111(FRONT), writing on reverse SOU_1918_111(BACK)
Lt. Cmdr Sousa with five Sousa band members.
SOU_1918c_112_1, SOU_1918c_112_2
Lt. Cmdr Sousa with five Sousa band members.
SOU_1918c_112_3(FRONT), writing on reverse SOU_1918c_112_3(BACK)
Sousa at Montreal trapshooters competition.
SOU_1918_375_1(FRONT), writing on reverse SOU_1918_375_1(BACK), SOU_1918_375_2(FRONT), writing on reverse SOU_1918_375_2(BACK)
Sousa in civilian band coat with miniature medals and army cover.
SOU_1920c_325_1
Sousa portrait, civilian band uniform with officers cover.
SOU_1920c_325
Sousa wearing cloak and white navy coat.
SOU_1920c_321
Portraits of Lt. Cmdr Sousa autographed proofs.
SOU_1920c_346_1, SOU_1920c_346_2, SOU_1920c_346_3, SOU_1920c_346_4, SOU_1920c_346_5, SOU_1920c_346_6
Sousa on black horse, holding shot gun.
SOU_1920c_339(LARGE), SOU_1920c_339(SMALL)
Sousa portrait holding copy of Great Lakes Recruit.
SOU_1920_322
With six bandsmen, standing beside train.
SOU_1922c_148(FRONT), writing on reverse SOU_1922c_148(BACK)
Sousa with man in a garden.
SOU_1922_124(FRONT), writing on reverse SOU_1922_124(BACK)
Photo of Sousa with Masonic members of band.
SOU_1922_145_1
Autographed Sousa portrait (stamped?) in civilian uniform and dark Army cover.
SOU_1922_153(LARGE), SOU_1922_153(SMALL)
Sousa visiting the Simons Co., Kenosha, Wisconsin, November 11, 1923.
SOU_19231117_198(FRONT), writing on reverse SOU_19231117_198(BACK)
Sousa receiving a degree at Marquette University.
SOU_1923_152(FRONT), writing on reverse SOU_1923_152(BACK)
Portrait wearing Shriners Fez at Almas Temple Washington, DC.
SOU_1924_263(FRONT), writing on reverse SOU_1924_263(BACK)
Portrait with the Washington Post musical signature.
SOU_1924_156
Sousa with others at Copyright meeting in Washington; pictured are Irving Berlin, Jerome Kern, Victor Herbert, Gene Buck.
SOU_1924_337(FRONT), writing on reverse SOU_1924_337(BACK)
Sousa with group of men in front of US Capitol.
SOU_1924_161
Sousa wearing Fez conducting massed Shrine bands.
SOU_1924_221
Sousa birthday cake presented by the Vortex Club of Detroit.
SOU_1924_155(LARGE), SOU_1924_155(SMALL)
With civilian uniform, Navy hat, and black overcoat.
SOU_1926c_309(FRONT), writing on reverse SOU_1926c_309(BACK)
With Judge Landis, Baseball Commissioner, looking at music.
SOU_1926_214_1, document detailing picture SOU_1926_214_1
Sousa with Judge Landis, commissioner of baseball, Sousa holding bat and Landis holding baton.
SOU_1926c_213(FRONT), writing on reverse SOU_1926c_213(BACK)
Lt. Cmdr Sousa standing with Judge Landis in a hallway.
SOU_1926c_215_1
photo of Lt. Cmdr Sousa with Edwin Franko Goldman and Ruth Cooper of Joliet Township High School Band.
SOU_1926c_215_3
Conducting massed bands at Iowa State Fair.
SOU_1927_299(FRONT), writing on reverse SOU_1927_299(BACK)
With Clarence Chamberlin in Des Moines.
SOU_1927_300(FRONT), writing on reverse SOU_1927_300(BACK)
With four band members (smallest photo).
SOU_1927c_292_1(FRONT), writing on reverse SOU_1927c_292_1(BACK)
With four band members (medium shade).
SOU_1927c_292_2(FRONT), writing on reverse SOU_1927c_292_2(BACK), SOU_1927c_292_3(FRONT), writing on reverse SOU_1927c_292_3(BACK)
With four band members (darkest shade). SOU_1927c_292_4(FRONT), writing on reverse SOU_1927c_292_4(BACK)
Talking with Clarence Chamberlin.
SOU_1927_294_1(FRONT), writing on reverse SOU_1927_294_1(BACK), SOU_1927_294_2(FRONT), writing on reverse SOU_1927_294_2(BACK)
On bandstand in Lt. Cmdr uniform saluting.
SOU_1927c_169(FRONT), writing on reverse SOU_1927c_169(BACK)
Sousa posing outside Christ's Church.
SOU_1927c_185(FRONT), writing on reverse SOU_1927c_185(BACK)
Birthday cake presented to Sousa in Detroit while on tour.
SOU_1927c_186_1, SOU_1927c_186_2(FRONT), writing on reverse SOU_1927c_186_2(BACK)
Sousa inspecting corn in garden of Sands Point Home.
SOU_1927_184(FRONT), writing on reverse SOU_1927_184(BACK)
Sousa on front porch of Sands Point Home.
SOU_1927_168
Sousa in front of display window at Brentanos bookstore.
SOU_1927_166_1(FRONT), writing on reverse SOU_1927_166_1(BACK), SOU_1927_166_2, SOU_1927_166_3(FRONT), writing on reverse SOU_1927_166_3(BACK)
Sousa standing on front porch at Sands Point Home.
SOU_1927c_168(FRONT), writing on reverse SOU_1927c_168(BACK)
Sousa shooting traps on boardwalk at Atlantic City.
SOU_1927c_227(FRONT), SOU_1927c_227(SMALL)
Sousa with bathing beauties in Atlantic City.
SOU_1927_268_1, SOU_1927_268_2
Lt. Cmdr Sousa speaking with Rev Brother Alman and two navy officers at US Nautical Training Schools, 12 April 1927.
SOU_1927_247(LARGE), SOU_1927_247(SMALL), writing on reverse SOU_1927_247(BACK)
Portrait in light colored pin stripe suit.
SOU_1928_170_1, writing on reverse SOU_1928_170_2
With several band members on a boat, in civilian clothing.
SOU_1928c_419
Lt. Cmdr Sousa portrait wearing white cover.
SOU_1928_323_1, copies of above photo SOU_1928_323_2, SOU_1928_323_3, SOU_1928_323_4, SOU_1928_323_5
Portrait in Navy uniform, miniature medals, and white cover.
SOU_1928c_324_1(FRONT), writing on reverse SOU_1928c_324_1(BACK), SOU_1928c_324_2, SOU_1928c_324_3, SOU_1928c_324_4, SOU_1928c_324_5
Sousa riding in a covered carriage with another man.
SOU_1928_196(FRONT), writing on reverse SOU_1928_196(BACK)
Portrait in Navy uniform, miniature medals and white cover.
36-2-40_1
Portrait in Navy uniform.
36-2-40_2
Lt. Cmdr Sousa conducting small band at Atlantic City.
SOU_1928c_194(FRONT), writing on reverse SOU_1928C_194(BACK)
Lt. Cmdr Sousa standing on ornate carriage near entrance to Steel Pier.
SOU_1928_191
Lt. Cmdr Sousa standing beside ornate carriage advertising Sousa band at Steel Pier.
SOU_1928c_207(FRONT), writing on reverse SOU_1928c_207(BACK)
Lt. Cmdr Sousa ready to fire human cannon ball on Steel Pier at Atlantic City.
SOU_1928_195(FRONT), writing on reverse SOU_1928_195(BACK)
Sousa standing with boat crew sign above reads Rotorship.
SOU_1928c_203(FRONT), writing on reverse SOU_1928c_203(BACK)
Sousa standing with boat crew in front of boat in Baden Baden, Hamburg.
SOU_1928c_202(FRONT), writing on reverse SOU_1928c_202(BACK)
Lt. Cmdr Sousa shaking hands with wax figure of Douglas Fairbanks at Atlantic City.
SOU_1928_200
Lt. Cmdr Sousa standing with four people in front of car.
SOU_1928c_199
Lt. Cmdr Sousa with diving horse at Steel Pier Atlantic City.
SOU_1928c_198
Lt. Cmdr Sousa standing on original horse car used in movie
SOU_1928c_197
Lt. Cmdr Sousa in chariot used in movie
SOU_1928_193(FRONT), writing on reverse SOU_1928_193(BACK)
Sousa with Sam Katz signing Sousa Band enlargement contract.
SOU_1928c_187(FRONT), writing on reverse SOU_1928c_187(BACK)
Lt. Cmdr Sousa standing with two female soloists.
SOU_1928c_239(FRONT), SOU_1928c_239(SMALL)
Sousa riding inside carriage, arriving at Steel Pier, poster advertising the performance of the Sousa Band.
SOU_1928c_209(FRONT), writing on reverse SOU_1928c_209(BACK)
Lt.Cmdr Sousa shaking hands with chief of fire department on boardwalk at Atlantic City.
SOU_1928c_208
Lt. Cmdr Sousa standing beside smoking Human Cannon Ball at Atlantic City.
SOU_1928c_205(FRONT)(2), writing on reverse SOU_1928c_205(BACK)(2)
John Philip Sousa on board boat at Atlantic City.
SOU_1928c_204(FRONT), writing on reverse SOU_1928c_204(BACK)
Sousa looking at Buick Chassis at General Motors display at Steel Pier.
SOU_1928c_201(LARGE), SOU_1928c_201(SMALL)
Sousa arriving at Steel Pier standing in carriage used by Douglas Fairbanks in
SOU_1928c_210(LARGE), SOU_1928c_210(SMALL)
Sousa pictured with four men standing in a field holding rifles.
SOU_1928c_340(LARGE), SOU_1928c_340(SMALL)
Sousa with Double barrel shot gun across knee, sitting with three men
SOU_1928c_341(LARGE), SOU_1928c_341(SMALL)
Sousa standing in aisle of concert hall with audience at Steel Pier Music Hall.
SOU_1928c_212(LARGE), SOU_1928c_212(SMALL)
Sousa standing with girl under cannon at Human Cannon ball act at Steel Pier.
SOU_1928c_211(LARGE), SOU_1928c_211(SMALL)
Sousa shaking hands with wax figure of Douglas Fairbanks in front of Steel Pier
SOU_1928c_200(LARGE), SOU_1928c_200(SMALL)
Sousa on Trolley Car in Hollywood Exhibit at Steel Pier.
SOU_1928c_197(LARGE), SOU_1928c_197(SMALL)
Sousa standing with two men in front of building.
SOU_1928c_343(LARGE), SOU_1928c_343(SMALL)
Sousa with shot gun wearing shooting outfit, standing with two men.
SOU_1928c_342(LARGE), SOU_1928c_342(SMALL), writing on reverse SOU_1928c_342(BACK)
Sousa standing beside grand piano at Sands Point Home.
SOU_1929_243(FRONT), writing on reverse SOU_1929_243(BACK)
Sousa in civilian band coat with miniature medals and army cover.
SOU_1929_224
Sousa in civilian band coat with miniature medals and army cover.
SOU_1929c_224_1, copies of above photo SOU_1929c_224_2, SOU_1929c_224_3
Sousa seated beside radio
SOU_1929_245(FRONT), writing on reverse SOU_1929_245(BACK)
Lt. Cmdr Sousa with minitaure medals in full length conducting pose.
SOU_1929c_238_1(FRONT), writing on reverse SOU_1929c_238_1(BACK), SOU_1929c_238_2(FRONT), writing on reverse SOU_1929c_238_2
Lt. Cmdr Sousa at Steel Pier with wax figure of Douglas Fairbanks.
SOU_1929_192(FRONT), writing on reverse SOU_1929_192(BACK)
Lt.Cmdr Sousa pointing at camera with female member of a high school band.
SOU_1929_256
JPS in formal attire standing beside grand piano in Sands point home.
SOU_1929c_243
Lt. Cmdr Sousa with Edwin Franko Goldman and Ruth Cooper of Joliet Township High School Band.
SOU_1929_222_1(FRONT), writing on reverse SOU_1929_222_1(BACK), SOU_1929_222_2, SOU_1929_222_3, SOU_1929_222_4(FRONT), writing on reverse SOU_1929_222_4(BACK), SOU_1929_222_5(FRONT)b, writing on reverse SOU_1929_222_5(BACK)
Sousa seated in wicker carriage with wax figures of Buster Keaton and Douglas Fairbanks on Steel Pier, General Motors Exhibit, Steel Pier Atlantic City.
SOU_1929c_192(LARGE), SOU_1929c_192(SMALL)
Sousa with Commander uniform with white cover talking to a man seated on boardwalk.
SOU_1929c_244(LARGE), SOU_1929c_244(SMALL)
Sousa posed sitting at piano at Sands Point Home.
SOU_1929_188
With group of people in front of airplane.
SOU_1930_223(FRONT), writing on reverse SOU_1930_223(BACK)
Standing with two men on a sidewalk.
SOU_1930c_291_1, copy of above photo SOU_1930c_291_10
Standing with two men and five women.
SOU_1930c_291_2
Standing with two men.
SOU_1930c_291_3, copies of above photo SOU_1930c_291_4, SOU_1930c_291_5
Standing with a man.
SOU_1930c_291_7 copy of above photo SOU_1930c_291_8
Posing with Royal Canadian Mounted Police.
SOU_1930_266
Sousa on stage of Carnegie Hall for benefit concert.
SOU_1930_251(LARGE), SOU_1930_251(SMALL), writing on reverse SOU_1930_251(BACK)
Childrens symphony led by Lt. Sousa, Carnegie, 1930 (includes Jose Iturbi holding snare drum).
SOU_1930_267(FRONT), Writing on reverse SOU_1930_267(BACK)
Sousa conducting Marine Band at dedication of DC War Memorial, November 11, 1931.
SOU_1931_141(FRONT), writing on reverse SOU_1931_141(BACK)
Sousa leading Royal Welch Fusilier Band, 1931.
SOU_1931_265
Sousa in Navy uniform seated in chair at Port Washington home.
SOU_1931c_269
Sousa with wife and daughter Jane Priscilla in Sands Point Home, in front of fireplace.
SOU_1931c_271
Lt. Cmdr Sousa seated on end of stuffed sofa.
SOU_1931_260_2(FRONT), writing on reverse SOU_1931_260_2(BACK)
Lt. Cmdr Sousa posing in front of fireplace.
SOU_1931c_242
Portrait of John Philip Sousa by G. Maillard Kesslère
Portrait of John Philip Sousa by G. Maillard Kesslère.
SOU_1931_261(LARGE), SOU_1931_261(SMALL)
Lt. Cmdr Sousa portrait, photo by Maillard Kesslère.
35-7-20(FRONT), writing on reverse 35-7-20(BACK)
Sousa with Sigmund Romberg, Gene Buck and others in Washington DC to appear before House Committee on Patents.
SOU_1932_338_1 document detailing picture SOU_1932_338_2
Sousa pictured with four other men signed “with sincere wishes” as well as signed names (incl.Taylor Branson, Walter Damrosch).
SOU_1932_452(LARGE), SOU_1932_452(SMALL)
Sousa in Navy Commander uniform posing in front of a fireplace.
SOU_1932_242
Air crew in front of the bomber, “John Philip Sousa.”
SOU_1943c_421
Sousa standing with Capt Taylor Branson and other men (including Walter Damrosch) before concert.
SOU_1932_279(FRONT) SOU_1932_279(BACK)
Sousa with Alfred Newman(?) and handing him a baton.
SOU_1916_80
Sousa posing with Alfred Newman(?) holding a baton.
SOU_1916_285
Sousa, Herbert L. Clarke and wife and Carrie Jacobs Bond.
SOU_1928c_189_1, SOU_1928c_189_2, SOU_1928c_189_3
Sousa with Herbert L. Clarke.
36-2-25
Sousa at White House to meet Pres. Coolidge for the first time, March 7, 1924.
SOU_19240307_157
Sousa standing with Thomas Edison.
SOU_1923_131(LARGE), SOU_1923_131(SMALL)
Lt. Cmdr Sousa with A.A. Harding.
SOU_1930_254(FRONT), writing on reverse SOU_1930_254(BACK)
Lt. Cmdr Sousa with Carmel Meyers at MGM studios in Culver City.
SOU_1927_182(FRONT), writing on reverse SOU_1927_182(BACK)
Sousa with Marjorie Moody and Lt. C.L. Webster in a sea plane.
SOU_1927_167(FRONT), writing on reverse SOU_1927_167(BACK)
Lt. Cmdr Sousa with Marjorie Moody reclining on deck chairs on boardwalk at Atlantic City.
SOU_1928c_240_2(FRONT), writing on reverse SOU_1928c_240_2(BACK)
John Philip Sousa with Marjorie Moody and Edwin Franko Goldman.
SOU_1930_257
Photo of John Philip Sousa bust sculpted by Walter Russell.
SOU_1938_350_1, document explaining above photo SOU_1938_350_2
Sousa with Camille Saint-Saëns, writing on reverse.
Colorized photo in frame, 11” x 11”.
JEB 249
Mr. Sousa sitting and daughter Priscilla standing in woods with dog at feet.
SOU_1918_119(LARGE), SOU_1918_119(SMALL), writing on reverse SOU_1918_119(BACK)
Sousa and Jane Priscilla Sousa standing in flower bush.
SOU_1922c_146(FRONT), writing on reverse SOU_1922c_146(BACK)
Sousa with Jane Priscilla sitting in small row boat, the JP Sousa.
SOU_1924c_154(FRONT), writing on reverse SOU_1924c_154(BACK)
Lt. Cmdr Sousa with Jane Priscilla Sousa sitting on stuffed chair.
SOU_1931_270_1(FRONT), writing on reverse SOU_1931_270_1(BACK), SOU_1931_270_2, SOU_1931_270_3
Mr. and Mrs. Sousa sitting in tent with group.
SOU_1912_63(LARGE), SOU_1912_63(SMALL), writing on reverse SOU_1912_63(BACK)
At a trap shoot with two women.
SOU_1913c_67(FRONT), writing on reverse SOU_1913c_67(BACK)
John Philip Sousa and wife standing outside Sand Points Home.
SOU_1916_91(LARGE), SOU_1916_91(SMALL)
Sousa and Mrs. Sousa with three dogs on lawn of Sand Points Home.
SOU_1918c_125(LARGE), SOU_1918c_125(SMALL)
Sousa with Mrs. Sousa and Jane Priscilla in yard with three dogs.
SOU_1921c_116(FRONT), writing on reverse SOU_1921c_116(BACK)
Mr. and Mrs. Sousa in 1921.
35-2-52(FRONT) writing on reverse 35-2-52(BACK)
Sousa, Mrs. Sousa, and Jane Priscilla posing in yard with hands on hip.
SOU_1927c_173(LARGE), SOU_1927c_173(SMALL)
Sousa, Mrs. Sousa, and Jane Priscilla posed on large wing chair; portrait by G. Maillard Kesslère.
John Philip Sousa and Mrs. Sousa portrait by Peyton.
35-5-2_1, 35-5-2_2, 35-5-2_3, 35-5-2_4
Possible photo of JPS III, at beach.
SOU_1950c_296_7(FRONT), writing on reverse SOU_1950c_296_7(BACK)
Portrait wearing finely checkered vest and bow tie.
36-2-4
Posing in white navy uniform.
36-2-5(LARGE), 36-2-5(SMALL)
Sousa standing on trap line talking to a woman.
36-2-30_1(FRONT), writing on reverse 36-2-30_1(BACK), 36-2-30_2(FRONT), writing on reverse 36-2-30_2(BACK)
Sousa at end of banquet table with palm tree behind.
36-2-42
Promotional photo for Sousa and his Band.
picture of John Philip Sousa at Cinderella Mines in South Africa.
35-4-1(LARGE), 35-4-1(SMALL)
Close-up of Sousa with beard and mustache wearing glasses and wearing hat and scarf around his neck.
35-4-9(LARGE), 35-4-9(SMALL)
JPS standing with a gun on a raised platform.
35-5-1
Sousa engaging with two men and a group of children in Africa.
35-6-1
Lt. Sousa sitting in ornate wood chair with cover in lap.
35-7-8(LARGE), 35-7-8(SMALL)
Lt. Sousa in overcoat and white cover standing in front of row of doors.
35-7-9
John Philip Sousa checking gun.
35-7-11(LARGE), 35-7-11(SMALL)
Sousa riding on horse at full gallop through woods.
35-7-13_1(LARGE), 37-7-13_1(SMALL), 35-7-13_2(LARGE), 35-7-13_2(SMALL)
Lt. Sousa standing in front of dark curtain.
35-7-15(LARGE), 35-7-15(SMALL)
John Philip Sousa close up portrait miniature medals in lower right corner.
35-7-16(LARGE) 35-7-16(SMALL)
Sousa portrait in Navy uniform.
35-7-17
Lt.Cmdr Sousa standing with man wearing straw hat and white trousers in front of entrance to Steel Pier.
35-7-21 or SOU_?_206
Lt Sousa portrait and from the waist up, hands folded together.
35-7-22
John Philip Sousa Full Length portrait holding shot gun across body.
35-7-23(LARGE), 35-7-23(SMALL)
Lt. Sousa portrait, from the chest up.
35-7-24
Seven men with oil portrait of Sousa.
35-7-25_1, document explaining photo 35-7-25_2
Lt. Sousa portrait from the chest up.
35-7-26
Lt. Cmdr. Sousa in full overcoat standing in front of brick building.
35-7-27
Sousa portrait autographed by Sousa to Gen George Richards.
35-7-30(LARGE), 35-7-30(SMALL)
Sousa posing with four men at a trap shoot.
35-7-32(LARGE) 35-7-32(SMALL)
Four photo plates, all of John Philip Sousa.
1976.138.1
10” x 12” mounted photo.
JEB 190
Portrait of Sousa’s mother.
SOU_1907_41(FRONT), SOU_1907_41(SMALL)
Sousa special train en route to South Africa.
36-2-59
Paul Stahr painting Sousa portrait.
SOU_1920c_117_1(FRONT), writing on reverse SOU_1920c_117_1(BACK), SOU_1920c_117_2
JEB 145
Waterfront platform.
SOU_1929_308_2(FRONT) writing on reverse SOU_1929_308_2(BACK)
Duck Inn at Tall Timbers.
SOU_1929_308_3(FRONT) writing on reverse SOU_1929_308_3(BACK)
Shown from the side.
SOU_1927_232_1
shown from the back, John Philip Sousa pictured.
SOU_1927_232_2
Distant view.
SOU_1921_139(FRONT) writing on reverse SOU_1921_139(BACK)
Letter to Sousa from G. Somers White about two photos of Band in Cleveland.
SOU_1917c_376_3
View looking out from property.
SOU_1950c_296_3(FRONT), writing on reverse SOU_1950c_296_3(BACK)
View from property with boats in view.
SOU_1950c_296_4(FRONT), writing on reverse SOU_1950c_296_4(BACK)
Woman playing tennis.
SOU_1950c_296_5(FRONT), writing on reverse SOU_1950c_296_5(BACK)
Wildbank, Sands Point, before addition.
With two dogs in garden.
SOU_1950c_296_2(FRONT), writing on reverse SOU_1950c_296_2(BACK)
36-2-39
With dog sitting at a window.
35-7-29
This series contains correspondence to and from Sousa, his family, business associates, and acquaintances, as well as correspondence dealing with matters concerning Sousa and his business ventures following his death. A wide variety of subjects, including specific Sousa compositions, copyright and royalty information, organizations of which Sousa was a member or supporter, birthday greetings, requests for appearances or photos, information from tax accountants, letters of condolence following Sousa’s death, and individuals (politicians, performers, fellow composers and conductors) will be found here.
List arranged alphabetically by correspondent or subject, as appropriate
Correspondence described by SSgt Jane Cross in 1998 as directed by MGySgt D. Michael Ressler. Revisions by special assistant Charles Willett in 2018.
Six letters between Col H. Harrison Smith and Sousa concerning a request for a march. Commission not completed.
Two letters regarding a composition competition Sousa judged to determine the new march for the division.
Letter from Abert to John Philip Sousa Jr. instructing him what financial items need to be addressed following the death of John Philip Sousa.
Two telegrams and 7 letters. One to George Dwhy, two from Roberta Camp, two from F. E. Dudley, one from Alice Hall, one from A. C. Longo. The two telegrams are from Frank Orsatti and Bernard Schubert about movie rights.
Four letters soliciting and thanking Sousa for becoming a life member with a fifty-dollar membership fee.
Six letters and one copy of an agreement. The letters are Adams’ representation of the Sousas for publishing and motion picture companies. The agreement and two letters deal with LaBarre’s Sousa Men’s Band.
One letter to A. R. Varela concerning plans involving the Sousa family; maybe a program to honor Sousa.
Two letters: Correspondence with Col. George Richards, Hdqtrs, USMC. Richards suggests Sousa dedicate his new march to Mrs. William Cumming Story, President of the Daughters of the American Revolution.
One letter from Col Richards regarding the late arrival of the march.
Four letters: Correspondence between Edwin G. Clark and Col Richards concerning the emblems of the groups the march is dedicated to. Also correspondence between Sousa and Mrs. Story.
Eight letters and one program. Two letters were to Sousa as a trustee and include financial statements. The other letters concern the Sousa trophy established by the family, its accidental removal, and subsequent recovery.
Four letters: three from Post No. 30 in Texas requesting an arrangement of “The Old Grey Mare,” the other from New York with member card enclosed.
One letter from Burton Stevenson thanking Sousa for the eighteen marches and bound volume of marches.
Three letters: two requesting Sousa to collaborate in fundraisers, the other asking his opinion on a piece of music by Mrs. Westfeldt.
Two letters from Homer Bartlett, one to Edwin Clarke and the other to Sousa concerning the copying of this march.
One letter, second page only suggesting changes in this march.
Letter of appreciation.
Two letters and one publication in an effort to solicit Sousa’s support, and a reply from his attorney urging him not to do so.
Eleven letters primarily concerning the sale of Sousa’s life membership to Felix Gygax.
A letter of warning that someone else has released a march titled “Washington Post” as seen in an advertisement of the Music Educators Journal. (enclosed)
One letter (a copy of Sousa’s reply on the reverse) with enclosure concerning his support of this group, and their goals and mission.
Receipt for sustaining membership, $10.00.
Eighty-two letters, to include 4 articles, 1 brochure, 1 deposition, 1 tax form (1099), and 3 dues notices. Correspondence includes membership renewal notices, committee reports, details of copyright protection disputes between writers, radio, ASCAP, and publishers, correspondence with E.C. Mills, Gene Buck, James Francis Cooke, Ben Black, and letters regarding the continuation of royalty payments after Sousa’s death.
Four letters between Ash and Mrs. Sousa concerning a radio program he was producing about leading American composers.
A thank you for the picture of Sousa.
Three communications concerning rare books and including lists of books sent to Sousa. One letter reveals that two volumes did not pass US censorship
Letter [presumably from Jane Priscilla] informing a Mr. ---unsbach [complete name illegible] that no more societies are as yet planning to purchase a portrait of JPS, and that [she] hopes to get to the Composers Society at Radio City to see JPS portrait displayed there.
Five letters soliciting Sousa’s support, and confirming his membership with the ten dollar fee.
One letter from W. A. Moffett concerning the use of the bugle call “Boots and Saddles” in this march.
The writer suggests having a band play Sousa’s music in Central Park when Goldman is not there, and that Baccari should be the conductor, and Mrs. Sousa declines the suggestion
Letter of thanks for the pictures, and condolences upon the death of Mrs. Sousa.
A letter concerning an article and tribute to Sousa to appear in
One letter to Sousa thanking him for sending along
Letter expressing regret to his Aunt Jane (van Middlesworth Bellis) Sousa that he has been unable to repay a loan.
The writer wants to name a new type of gladiola after Sousa.
Eleven letters and six receipts dealing with bonds, mortgages, payment to a Mr. Hechheimer, royalty payments, fees paid for income tax return preparation, and monies due Mrs. Sousa after Sousa’s death.
One letter in reference to Biggs (London) sending parts to his march “Freedom War Song” to Sousa at Great Lakes.
Booklet of telegrams wishing Sousa happy birthday.
Eleven telegrams wishing Sousa happy birthday.
One letter in regards to permission to use some of Sousa’s songs in a book for High Schools and Community Singing.
One letter from Walter Nye regarding the wording of the dedication.
One letter to J. R. Garrison, comptroller, regarding payment for music obtained from Rio de Janeiro for Sosua.
A letter concerning a possible movie about Sousa.
Letter of condolence.
Two letters: One from Doubleday and Page, Co. stating they can’t grant Sousa permission to use the poem, and another from a man who wishes to read this poem at a concert.
Invitation to an event at the John Philip Sousa American Legion Post #1112.
One letter concerning property her father owned at 500 7th St. SE, her health, and other family matters.
Letter from the Philadelphia BSA president, Charles Hart, concerning title information and contact with the National BSA Headquarters.
A letter from Harms to Mrs. Sousa concerning the six copies of the march sent to her.
Five letters between E. S. Martin, BSA, Herbert Adams, JPS Inc. and T. Presser, Co. seeking permission to reprint the march, and make copies for the service bands.
Letter of appreciation from Charles Hart, and a reply from Sousa regarding poor sales of the march to the Boy Scouts despite good reviews on tour.
Five letters between Sousa and James West, BSA, concerning the composition, title, and publishing of this march.
Five articles and 2 letters. The articles are announcements for an upcoming concert by the Boy’s Club, and the letters concern the enclosure of the articles and thanks for the family’s appearance at the concert.
One letter from Sousa concerning the funding of a proposed trip to South America.
Letter of request to name a VFW post after Sousa.
One letter to Sousa concerning the delivery and boarding of a horse.
Card from the Metropolitan Opera contralto thanking Sousa for the songs and his portrait.
Two letters: One from Sousa to John Curtis concerning re-arranging the third act and one from the secretary of the Philadelphia Operatic Society about the return of scores from the cast.
Fifty-three handwritten pages and twenty-three typed pages of script and notes.
A request from the Jane Addams Peace Collection to borrow the Liberty Bell Sousa was given in 1895 at the Academy of Music in Philadelphia
A request for a picture of Sousa on the horse “Aladdin.”
Letter of appreciation for a picture of Sousa.
One letter to Sousa regarding the publishing of the “Hymn of Hate.”
The writer wants to make a cachet cover in honor of Sousa and then have pieces of it given away as momentos.
Letter of condolence.
Two letters in 1922 concerning holiday wishes and a performance of Sousa’s
A letter of explanation for an article that appeared in the
A request for the orchestration of “League of Nations” march.
Radiogram from the explorer commending Sousa’s radio broadcast of May 6, 1929.
Three letters in which Cadman offers to send Sousa some of his new compositions/arrangements, and Sousa accepts them.
One letter to Sousa thanking him for a wonderful evening.
Two letters and a rough draft. The draft is for a telegram Mrs. Sousa sent, and the letters from Francis Bowman and Edward D’Anna are in thanks.
One very short telegram to Sousa about raising funds, enthusiasm for the cause, and Liberati.
One telegram, apparently in jest, from composers such as Mozart and Bach concerning the royalties Sousa has incurred performing their music
A short letter from Rufus Dawes to Mrs. Sousa regarding a package they sent in appreciation.
Chadwick praises Mary Gailey’s ability and encourages Sousa to program her.
One telegram in thanks for letting him conduct the band.
Partial draft of a letter, possibly from Mrs. Jane van Middlesworth Sousa following her husband’s death.
Three letters concerning an invitation to play at the opening of the Waldorf Astoria hotel.
Five letters and one telegram regarding a plaque of Sousa’s likeness the Co. wants to make, and Priscilla’s positive response.
Four letters from Chandler to Mrs. Sousa concerning visits and the monument to Mr. Sousa.
Request for information to aid in the writing of a doctoral thesis
The first page of a letter to Church offering him a little help with his thesis.
Fifteen letters, two contracts, and one receipt. These cover Sousa’s original agreement with John Church and its extension; requests from Mr. Starr for “Typical Tune of Zanzibar,” Mrs. Chapman for “Over There,” and Mr. Lee; Sousa’s request for “Messiah of Nations;” bills for “Bride Elect;” arrangements and requests for “Stars and Stripes;” and publication of a book “Sousa’s Famous Marches.”
Two letters, the first concerning publication by Theodore Presser, the second from the president of the club, Stanley Wilson, offering congratulations on the march.
Five letters: Four to Mrs. Sousa and one in reply concerning the concerts Clarke dedicated to Sousa, and his abiding respect and love for Sousa.
Five programs, 1 advertisement, 1 article, and set of parade orders from the Knights Templar all concerning Clarke and his Long Beach Band.
Two letters, one extolling the virtues and history of the organization and asking Sousa to write a commemorative march, and another acknowledging receipt of a response.
A letter to Cohan in regards to a new opera Sousa would like to show him
Two letters concerning the march Sousa dedicated to Collum’s father.
One letter from Sousa thanking Colston for the poem, but refusing to take on a new composition project.
One letter from Edwin Hesser of Canada requesting the composition of an “American Legion March.”
One article (and copy) by John Proctor of the
Seven letters, five concerning stock Sousa owned in Conn and two concerning an instrument deal in Manila.
Forty letters covering a wide range of topics: Responses to his speeches and articles in the
One letter requesting that funds for the erection of a Sousa monument be used instead to help Mr. Triebel during his illness.
One letter to Sousa concerning receipt of music and why a thank you note was delayed.
A single letter from F. Yantis Robnett about the sending of the new march.
One letter from Frank Hyatt thanking Sousa for the dedication of this march to the Pennsylvania Military College.
Two letters concerning and including a resolution for Pennsylvania schools to make November 6 John Philip Sousa day.
Forwarding a letter from John Erhelman (which is not included).
One request to include the tunes to “Corcoran Cadets” and “Typical Tune of Zanzibar” in a Delta Psi fraternity songbook from Theodore Starr.
Two letters, a request and reply, for Sousa to serve on a committee to produce an official version of the national songs. Requestor: Philander Claxton.
Two letters concerning a libretto Mr. Ralph Holmes is offering to Sousa. An outline of the proposed libretto is found in Box 21, Folder 7.
One letter to Sousa asking if she may present a letter from Admiral Dewey.
Two letters, one of condolence and tribute to Sousa, the other a thank you.
Letter requesting Sousa’s autograph for the album quilt her Spencer, Massachusetts, church is making for auction.
One letter and a copy of the entry from Margaret Sittler. Letter contains questions to clarify information in Sousa’s entry.
Four letters from A. G. Parker concerning a bust of Sousa made at the behest of the National School Band Association, including request for photos of Sousa.
A poem in honor of Sousa.
A poem of remembrance.
Four letters from T. E. Doremus asking Sousa if he would participate in a campaign to advance the sport of trapshooting, congratulating him on a successful shoot, and the backing of a new Amateur Association.
Two letters asking Sousa for money, either owed or as charity. An acquaintance from trapshooting.
Regarding an arrangement of an unnamed piece.
Bandmaster of the Philadelphia Rapid Transit Company’s Band, requesting a photo of Sousa and of Sousa’s band.
A letter from Witmark and Sons Pub. informing Sousa that the operetta copyright was not renewed, and his request to the Library of Congress.
Five letters between Mrs. Sousa and Theodore Presser, Co. concerning the use of the march by Simpson Conservatory and in a MGM production where it would be used in “swing style.”
Five letters between Theodore Presser, Co. and Mrs. Sousa concerning printing the march for men’s voices with new text by Evelyn Moore. Three versions of a new text included.
One letter to Sousa in regards to the two operas Erlanger produced,
Letter requesting the presence of the family to dedicate a tree and review a parade.
One letter discussing the money lost on concerts held in Portland, OR and expressing hope that Sousa will be lenient in the amount owed the band.
Telegram to Priscilla letting her know about an upcoming recording and concert of her father’s works by the Eastman Wind Ensemble.
One letter in appreciation for letting a Georgia college run Sousa’s book as a serial in their college paper.
Letter from J. Clarke concerning Sousa’s setting of this tune. A copy of this poem will be found in Box 21, Folder 9.
Nine letters. Four letters concern Louis Starr’s request for use of two marches in his publication, one with copyright expirations, one with royalty checks being sent to JPS, Inc., and the last three with the inclusion of a Sousa march medley into a collection for clarinet and piano.
Report of Stock and Plates on Hand of Sousa Compositions. Four pages.
Seven letters corresponding with Franklin Adams concerning the title and performance of this march, especially the Army Band’s trip to Spain.
Four letters and one postcard picturing Foote. Manuscript, nearly illegible.
A draft of a letter of condolence to Miss Fowler upon the loss of George.
Letter acknowledging John Philip Sousa, Inc. as recipient of all royalties, and a royalty statement included.
A draft of a letter to ? requesting information on how to reach Lt.Comm. Foy, and Foy’s thanks for the music that Sousa sent.
A two-page request for a march/school song.
Request for the 300 copy guarantee be waived for the proposed march for the Army Medical Corps.
Three letters: Franko offers himself as a bandmaster in the service of his country through Sousa, and the Navy accepts him.
One letter from Sousa regarding a horse.
Two thank you letters for songs Sousa sent to her
One letter from the publishers of the
Letters and bills concerning transportation, lodging, and services in connection with Sousa’s funeral and burial. Clipping showing procession.
One letter requesting a march for the Seventh Regiment from Wade Hayes.
Request for a momento of Sousa.
Sixteen letters and 4 telegrams: Correspondence between Congressman Sol Bloom, J. C. Rosenthal, ASCAP, Sam Fox Pub., Gen. George Richards, Frederick Vining Fisher, Goerge Havenner, John Lucas and the Sousas concerning the writing, publishing, and performance of this march, the planning of bicentennial celebrations, and a posthumous presentation of a medal to Sousa for his work.
One letter of congratulations for Sousa’s commission, and to mention that while out in the car, they spotted the Sousa family in the limousine.
A letter of appreciation for Sousa’s radio broadcast raising money/support for the Pres. Organization on Unemployment Relief.
Three letters from Glover regarding photos and copies of photos of Sousa. See also Simon, Frank.
Sousa seeks to publish his
One thank you letter from Sousa to Edward Ragna.
Seven letters, eleven programs, and one article. Goldman invited the family to several concerts; the families were friends and the letters are personal in nature. The article concerns Goldman’s autograph collection.
Fragment of a letter where he discusses tonality of music in Biblical times, modality for writing a contemporary march reminiscent of those times, and tuning.
Letter recommending a protégé of hers, Belgian refugee violinist Henri De Rudder.
Thirteen letters and one program. The letters are in regards to such topics as Grabel’s solicitation of Sousa’s recommendation, cancellation of an engagement, plans for a Sousa school, the Iowa State Music Festival, and the Sousa library at Stetson University.
Five letters between Grainger and Sousa concerning Grainger’s attendance at a concert where “Shepherd’s Hey” will be played and Sousa’s acquisition of “Molly on the Shore.”
One letter from Mr. Gravelle to Mrs. Sousa concerning the sketch and photo left with Mr. Belo the sculptor.
One letter to Sousa regarding Gunter’s compositions which he would like returned to him.
Two letters to Sousa’s wife and family about a radio concert he helped organize to honor Sousa.
One letter of appreciation for permitting them to use a photograph of Sousa.
Three letters from Hadley to Sousa concerning Howard Richardson’s
Letter concerning the Leonard B. Smith band and its possible involvement in a movie about Sousa.
Eighty-seven letters, 10 financial documents, 4 informal notes, and 3 envelopes. All materials relating to the publication, sales, distribution problems and royalties of Sousa’s autobiography,
A draft [presumably written by Jane Priscilla] of a letter requesting the Japanese poplars be removed from the property adjacent to the Sousas’, and the subsequent refusal.
Letter of condolence, request for baton or score, and invitation to the American Legion Convention in Chicago.
Telegram praising Sousa’s newest march, and informing Sousa of his intent to discuss plans for the Lyric Contest.
One telegram from Sousa encouraging Harding, and a letter from Harding upon Sousa’s birthday.
One letter from Sousa offering to arrange publication through Fischer of Heabe’s book.
Two letters to Mrs. Sousa requesting material and photos for a special feature in the Chicago Daily News.
Two letters from W. Bryan to Sousa requesting participation in encouraging and inspiring the youths of the day by writing a few paragraphs.
Two letters, one requesting a statement from Sousa congratulating Portland, Oregon on its music week plans, and his favorable reply.
One letter to Sousa concerning a manuscript.
One letter from Herbert asking for help in organizing a band for the 69th Reg.
One letter to Sousa requesting to know when he’ll return to Canada.
Letter of appreciation and a poem.
One letter in appreciation for the photos sent, and requesting a few bars of music.
Newspaper clipping from the
One newspaper article from
One letter from Hinton about a newspaper article; and an article about Sousa playing a minstrel show in Kansas City.
Letter to the
Nine clippings, and copies of each. All are advertisements for the Sousa Band’s appearance at the New York Hippodrome. Clipped by Henry Romeike, Inc.
Two letters , one thanking Sousa for his friendliness and requesting he come to Doylestown for dinner, and Sousa’s reply that another time would be better.
Request for information about the Masonic bodies Sousa belonged to.
One letter asking Sousa if he is interested in obtaining four Strauss transcriptions for use in America.
A picture of Holbrooke, and a letter from him concerning a Welsh piece and an opera ballet he wanted Sousa to take around for him.
Two letters: An invitation to the Grand Ball at the John Philip Sousa American Legion Post #1112; and a request that Mrs. Sousa send an enclosed picture to Sousa’s sister.
Verses sent to Sousa concerning the “Czar of the Russians.”
One letter asking Sousa if he would be willing to sell Huff the gun he’s currently holding in hopes of finding a buyer.
One letter from Hurley and two copies of letters he received from the wife of President Woodrow Wilson dated June 23, 1910 and September 9, 1918.
Seven letters between D. S. Walker, Dr. Thomas McCrae, and Sousa concerning the publishing of the words with the song. Letter from vocalist Ruby Helder (aka Jane Holder) is in thanks for an orchestration.
Ten receipts, 4 letters, and account information related to different polices Sousa held. Companies include New York Life and Penn Mutual Life.
Two letters: One from Bennett Chapple asking Sousa’s opinion of his libretto. The other is from Mrs. Herbert upon the death of her husband Joe asking if Sousa will accept the rights to the operetta as payment of a debt.
A request for a picture of Sousa to be included in a book.
Four letters between Janssen and Mrs. Sousa concerning her attendance at a concert at Ohio University on April 26.
Letter of admiration and condolence.
Sixteen letters, 1 copy of the minutes, and 1 envelope all related to the incorporation, functioning, and fiscal activity of the corporation; most of which is to or from the lawyer, W. Herbert Adams.
A request for a photo of Sousa.
An invitation for Sousa to dine with Mr. Jones.
Two pages that are just parts of two separate letters. One concerns writing lyrics for “Bullets and Bayonets” and “Solid Men to the Front.”
Five letters between Theodore Presser, William Lindquist, and Sousa concerning the title and publication details of this march.
Three letters, two concerning the requested endorsement of KKP to Austin Harding at the Univ. of Ill., the third a letter to Mrs. Sousa in sympathy.
A request by Kelley for Sousa to play his “Polonaise.”
One letter to Sousa concerning Allen Sousa at the Randolph-Macon academy.
One letter to T. Presser Co. from Helen concerning a possible dedication.
One letter requesting Sousa’s membership on a board for the United States Flag Association.
Five letters concerning Sousa’s membership status in the club, debts to the club, and the resignation of membership and subsequent sale of stock.
One letter concerning a new national hymn Mr. Kovey wrote.
Specifications and price of the flags Mrs. Sousa will present to the John Philip Sousa American Legion Post #1112.
One letter requesting confirmation that Sousa’s name is really John Philip Sousa.
One letter commending LaGuardia for his work to protect copyright.
Two letters between Lake and Jane Priscilla concerning a picture of Sousa shown as a tribute during a concert.
Six letters and one telegram requesting a new composition; requesting films to be made of Sousa directing, in appreciation, and asking for a donation.
Four letters between the accountants, Jane Priscilla Sousa, and Helen Sousa Abert discussing tax returns and bank statements.
Six letters: Two from Anne Higginson Spicer thanking Sousa for setting her poem (poem included in folder). Four from Paul Eickmeyer seeking the parts from the family for a performance in Michigan.
A request for information to aid in a Sousa memorial concert.
Letter of thanks for Mrs. Sousa’s acknowledgement of a wreath placed in Sousa’s honor.
Ten letters between Bascom Slemp, Ambassador Claudel, Charles Burke, Russell Whelan, and Sousa requesting a march, then arranging for the premiere and publicity once it is written.
Condolence letters and telegrams following the death of John Philip Sousa.
Six letters to Mrs. John Philip Sousa and daughters, signed Teddy, A. Reilly Copeland, John Vincent Lucas, Marguerite Cazelles Peterson, R.P. Maurice, and [illegible].
Condolence letters and telegrams following the death of John Philip Sousa; correspondents include Percy Grainger, Estelle Liebling, Charles Dillingham, and Gustave Langenus.
Condolence letters and telegrams following the death of John Philip Sousa; correspondents include Taylor Branson, Edwin Franko Goldman, Herbert L. Clarke, and Giuseppe Creatore. Includes some small cards probably attached to flowers sent in sympathy.
Condolence letters and telegrams following the death of John Philip Sousa, II; correspondents include Herbert L. Clarke, Edwin Franko Goldman, Frank Simon, and Eileen Sousa Beauchamp (daughter of the deceased).
Condolence letters following the death of John Philip Sousa, II.
Twenty-nine letters concerning requests for copyright renewal information, and the results of those searches by the Library of Congress.
One request for donations of original scores, two letters about how to make paper stronger, three letters concerning the donation of the Star and Stripes Forever, one copyright renewal request, three certificates of appreciation, two programs and three letters concerning the opening of the Sousa exhibit.
One letter promoting two of Lieurance’s works, and requesting new arrangements of “Red Man” and permission to use “Powhattan’s Daughter.”
One letter from James Metcalf in regards to Sousa’s request to compose a musical setting for lyrics, and the division of royalties if published.
One letter regarding Sousa’s book and the correct origins of Sousa’s name.
Three lists of compositions by Sousa; one is a very complete, typed catalog, the other two are short, handwritten lists.
A letter with the full names of some of the medals Sousa received.
One letter in reference to Sousa’s new dentures.
Letter of thanks for payment for his looking up bonds purchased by Sousa.
Two letters, 1 telegram, and part of 1 building specification concerning the settlement of a dwelling and property on Long Island.
Four letters and a note from Loomis asking for a loan of fifty dollars.
A letter requesting information as to where Sousa’s ancestors originated.
Two letters from Sousa to Oscar Sonneck concerning a note in a particular chord. (One letter is the second page only.)
Two letters concerning new boxes and their expense.
Copy of letter from James Francis Cooke concerning a memorial to Sousa.
Letter of admiration and condolence.
One letter requesting copies of drum parts from Sousa marches, 1 letter requesting the trios of certain marches for a Bell Lyre booklet, and the subsequent refusal of that request.
The son of Frank Lusby sends his condolences.
Letter of thanks for Mrs. Sousa’s acknowledgement of a wreath placed in Sousa’s honor.
A request for a picture of Sousa for the Salvation Army’s magazine.
Two letters from Sousa to Preston Orem at Presser about the publishing timetable, and one appreciation letter from J. W. Hamilton.
A request for the Magri Philharmonic Band to play Sousa’s music with the sponsorship or recommendation of Mrs. Sousa.
Six letters, five from Franklin Adams of the Pan American Union and one to him from Sousa concerning the composition and publication of the march.
Three letters concerning the enlistment of Sousa Band trombonist Gentile in the Marine Band, and one article from Chicago about the Band’s appearances.
One copy of Sousa’s enlistment as an apprentice, one copy of a letter donating chimes, two letters concerning Sousa’s visit in 1923, four letters from General Richards concerning Carabao, cigars, and sympathy, three letters concerning
A request for an original manuscript for an exhibit for the National Federation of Music Clubs.
A telegram from Joseph Grieb wanting to know when the university could expect to receive the march.
One letter from Sousa congratulating him on an article, and one from Matthews requesting a copy of that letter.
One nearly illegible letter concerning an article by Matthews.
Two letters, one to Sousa and one to Frank Simon regarding Simon’s enlistment in the Army and possible formation of an Aviation Band.
One letter requesting Sousa help recommend a new leader for a band he is traveling to conduct (?).
Two letters: McClure’s request for a few lines about France for a publication, and Sousa’s enthusiastic reply.
One letter requesting Sousa help clear up the matter as to whether McConnell asked Sousa not to play the anthem “God Save the King” at an event.
Request for a photo of Sousa.
One letter concerning the first performance of the American Symphony Orchestra, and a request to play some of Sousa’s unpublished works.
Request for and favorable reply to Sousa’s conducting a march at the Temple Band Ceremonial Session.
Three letters: Two in correspondence with Karl Kitchen of
One letter requesting Sousa contribute to a fund to buy Krehbiel’s library to give to the New York public library.
Two letters concerning Sousa’s membership and Insignia.
Three letters between Sousa and E. B. Pierce concerning the composition; Two letters from F. G. Stutz about adding a bugle and drum composition in the march for pass in review; and four letters between Sam Fox, E. B. Pierce and Sousa concerning reprinting the trio in a collection of University songs.
One letter requesting words of wisdom to inspire the children at a New York school.
Two letters, one informing Mrs. Sousa of an upcoming concert to honor Sousa, and a thank you for the music she had sent.
Six letters concerning Sousa’s donation to the program, and possible Life Membership, with Secretary of Labor James J. Davis.
Letter of sympathy and a poem in memory of Sousa.
Two letters, one from ASCAP asking Mrs. Sousa to write a letter of congratulations to Murphy upon his appointment to the Supreme Court, and one letter in reply and appreciation.
One letter dealing with granting licenses to radio stations to play publishing music.
Three letters and one receipt concerning advertising in the magazine.
Two letters concerning the union finances of the Behrens Opera Co. One resolution upon Sousa’s death.
Request that Sousa join the club, the fees included, and facilities available.
Six letters between H. Brockman of St. Xavier College and Sousa concerning the request for a march. Commission not completed.
One letter honoring Sousa with life membership in the society in appreciation.
Seven letters concerning the acquisition of the national airs of Poland, Colombia, Great Britain, Estonia, and the Serb/Croat/Slovene Kingdom.
Thirteen letters concerning the designation of November 6 a day to honor Sousa, and also concerning the financial condition of the Bureau. One copy of the resolution to honor Sousa and the Purpose of the Bureau.
One letter asking Sousa to conduct a concert at the camp.
Two letters regarding a concert during the Thrift Festival at the Polo Grounds; one letter of instruction and of appreciation
One letter from Sousa to Walter Fischer concerning copyright renewal and acquisition of the Russian Hymn.
One letter requesting biographical information on Sousa, and another in appreciation for the book and photo the family sent.
Thirteen telegrams, nine letters and one set of orders. One telegram from Mrs. William Randolph Hearst urging Sousa’s participation. Most missives from a Captain Moffet with orders for the Great Lakes Naval band Sousa conducted.
Letter accompanying a copy of an article in tribute to Sousa.
Four letters from personages in New Mexico: J. F. Zimmerman, R. C. Dillon, and Kyle s. Crichton to Sousa in request and appreciation for a new march.
Two letters in conversation with Attorney Nathan Burkham concerning the illegal actions of William Stewart on behalf of the NY Commonwealth Opera Society, and Sousa’s liability as director, if any, in the matter.
One letter from Sousa to “Gentlemen” concerning the custom of flappers to cut their hair short, and how history has viewed this phenomenon.
One letter from Frederic Cardoze to the Secretary of the Navy with words to the march enclosed, and two letters from Sousa regarding Cardoze’s lyrics for a proposed Navy song.
One letter from G. Schirmer to Sousa concerning saxophone parts to the march, and two letters between Priscilla and Joseph Maddy concerning the signing over of the royalties for the Sousa scholarship fund.
One letter from Noyes requesting Sousa’s presence at the dedication of the DC war memorial, and Taylor Bransons’s request for Sousa to direct the band.
One letter from T. Presser, Co. to Jane Priscilla concerning this piece for violin.
A telegram to reminiscing about his American Tour
Two letters concerning the publication of books on harmony and theory.
One letter from Sousa to the president of the exposition in congratulations on a most memorable event, the best exposition he had ever attended.
Letter from W. C. Park inviting Sousa to the studio to hear the picture, “Paramount Pictorial No. 5." Corresponds with 8 minute newsreel produced in 1930 "John Philip Sousa conducts the US Marine Band, Captain Taylor Branson, Director" Digitized and available at: USMB-DVD-10516 This is the version sent Captain Branson, which includes the scene where Branson turns the baton over to Sousa.
One letter from Parks thanking Sousa for the picture and asking advice, and a kind, helpful response from Sousa.
One letter and two telegrams requesting Sousa’s picture, and his reply that he has to contact Victor Company for their permission.
One letter requesting Sousa’s presence at a pre-dinner reception the New York Athletic Club Post No. 754 held in Sousa’s honor.
One letter requesting a particular waltz that Sousa played at a rehearsal.
A letter of regret that a member of the family cannot attend a tribute to Sousa.
One letter thanking Sousa for visiting the Univ. of Pennsylvania.
Headmaster F. H. Green wrote one letter requesting Sousa to share some words of counsel, and Sousa replied with three key pieces of advice.
Letter noting the “March King” was recent guest of honor in Milwaukee and at Marquette University.
One letter from John Church Co. to Jane Priscilla concerning the printing.
One letter suggesting that Sousa transcribe for band a march by Charles Avison (1710-1770).
One letter, two clippings, and a cancelled check. C. E. Lutton borrowed the last dues check Sousa wrote and published it in a fraternity publication.
A legal document between Sousa and Mills Novelty Company for royalties.
Copy of letter sent to Pinkham with a corrected copy of his Sousa biography.
One letter requesting Sousa’s participation on the National Committee for this event.
Three letters concerning his
24 letters, 4 advertisements, and receipt Concerning condolences upon Sousa’s death, transferring of royalties and rights to JPS, Inc., request by Holton Co. to arrange a march medley, advertising, printing Sousa’s music in braille for free,
One letter to Ralph Holmes upon the completion of the march and its impending publication.
Letter from Jennie L. Jones concerning the recent arrival of the new march, and the eagerness of the children to play it for Sousa.
Letter of condolence.
Acknowledgement of and a thank you for the radio message from Mrs. Sousa.
Three letters, one radio script, one telegram, and two newspaper articles. Two letters deal with the radio program
One letter concerning a submission of Sousa’s work in the Victory Loan Committee song competition.
Six letters, generally undated, from Guy Lee concerning the lyrics.
Five letters between John Price Jones and Sousa concerning a request from the Liberty Loan Committee for a song for the Fifth Loan.
25 letters between Sousa, George Putnum, and George Bye concerning
A request to name an American Legion Post after Sousa.
One letter suggesting Sousa write a song of slow measure for mourning instead of marches.
One letter asking Sousa if he could loan four pieces of music for use by the 69th Regiment Band on an upcoming concert.
A letter requesting words of greeting for a Sousa memorial ceremony at the State University of Iowa’s High School Music Festival. (Also, there is a telegram from Helen on the same subject.)
One letter, 4 programs, and 2 newspaper clippings concerning Anniversary and Sousa Memorial concerts.
8 letters, 5 stock certificates, 2 pamphlets, and 2 forms relating to the business of the Corporation: membership, payment, foreclosure, and reorganization.
Two letters, one offering his march “Exploradores” and Sousa’s reply that when a band arrangement is made, he’d be happy to play it.
Two letters, one requesting Sousa write a poem to be included in a book for war relief, and another thanking Sousa for his contribution.
Two letters concerning the founding of an American School of Music.
A thank you letter for sympathies extended upon the death of Theodore.
Dinner invitation to “Commander J.P. Sousa.”
14 letters, 4 telegrams, 3 pcs of original art, 7 photos. Communications from George Richards, J. H. Craig, R. C. Lindsay, and Buckingham Palace regarding the background for the march, cover art, and arrangements for its presentation in England. Also, specifications for USMC colors.
Letter of appreciation for Mrs. Sousa’s correspondence.
Letter of condolence.
Letter expressing concern that
One letter of appreciation for this march from the Col. of the 1st US Calvary.
Two letters of condolence upon Sousa’s death and one news clipping concerning Sousa’s band appearing in Alnwick, England.
Four letters; two from Evangeline Booth, one requesting a march be composed, the other requesting his presence to conduct the march; and two letters concerning the reprinting of the march in a Salvation Army journal. A dedication strip is also included in the folder.
Letter of thanks and condolence.
Four letters, two concerning the 30th year of Mr. Lorimer’s career at the Post, one in which Sousa informs Lorimer of the completion of his memoirs, and the other concerning the price for Sousa’s memoirs.
Three letters, two of which deal with concerts and entertainment in training camps. The third is an undated, manuscript letter. See also Box 1, folder 68.
Letter of condolence.
Two letters, one a request for a picture to hang in a new band room in a junior high school and the other a thank you for the picture.
An offer to let Mrs. Sousa buy his collection of Sousa compositions.
Five letters between Maj J. D. Murray, Capt. John Craig, J. S. Turrill, and Sousa concerning the copyright status of this march and possible free distribution. Also enclosed are two undated letters, one by Mrs. Sousa, the other unsigned.
A letter requesting the family make the arrangements for the American Legion Post #1112 to place a wreath on the Sousa grave.
One letter requesting help on how to get a good orchestra out of the Great Lakes musicians who will be out of the service soon.
Letter of condolence.
Request for photo or information about Sousa for a theme paper.
Request for help promoting this young composer.
A postcard concerning what became of one of Sousa’s guns.
Copy of a letter sent to a Mr. Adams concerning application for bandmaster with 106 Infantry. Requests a letter of recommendation from Mrs. Sousa.
Two letters, one requesting funds and the other a note of thanks for the contribution.
Thirty-two letters, 3 telegrams, 3 programs, and 3 articles dealing primarily with Mrs. Sousa’s contribution to an annual Sousa program broadcasted by Simon and his ARMCO band. The last two letters concern a suggestion Simon made to Eisenhower to play “Stars and Stripes” before every speech.
Letter of appreciation for sending
One letter vaunting the USMC and an acquaintance with General Hayward.
Three royalty statements and one letter concerning the royalties on “The Transit of Venus.”
One letter requesting information on how to handle an original portrait of Sousa that is of very high quality.
One letter offering Sousa a libretto based on the 1848 Mexican war.
One letter requesting Sousa’s presence at an upcoming Ohio State football game, one letter of reply from the Sousa Band Office.
One letter of introduction for vocalist Henriette Frank.
Letter written by Jan VanM’s representative, inquiring if there are any death benefits payable following the death of JPS.
Ten letters and two telegrams. Five are requests from Sousa to his manager and secretary, one is birthday greeting from New York’s Mayor, and the rest deal with the business after Sousa’s death.
Seven letters, including three from Edwin Franko Goldman.
Thirty-seven letters, one telegram, one drawing, one contract, one bill, a concert program, a four-leaf clover, and five news clippings concerning the Sousa Auditorium Committee, the National Sousa Memorial Monument Association, and Sousa’s grave stone. Contacts include J.F. Manning Co., Congressional Cemetery, sculptor Clark Noble, architect Charles Volz, Christ Church, H. Serkowich, ATT, W.L. Oestreicher Co., sculptor Frederic Triebel, and author Holmes Alexander. [Blueprints can be found in Location 12.5.17.4.1, Box 19]
Two letters from “Tony” to Sousa expressing admiration and respect, one mentioning Sousa’s impending tour stop in DC, the other a news article.
Letter from Aunt Tinnie to Jane Priscilla concerning Sousa family history.
Four telegram birthday greetings to Sousa from his daughter Priscilla and wife Jane, Mr. and Mrs. Herbert L. Clarke, Sam Fox, and Ralph Holmes.
Eight letters, two programs, and one invitation. These deal with a concert held in Sousa’s memory, naming the Pennsylvania St. bridge in his honor, and possibly naming a new school in his honor.
One request to meet Sousa while he’s in New York.
Letter of condolence.
Note thanking Sousa for programming a song.
One telegram from Nettie Fowler in regards to George Lyon’s passing away.
One letter soliciting Sousa’s opinion of the town, and his favorable reply.
Letter of condolence.
Two letters, one in request for permission to write a march honoring Sousa, the other a thank you for the photograph.
Two letters; one from Mildred Laughton and Marguerite Bostwick concerning the status of this tune and “America,” and Sousa’s reply. The third letter is to Gene Buck of ASCAP concerning the copyright status.
One request to include the tunes to “Corcoran Cadets” and “Typical Tune of Zanzibar” in a Delta Psi fraternity songbook.
Eight letters between Helen Abert, G. A. Baker and Co., and Harold Spivacke concerning the library’s acquisition and authentication of the march. Also included is a certificate of appreciation from the Library of Congress.
The Joint Resolution from Congress designating this as the National March, and one letter from L. E. King to Sousa’s son concerning the DAV’s support.
17 letters and one telegram between C. G. Conn, Ltd., Theodore Presser, Co., John Church, and Sousa, Inc. concerning Conn’s illegal printing of this piece in the
Fifteen letters between James Francis Cooke, Helen Abert, and Mrs. Sousa concerning a simplified version of the march in the
Six letters between Theodore Presser, Co., Nat Osborne, and JPS, Inc. concerning arrangements and use of parts of the march.
Five letters between Allen Robertson, Batten Barton Durstine Osborn, Inc., and Mrs. Sousa concerning acquisition of the original manuscript.
Two letters between Theodore Presser, Co. and Mrs. Sousa concerning the use of the march in a General Motors private film produced for the war effort. One letter requesting a photocopy be sent to the
Four letters between Theodore Presser, Co. and Jane Priscilla concerning a request to use special words with the march for a Memorial Day broadcast.
Five letters between Henry Eagle, Irving Cloud Publications, H. S. Irving, Detroit Free Press, and Priscilla concerning an article about a Michigan law banning the playing of this march. Two copies of the article included.
Five letters and two poems. The letters are repeated requests for autographed pictures of Sousa, offers to write a biography, and an inquiry for a job.
Telegram asking for 250 men on May 19, and a rehearsal at noon.
One telegram (copy) requesting Sousa’s participation in organizing the greatest boy’s band in America.
One letter concerning a method book and a boy who is ill.
Three letters concerning the Sousa family’s donation to this organization and their appreciation.
Three letters to Sousa from Buckingham Palace, the American Embassy in London, and John Church concerning the title of the third movement.
Two letters: one where she requests Sousa program a song by Mrs. Townsend, and Sousa’s reply (draft and typed letter).
Three letters and a magazine clipping. The letters pertain to an article Sousa wrote for this publication, which is pictured in the clipping.
A letter questioning the birthdate of Victor Herbert as announced on the radio.
One letter from Letritia Kandle of the Chicago Plectrophonic Orchestra seeking permission to arrange the march, one letter from Carl Fischer urging Priscilla to grant permission and renew the copyright.
Two letters from Tinker discussing the war while living in England.
Picture of the family and letter of appreciation for the book
One letter requesting Sousa examine two vocal pieces.
One letter offering the finer points of the horses Towle deals in.
8 letters and two pamphlets concerning the inclusion of Sousa’s name in the Town Hall and the endowment of a chair in his name. (Family declined.)
One letter requesting Sousa play her song “Belgium Forever” at the Hippodrome for the benefit of the Belgian relief fund.
Two letters from the head of the vocal and operatic dept. at Cincinnati Conservatory of Music: one asking if Sousa might meet her mother and sister in New York, and one asking if he could hear a promising soprano under her tutelage.
One subpoena, one stock certificate, and three letters concerning matters related to trap shooting and the American Shooters Publishing Company.
A letter of apology for the way things have turned out concerning the film produced by Twentieth Century Film Corp.
Two letters; one requesting advice as to what to do with her deceased husband’s music, and a reply asking for more information.
Four letters: three requesting Sousa’s photo in uniform to publish as a souvenir and for publicity, and one letter Sousa’s favorable reply.
Three programs, one telegram, four letters, one news clipping, and five pictures. The letters are in sympathy, reference “League of Nations March by Boyes,” and suggest a memorial monument be erected in Port Washington. The pictures are of the Sousa Library and various plaques. The programs are from concerts and the Univ. of Illinois Library Building dedication.
Three letters between Ed Burnett and Sousa concerning the composition and titling of this march.
To ‘Your Majesty’ from ‘One of your devoted subjects, Archer’ [possibly art collector Archer Huntington, who references the Fricks; Frick address is also on the stationery], asking to meet in the Plaza lobby at 11:30 so there is no mistake about the reservation, made by Mrs. Sousa., of a table next to the Sousas.
Letter, on stationery from The Athenian Club, informing Sousa that ‘the prelude’ had been fixed.
A thank you letter from Col L. S. Miller; An invitation from William Flynn to attend the 306th’s Dance; and notes on the words to the Caisson Song by Maj Edmund Gruber.
A letter from LtCol Franklin requesting Sousa visits the Army Ambulance Band.
Ten pieces of paper with scribbled writings. Eight papers containing verses or odes: four in honor of Sousa and four papers with words to various songs.
Thirty-seven letters and one advertisement. The letters concern Sousa’s contract with Victor, their lack of advertising his tour in 1922, Aeolian’s use of his name, and suggestions for recordings.
Twelve letters between secretaries of Ernest Schelling, Jane Priscilla, and the Univ. of Illinois regarding the rightful ownership of the parts and score.
Two letters from John Marzall requesting Sousa write a march for St. Louis University. Commission not completed.
Mrs. Sousa’s letter of recommendation for Henry Sigfried as bandmaster of the 106th Infantry Band.
Three letters from William Mayner requesting Sousa play his song, and respond to his letters.
Four telegrams and three letters from Edward N. Hurley, Robert Heinl, Josephus Daniels in appreciation of the march and a recommendation for a medal to honor Sousa’s work during the war.
One letter from Sousa agreeing to play “The Call of the Flag.”
A request for a photo of Sousa.
A form letter from an insurance agency.
Two letters, one requesting a picture of the last Sousa band, and an offer to send pecans; and a thank you for the picture and promise of pecans soon
Letter to Edward McLean about the history and popularity of the march. A letter requesting information about the march, and Sousa’s reply. Letter and article to Mrs. Sousa from Scott Cutlip concerning the use of the march in a documentary about West Virginia’s contribution to the war effort.
A plat for the property at 7th and E Sts SE prepared for Elizabeth Sousa.
A contract between Antonio Sousa and John Lighter for Lighter to build a house at 7th and E Sts SE.
Two letters, one from H.H. McKee at the National Capital Bank wishing to turn over the property’s management to Donohue and Sons, and Sousa’s reply in the affirmative.
One letter expressing Sousa’s opinion on playing music by German composers.
Three letters, the first from J. Lewis Brown who requests writing a new, secular text for use in the schools, and two in reply from Sousa and his office.
An invitation to attend a tribute to Sousa at the Hollywood Bowl produced by Meredith Willson.
Three letters: One from Mrs. Oliver Cromwell Field thanking Sousa for the march she requested; another from Frederick Wessels relaying that The Chicago Symphony had played the march, and the last a reply from Sousa.
Seven letters and one telegram. Invitations to participate in anniversary celebrations of the Ringgold Band, and to visit the Weidners.
Two letters from this writer requesting any strange mail or requests that Sousa had received. Copies of the two pages sent to her are also enclosed.
Letter from Sousa to Wells Hawkes thanking Hawkes for allowing Sousa to set his verses to music and suggesting changes that might make it work better.
One letter to Sousa in admiration of his marches and patriotism.
Ten letters between W. A. Ingram and T. R. Wirth of the Naval Academy, John Church Co., and Sousa in regards to the request for this music, its title, dedication, and the necessary publicity.
A request for use of “Stars and Stripes” in an educational film.
A telegram indicating that the Kaiser was now in Hell, as Sousa had once wished after being told he couldn’t put the Kaiser’s name on a program.
One letter to John Philip Sousa, Jr. concerning a plaster model of a memorial.
One letter from Jane van Middlesworth Sousa insisting that the family is not interested in a monument to Sousa, either at cost to the family or the government.
One letter of thanks for the offer of Sousa’s autobiography.
Four news clippings, five letters, and one speech concerning the dedication of the Fountain at Willow Grove Park. Mrs. Sousa, Priscilla, and Helen pictured in one of the clippings. The speech is by Mr. Von Gerichten.
A letter of appreciation for the baton Mrs. Sousa sent. Letter contains the writer’s many memories of Sousa.
Two letters, one from Wilson asking if Sousa will be performing his piece “New Orleans Overture” and denigrations about foreign conductors, and Sousa’s favorable reply to the music, but little said about foreign musicians.
Request for information about a baton Sousa may have given to Victor Herbert.
Two letters from M. Judell concerning the request for the march, and suggested lyrics. The verses are titled “Up With It!” by Berton Braley.
One letter in compliance with a request to send “Love’s Radiant Hour” to Mr. G. P. Lohr.
Letter of condolence and about some articles he wrote.
Request for permission to dedicate a march to Sousa.
Copy of a letter to Sgt Joan Ambrose concerning a card of appreciation from Mrs. Sousa that was donated to the Marine Corps Museum. Pictures of the card included.
One letter from Sousa requesting Stanley Epstein be assigned band duty.
One letter from Sousa in support of women’s suffrage.
One letter requesting Sousa’s signature to add to their publication for radio listeners. Also included is the envelope and sample pages of the book.
A letter concerning part of a collection of Sousa music.
Letter from the American coloratura soprano offering her assistance to Sousa for his upcoming Red Cross programs in New York.
Copyright certificate from the Library of Congress.
Fifteen letters between the accountants and Jane Priscilla Sousa, discussing various financial transactions such as taxes, stocks, bonds, and power of attorney.
Twenty-five letters between the accountants, Jane Priscilla Sousa, and Helen Sousa Abert discussing various financial transactions such as taxes, stocks, bonds, and power of attorney.
Twenty-two letters between the accountants, Jane Priscilla Sousa, and Mrs. Jane van Middlesworth Sousa discussing various financial transactions such as taxes.
Sixty-six letters between the accountants, Jane Priscilla Sousa, and Helen Sousa Abert discussing various financial transactions such as tax returns and payments.
Thirty-eight letters between the accountants, Jane Priscilla Sousa, and Helen Sousa Abert discussing various financial transactions such as tax returns and payments, and expressing sympathy over the death of John Philip Sousa, Jr.
Twenty-two letters between the accountants, Jane Priscilla Sousa, and Helen Sousa Abert discussing various financial transactions such as tax returns and payments, ASCAP royalties, insurance, etc.
Thirty-two letters between the accountants, Jane Priscilla Sousa, Mrs. Jane van Middlesworth Sousa, and Helen Sousa Abert discussing various financial transactions such as tax returns and payments and distribution of assets.
Twenty-five letters between the accountants, Jane Priscilla Sousa, Mrs. Jane van Middlesworth Sousa, and Helen Sousa Abert discussing various financial transactions such as tax returns and payments, stocks, and social security forms.
One letter to Jane Priscilla Sousa concerning social security forms.
Two letters billing John Philip Sousa, Inc. and Sousa and His Band, Inc. for preparing financial analyses and tax returns.
This series contains a variety of printed matter and other ephemera that includes concert programs, address lists, membership cards, passports, and a few brief items of music notation in Sousa’s own hand found in both a box of manuscript paper and a small stack of checkbook register pages. Of particular note are Sousa’s baptismal certificate, his father’s naturalization document, and obituary notices culled from hundreds of newspapers reporting Sousa’s passing. Whenever an item was previously assigned a “JEB” number or NMMC accession number, that number is also included here.
List arranged alphabetically by name, subject, or item type.
Processed by special assistants Laura McKee in 2014 and Charles Willett in 2018.
Handwritten list [possibly by Jane van Middlesworth Sousa or Jane Priscilla Sousa] of names and addresses; may be a thank-you list following the John Philip Sousa funeral.
Typed, names and city/state information; includes the names of Harry Askin, Lillian Finnegan, Capt Moffett, Dan Godfrey, Jane van Middlesworth Sousa, and Jane Priscilla Sousa.
Outline of a libretto for a musical romance by Ralph Holmes, Detroit, Michigan. A letter from Holmes to John Philip Sousa regarding the libretto is found in Box 4, Folder 55.
Autographs of ABA members present at first convention.
For John Philip Sousa, copied from church records.
Three handwritten map sketches, in unknown hand, detailing the Battle of Waterloo and its military components.
Fragments from the music publishing catalogue, fragile condition.
Pages 3-6 from the ‘first color-feature section,’ no apparent Sousa references.
Presumably a card attached to flowers or a wreath, placed in memory of John Philip Sousa by Lawrence J. Bach; former member of Troop 2, Boy Scouts of America in Detroit, representing the troop in Washington, DC.
Three copies of a cartoon depicting a young John Philip Sousa with music teacher John Esputa, from the “Musical Memories” column by Dick Mansfield.
Five pages with musical notations sketched on the reverse; one sketch is signed, ‘JPS March 9 1925.’
Ad for Boosey and Co.’s new Clarionet, “The ‘94.” Extremely fragile
Poem, “The Fighting Race,” in the
concert program
Performance by the Marine Band, John Philip Sousa conducting. Also viewable online as part of the July 21, 1923-March 5, 1924 Part 3 Press Books, pages 142-143. A photograph of this event can be found in Box 14, Folder 20. Correspondence concerning this event can be found in Box 2, Folder 39. Film footage available at the Sherman Grinberg Library.
One card serving as protection for stamp covers, one piece of paper noting upcoming stamp covers that honor six important historical events.
Empty, addressed to Mrs. Jane Van M. Sousa, 30 Sutton Place; from C.H.L., Asbury Park Press.
Empty, not stamped, addressed to Buchanan Auditorium, 13th and D Sts., SE; seemingly from a Capt Alan P. Gunn, 1333 K Street.
Three days of performances by the Sousa Band as part of the event held in Minneapolis, Minnesota. Also viewable online as part of the July 21, 1923-March 5, 1924 Part 3 Press Books, pages 134-141.
Hand-drawn artistic rendering based on the initials “JPS.”
Mass-produced invitation to an art exhibition at the galleries of the Salamagundi Club, 47 Fifth Avenue, February 17 – March 1 (no year indicated).
Vol. VIII, no. 3 of the journal for the Associated Musicians of Greater New York.
Petition to Sousa, bound, purple velvet; tooled with gold lettering 'For A / "Kansas Wildcats" March.'
1976.131.1
Contains Sousa concert programs for Sunday, July 14.
Used by Sousa, mostly blank, but with a few holograph items by Sousa. One folder and one black binder.
Advertising the Tuesday and Friday night parades given at Iwo Jima and Marine Barracks Washington, respectively.
Top check for $10 made out to John D. Spencer drawn on the Commercial Trust Company of New
York. Bottom check made out to McClellan Testimonial Concert Committee, $10, First National Bank
of Riverside, California (money order).
JEB 163
Twenty-two membership cards or proofs of membership in a variety of organizations to include the Masons, Knights Templar, Boy Scouts of America, Musicians Club of New York, a country club, International Writer’s League, Elks, American Legion, Almas Temple, New York Athletic Club, and the Republican National Committee.
Pages 3 and 4, small ad for the Sousa Band on page 4.
An issue of the Cincinnati periodical.
Belonging to John T. Carroll, #638 Franklin Street NE; for The All-American Band and Drum and Bugle Corps Association.
For Antonio Sousa.
Six clippings and part of one issue of the June, 1932 Boston Musician. Four of the clippings pertain to Sousa at Great Lakes or in Denver. One clipping concerns sculptress Ethel Hood, another is a poem “America in Arms.”
Hundreds of clippings concerning Sousa’s death and funeral services, collected by the Romeike Press Clippings Service from newspapers all over the United States. Extremely fragile.
Hundreds of clippings concerning Sousa’s death and funeral services, collected by the Romeike Press Clippings Service from newspapers all over the United States. Extremely fragile.
Twelve pages, with green and black covers; first page has Sousa's notes on music manuscript paper in
pencil; remaining pages are blank; two music manuscript sketches were found folded in half and placed
inside notebook; these are also illegible and done in pencil, and maybe done by Sousa, too.
1976.142.1
Typed recipe with handwritten notation, ‘To [name illegible] from Priscilla Sousa.’
Held at the Riding Hall, Fort D.A. Russell, Wyoming, inscribed to Lt Cmdr John Philip Sousa from Col Osmun Latrobe, Commanding Officer, 4th U.S. Calvary.
Three fragments, in unknown hand, of an optional clarinet cadenza to Paderewski’s “Menuet” [a march-book size band version of this work, arranged by Marine Band member Arthur Tregina, can be found in the Band’s library, catalogue number HIST 6-M]
Issued to John Philip Sousa by American Embassy in Paris.
1976.184.1
JEB 178
Visa for Helen Sousa to visit France.
1976.127.1
JEB 1127
US passport (booklet style, burgundy) issued to John Philip Sousa; has black-and-white photo.
1976.126.1
JEB 1126
Page from the music catalogue.
no author
Addressed to Thomas A. Davis, Brooklyn, NY; announcing the rehearsals for a concert honoring Sousa to be given by the Kismet Temple Band on November 29, 1933.
Pages 33-56 from what was probably the Washington, DC Musician’s Union handbook, listing various kinds of performances, time requirements, and how much a musician would be paid in each instance.
Publisher’s first proof of page one of the sheet music to the song by John Philip Sousa and Guy Lee, with some handwritten edits. Correspondence concerning this piece can be found in Box 1, Folder 39.
Page from a book, with ribbon, depicting Queen of Portugal, Maria Francisca of Savoy Nemours. Signature on reverse: “John Philip Sousa [illegible] 1913”
Publicity postcard advertising the cornetist with ‘compliments of Mae Rich and her King cornet; NBC radio artist’ stamped on the front, handwritten address and ‘pupil of Del Staigers’ written on the reverse.
Seating chart for Sousa luncheon in London at the Trocadero, Empire Room, 12x17" unframed.
JEB 161
Goldtone RCA record celebrating one billion copies of "Semper Fidelis." Recorded by the Boston
Symphony Orchestra under Serge Koussevitzky.
1975.607.55
A few loose pages of press clippings.
Biographical information about Sousa, to include timelines, lists of works, news clippings, obituaries, and anecdotes.
Record of flowers, cards, and calls received for John Philip Sousa funeral at Marine Barracks, March 10, 1932.
Performed by the University of Illinois Concert Band, conducted by A.A. Harding Also viewable online as part of the July 21, 1923-March 5, 1924 Part 3 Press Books, pages 132-133.
A concert given by the Junior Optimist Club Band of the Boys Club of Washington, DC.
Album for 1910-11 Around the World Tour.
Menu and attendee list for a dinner given by The Five O’Clock Club of Philadelphia at which Sousa was a guest.
Photographs (obverse and reverse) and negatives of a standard thank-you card that came from the Sousa family following John Philip Sousa’s death, with a handwritten note added by Jane van Middlesworth Sousa.
Advertisement for the New York factory’s lead shot products.
Issue discusses Wisconsin band clinics, solo and ensemble contests, band tournament awards, and includes some articles.
These materials are mostly financial in nature, regarding property. Captain Judson E. “JEB” Bennett described the restricted papers as of September 13, 1978, and sent a copy of the description to John Philip Sousa III for his review. Correspondence indicates that the family may have wanted to have some or all of these items destroyed; Captain Bennett expressed interest in all papers being retained. No further correspondence exists relating to the restricted papers. All materials appear to have been retained. Restriction can be lifted in 2045.
Sousa was honored with a significant number of official proclamations, letters of appreciation, certificates, commendations, and honorary memberships during his lifetime. This series encompasses more than three decades of those various accolades. Particularly noteworthy are the many elaborate certificates presented to him by the Ancient Arabic Order of the Nobles of the Mystic Shrine (more commonly referred to as “Shriners”). In addition, several official letters of condolence following his death are included here. Whenever an item was previously assigned an NMMC accession number, that number is also included here.
List arranged alphabetically by subject, presenting organization, or presenting individual, as appropriate.
Processed by Laura McKee, special assistant funded by the Marine Corps Heritage Foundation, in 2014. Revised by MGySgt Jane Cross and special assistant Charles Willett in 2018.
lifetime membership
1976.177.1
certificate of greetings and honor from state of New Mexico and citizens of Albuquerque
1976.208.1
framed certificate of honorary membership for John Philip Sousa, signed in blue ink,
embossed seal of Alpha chapter
1976.37.1
condolences from the ABA, and resolving honorary lifetime presidency, signed by Victor
Grabel and others
1976.205.1
presented by Alfred E. Joy
1976.169.1
certificate of membership as "Fellow" of the organization
1976.196.1
honorary membership
1976.195.1
membership
1976.213.1
employee's pass
1976.230.1
with signatures re: Sousa riding accident recovery
1976.167.1
letter of condolence to Sousa family
1976.171.1
silk presentation marking 50th year as Marine Band conductor, purple w/ gold lettering
1976.168.1
letter of appreciation and life membership
1976.187.1
commemorating the acquisition of the Louisiana Territory
condolence letter to Sousa family
1976.186.1
petition for a march
1976.185.1
handwritten certificate of appreciation
1976.229.1
membership as officer of the academy
1976.211.1
certificate awarding title of Officer of Public Instruction
1976.209.1
honorary membership diploma
1976.199.1
commemorative diploma
1976.175.1
certificate of gratitude for composing march
1976.214.1
Christmas and New Year's greeting signed by all members of school band
1976.220.1
membership certificate
1976.192.1
greetings
1976.223.1
Citation from the Blue and Gray Division, 29th Headquarters, 57th Infantry Brigade, for actions taken during World War I north of Verdun. Lohr is a cousin of Sousa, according to label on envelope.
honorary doctor of music
1976.198.1
certificate awarding "Companion of the Military Order of Foreign Wars of the United
States," with Sousa's individual service record
1976.194.1
honorary citizenship
1976.179.1
appreciation for services for land parade in honor of Admiral Dewey
1976.204.1
posthumous engraved letter of appreciation in leather-bound book
1976.178.1
appreciation for conducting their Fifth Annual Concert, significant water damage
1976.206.1
humorous certificate of membership
1976.212.1
expression of esteem and admiration, hand-lettered and painted, double-framed
1976.207.1
1976.159.1
membership in the Order as a member of Almas Temple, Washington, DC
1976.180.1
honorary membership
1976.190.1
appreciation for services to 49th annual session of imperial council
1976.191.1
honorary membership in the Ancient Arabic Order of the Nobles of the Mystic Shrine, in
tube, very brittle
1976.162.1
honorary membership
1976.176.1
honorary membership
1976.181.1
honorary membership
1976.226.1
honorary membership
1976.182.1
honorary membership
1976.222.1
hand-engraved certificate of appreciation for Sabre and Spurs march
1976.228.1
certificate of participation, signed by President Woodrow Wilson
1976.203.1
honorary doctor of music
1976.197.1
proclamation designating Sousa Day, 8.25x13"
membership certificate
1976.193.1
Sousa Day designation, 8x10" unframed
welcome letter, photopositive, 8.5x11"
diploma of honor
1976.200.1
membership
1976.183.1
welcome letter
proclamation designating "Sousa Day"
1976.170.1
proclamation designating January 4, 1924, to be "Sousa Day"
1976.172.1
scroll given to John Philip Sousa in appreciation, from Seattle high school music
departments, by Director of Music at Garfield High School
1976.45.1
letter regarding "Sousa Day”
1976.188.1
honorary membership
1976.189.1
certificate for also-missing gold medal
1976.217.1
commemorative diploma,
1976.201.1
handwritten, also has color drawing of American flag
1976.174.1
certificate of honorary/life membership
1976.221.1
honorary membership in Class of 1921
1976.215.1
honorable discharge
1976.202.1
U.S. Naval Reserve Commission, Lt Cmdr
1976.224.1
U.S. Naval Reserve Commission, Lt Cmdr 1976.225.1
resolution and condolence letter to Sousa family
1976.216.1
enrollment in the organization
1976.210.1
This series comprises bank account records, records detailing income and expenses for the Sousa Band, and other financial documents dealing with both business and personal matters.
Physical arrangement by Marine Corps Museums Branch, Marine Corps Historical Center, circa 1970s. Description by special assistant Charles Willett in 2018.
Bank records from Sousa’s personal accounts and those of his business ventures. With the absence of account numbers in this era, only official account names can be referenced. Many cancelled checks for these accounts will also be found in the corresponding monthly bank statement files. As with any instance of multiple accounts under similar names and used to pay for similar expenditures, checks were occasionally written from one account to pay for expenses incurred by another, making these accounts inter-related. Additionally, many of these bank accounts are directly related to the Sousa Band Financial Records in Subseries VII.B. The account for John Philip Sousa and/or Hamilton Abert appears to have been used largely for expenses related to the property at 80 Washington Place, New York, New York, a property owned by Sousa but occupied and seemingly managed by his daughter Helen and her husband, Hamilton Abert. The Chase National Bank account for John Philip Sousa, Inc. may have been established in 1928 in order to maintain an account separate from the John Philip Sousa personal accounts, making it easier for the former account to handle financial transactions such as investments and other business matters, while the latter accounts continued to deal with day-to-day expenses such as household utilities, personal property tax, memberships, family allowances, etc. Some form of account under the name of John Philip Sousa, Inc. was active until at least 1948, by which time Sousa’s adult daughters and son-in-law were listed as officers of the company.
List arranged alphabetically by account name, then chronologically and further separated between bank statements and check stubs/cancelled checks.
Check stubs and cancelled checks, check nos. 996-1196, account closed December 1, 1933
Bank statements
Bank statements
Check stubs and cancelled checks, check nos. 3501-3797 (remainder in checkbook appear unused and/or unrecorded)
Check stubs and cancelled checks, check nos. 1-64
Four check registers, out-of-sequence numbers and/or no check numbers
Bank statements
Bank statements
Bank statements
Check stubs and cancelled checks
Bank statements
Check stubs and cancelled checks, check nos. 1-252
Check stubs and cancelled checks, check nos. 253-504
Check stubs and cancelled checks, check nos. 1001-1252
Check stubs and cancelled checks, check nos. 758-809 (and remaining unused checks), account closed January 20, 1947
Bank statements
Bank statements
Bank statements
Bank statements
Account statements
Securities statements
Cancelled checks, check nos. 601-685
Account book
Bank statements
Check stubs and account book, check nos. 29001-29077
Check stubs and cancelled checks, check nos. 157-297
Check stubs and cancelled checks, check nos. 298-447
Check stubs and cancelled checks, check nos. 448-600
Check stubs and cancelled checks, check nos. 600-749
Check stubs and cancelled checks, check nos. 750 881
Check stubs and cancelled checks, check nos. 900-1049
Check stubs and cancelled checks,
check nos. 1050-1228 (and remaining unused checks), account closed June 1936
Bank statements
Bank statements
Bank statements
Weekly income and expense records showing the business operations of the Sousa Band, covering in large part the Band’s tours. In some instances, only the basic categorized, weekly Profit and Loss Statements are available; in others, detailed receipts and invoices for individual transactions are also included. The Profit and Loss Statement was consistently broken down into the following categories: Statement and Receipts (showing the terms agreed upon between the Sousa Band and the performance venue, the final box office grosses following the performance, and the Sousa Band’s share of box office receipts), Salaries (for the performing Band members, usually broken down between Soloists, Brass, Reeds, Woodwinds, Percussion, and Others; salaries for Sousa and his immediate managerial staff appear not to have been included in this category, with an occasional exception showing the salary disbursed to Sousa Band secretary Lillian Finegan), Advertising (to include newspaper advertisements, photographs, and publicity posters), Transportation (expenses incurred for travel between performance-venue cities via railroad, equipment transfer from railroad station to performance venue, and charges for transporting musicians from railroad station to performance venue or hotel), Rent (expenses related to the use of the performance venue, to include stagehands, stage lights, and extra rehearsal time), Harry Askin (incidental expenses incurred by the Manager of the Sousa Band), John Philip Sousa (any reimbursable expenses incurred by Sousa; these were most often lodging and meal charges, as Sousa typically stayed at a hotel separate from that of his musicians while on tour), and Miscellaneous Expenses. Note that occasional references are made in the documents to “manager” William Schneider; Schneider was in fact the road manager for the Sousa Band tours, while Harry Askin, whose name was always listed just below Sousa’s on concert programs, was the official Manager of the Sousa Band. Also worth noting is that beginning with the week ending July 21, 1928, the Profit and Loss Statement category of “John Philip Sousa” changed to “John Philip Sousa, Inc.” See Series VII.A for additional information related to the Sousa Band Financial Records.
List arranged chronologically by year, then by week-ending date, the standard reporting period for the organization.
A variety of documents that include tax statements, royalty statements, miscellaneous business transactions, and invoices for personal items.
List arranged alphabetically by subject.
For 80 Washington Place, New York, New York, information supplied by Hamilton Abert
From J.F. Cooke to Jane van Middlesworth Sousa
Surviving empty envelopes, usually from Sousa and His Band, which possibly contained the weekly Profit and Loss Statements. Some envelopes were to be routed to a Miss Dresser at the office of attorney A.M. Wattenberg. Contains a few other envelopes originating from senders that include Jerome H. Remick and Co. Extremely fragile.
For 80 Washington Place, New York, New York
A variety of transactions, usually for personal items, to include cigar bills, receipts for Brooks Brothers clothing, and charges incurred through various clubs of which Sousa was a member
A variety of transactions, usually for personal items, to include cigar bills, receipts for Brooks Brothers clothing, and charges incurred through various clubs of which Sousa was a member
Information on two minor transactions, concerning loans made to John Graham, and account verification from the Merchants Bank of Canada
Highly detailed, handwritten ledgers showing virtually every aspect of the Sousa income and expense categories, to include dividends received and property tax information; in pencil, compiler unknown
Includes those for John Philip Sousa, Inc., Sousa’s Port Washington property, and for Sousa and His Band
This series contains magazines primarily from the first half of the twentieth century, most of which contain articles written about or by Sousa. A few of the publications also feature Sousa on the cover.
List organized alphabetically by title, then chronologically therein.
Arranged and described by special assistant Charles Willett in 2018.
Vol. X, No. 3, school newsletter of The Browning School in New York City, contains an In Memoriam editorial about Sousa by Charles S. Presbrey, autographed by the author
Vol. 69, No. 77
Vol. XXVI, No. 1, three copies, contains an advertisement for “Sousa’s New March Hits”
Vol. XXVI, No. 4, contains an advertisement for “Sousa’s New March Hits”
Vol. XXXVII, No. 12
Vol. XXXVIII, No. 1, contains an advertisement for Sousa’s band
Vol. L, No. 4, contains an interview with Sousa and also informs readers that editors received word of Sousa’s death just as the magazine was going to press
Vol. L, No. 9, features “The Spirit of Sousa” cover art by Renninger
Vol. L, No. 9, features “The Spirit of Sousa” cover art by Renninger, two copies
Vol. L, No. 9, “The Spirit of Sousa” cover art by Renninger, cover only, fragile
Vol. LIV, No. 4, portrait of Sousa on the cover showing how he looked at the time of each American president’s administration during his lifetime, cover art explained inside magazine
Vol. LIV, No. 4, five reprints of the cover art without magazine logo, showing portrait of Sousa and how he looked at the time of each American president’s administration during his lifetime. The full issue of this magazine can be found in Box 124.
Vol. LIV, No. 9, contains an article on the origins of Sousa’s name
Vol. LVII, No. 4, contains an editorial tribute to Sousa and discusses plans for a possible Sousa Memorial Monument in Washington, DC, 2 copies
Vol. IV, No. 6, contains photos and article on Sousa as leader of the band at the Great Lakes Naval Training Station
Vol. LII, No. 2, photo of Sousa Band on cover, contains article on the legacy of the Sousa Band
Vol. XXXIII, No. 132
Vol. V, No.3, contains an article about Sousa and his band
Vol. II, No. 8, contains an interview with Sousa
Vol. VII, No. 9, contains a brief announcement about Sousa receiving an honorary doctorate from Pennsylvania Military College
Vol. LXII, No. 16, contains brief item about the Sousa Band marching in a parade to promote the show Hip! Hip! Hooray! at New York’s Hippodrome, as well as an advertisement for the Band’s performance at that theater
Vol. LXII, No. 18
Vol. CIV, No. 11, contains Sousa obituary
Vol. 62, No. 10, contains Sousa obituary
Vol. I, No. 1 – Vol. XXXII, No. 4, a few issues missing
Partial draft of an article from unknown publication, pages 3 and 5 only, with a reference to Sousa’s operettas and his time in Philadelphia as a violinist
Vol. 188, No. 33
Vol. 198, No. 18; contains part of series article by Sousa
Vol. 198, No. 19; contains part of series article by Sousa
Vol. 198, No. 21; contains part of series article by Sousa
Vol. 198, No. 22; contains part of series article by Sousa
Vol. 198, No. 23; contains part of series article by Sousa
Vol. 198, No. 24; contains part of series article by Sousa
Spring fashions issue
This series contains books on a wide variety of topics relevant to Sousa’s profession, including works on music history, music theory, orchestration, composition, biographies of musicians, dictionaries of music, and essays on music. Also part of the collection are books reflecting Sousa’s additional interest in subjects such as American history, military history, linguistics, poetry, literature, and works of art. Of particular note are several copies of books authored by Sousa, to include his autobiography,
List organized alphabetically by author, then title therein.
The first inventory of the books after donation was completed by Captain “JEB” Bennett in 1977; books were assigned JEB numbers in that listing; books were not physically numbered according to this system. GySgt Russ Girsberger described this series in the 1990s and notated the original catalog numbers as assigned by John Philip Sousa or his family; these are the numbers on the books themselves. Charles Willett completed the physical arrangement of the books and notated music in 2018. Some previously undescribed books were discovered during this process and their descriptions are included in this finding aid.
In some cases, items were initially assigned the same number, and those items are shelved adjacent to each other. In rare cases, two separate numbers were assigned to the same item; the number on the book spine (in each entry here, the first of two numbers listed) is the priority number for arrangement on the shelves. Some numbers have become detached, and those volumes are indicated as “not numbered.”
Most books are interfiled on the shelves with the notated music and are arranged in two sections: items with a number are shelved first, in numeric order, followed by those items which are not numbered. Items which are not numbered are arranged alphabetically by author, composer, arranger, or editor. Most items bear the identifying “John Philip Sousa” signature on the inside cover (indicating the item personally belonged to Sousa), or personalized inscriptions to Sousa by the item’s author or composer. Due to extreme age or fragility, a few items are stored flat on shelves (indicated here with an [F] following their number assignment) at 12.5.5.2.5-6.
Opera libretto. (New York: The Theatre Ticket Office)
Opera libretti. (New York: F. Rullman)
Organization and society publications. (New York: Louis Blumenberg)
Poetry. (no publisher listed)
Music catalog. (New York: Carl Fischer)
Music catalog. (Cincinnati: John Church)
Music catalog. (Cincinnati: John Church)
Music catalog. (Cincinnati: John Church)
Biography. (London: Chapman and Hall)
Biography. (London: Chapman and Hall)
Biography. (London: Chapman and Hall)
Chapbook. (Birmingham, England: S. Martin)
Military instruction and history. Military music. (London: Published by Authority)
Organization and society publications. (St. Louis, MO: Press of International Musician)
Organization and society publications. (Newark, NJ: International Musician Press)
Music survey. Program notes. (New York: Ampico Corp.)
Military instruction and history. (Boston: The Company)
Literature. (Philadelphia: J. B. Lippincott)
Music theory. (Boston: Boston Music)
Music theory. (Boston: Boston Music)
(Boston: Boston Music)
Military music. Military instruction and history. (London: Joseph Williams)
Military music. Military instruction and history. (New York: Army and Navy Journal, 1908)
Military music. Military instruction and history. (New York: Army and Navy Journal, 1918)
Military instruction and history. (Washington: Government Printing Office)
Biography. (New York: McBride, Nast and Co.)
Music theory. (Chicago: The Open Court Publishing Company)
Music history. (Philadelphia: Theodore Presser)
Biography. (London: Hodder and Stoughton)
Linguistics and languages. (Boston: Little, Brown, and Co.
Vocal training. Linguistics and languages. (Boston: Oliver Ditson)
Dictionary, encyclopedia. (New York: Frederick A. Stokes)
Dictionary, encyclopedia. (London: A. and C. Black)
Music composition and orchestration. (London: Novello and Co.)
Biography. (London: J. M. Dent and Sons)
American history. (Cooperstown, NY: H. and E. Phinney)
American history. (Cooperstown, NY: H. and E. Phinney)
Musical instruments. Music pedagogy. (New York: Carl Fischer)
Music composition and orchestration. (Philadelphia: Theodore Presser)
Military music. (Menasha, WI: George Banta Pub. Co.)
Music pedagogy. (New York: Leo Feist)
American history. Texas. (Texas: typescript)
Music composition and orchestration. (London: Kegan Paul, Trench, Trubner and Co.; J. Curwen and Sons)
Music history. Opera. (Boston: Little, Brown and Co.)
Text and plates of art works. (Boston: Small, Maynard and Co.)
Biography. (Garden City, NY: Garden City Publishing Co.)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Periodical. Music history. (London: Sign of the Unicorn)
Music pedagogy. (Philadelphia: Theodore Presser)
Biography. (Reading, MA: E. T. Clarke)
Music composition and orchestration. (New York: Macmillan)
Music history. (New York: National Society of Music)
Music history. (New York: National Society of Music)
History of dance. (New York: National Society of Music)
Dictionary, encyclopedia. (New York: National Society of Music)
Dictionary, encyclopedia. (New York: National Society of Music)
Poems and lyrics from songs. (London: John Fielding)
American history. (New York: P. F. Collier)
Poems and lyrics from songs. (London: George Routledge and Sons)
Poems and lyrics from songs. (London: George Routledge and Sons)
Poems and lyrics from songs. (London: George Routledge and Sons)
American history. Washington, DC. (Washington, DC: Columbia Historical Society)
American history. Washington, DC. (Washington, DC: Columbia Historical Society)
American history. Washington, DC. (Washington, DC: Columbia Historical Society)
American history. Washington, DC. (Washington, DC: Columbia Historical Society)
American history. Washington, DC. (Washington, DC: Columbia Historical Society)
American history. Washington, DC. (Washington, DC: Columbia Historical Society)
American history. Washington, DC. (Washington, DC: Columbia Historical Society)
American history. Washington, DC. (Washington, DC: Columbia Historical Society)
Essays, lectures, anecdotes. (n.p.: C. G. Conn)
Essays, lectures, anecdotes. (Los Angeles, George Rice and Sons)
Essays, lectures, anecdotes. (Philadelphia: Theodore Presser)
Essays, lectures, anecdotes. (Philadelphia: Theodore Presser)
Music pedagogy. Vocal training. (Philadelphia: Theodore Presser)
Music history. (Philadelphia: Theodore Presser)
Essays, lectures, anecdotes. (Utica, NY: Curtiss and Childs)
Linguistics an languages. (New York: R. D. Cortina Co.)
Vocal training. Linguistics and languages. (Boston: School of Expression)
American history. (New York: Harper and Brothers)
American history. (Meadville, PA: Chautauqua Century Press)
Essays, lectures, anecdotes. (n.p.: D. T. Mfg. Co.)
Military instruction and history. (Pennsylvania: the author)
Biography. (London: Methuen; New York: George H. Doran)
Music survey. Opera. (London: T. Werner Laurie)
Music survey. Opera. (London: T. Werner Laurie)
Vocal training. Music pedagogy. (Boston: Oliver Ditson)
American history. (St. Paul’s: C. Brome)
American history. (St. Paul’s: C. Brome)
American history. (Washington, DC: Government Printing Office)
Music history. Sacred and church music. (New York: Charles Scribner’s Sons)
Opera libretti. (Boston: Oliver Ditson & Co.)
Music history. Sacred and church music. (London: Walter Scott; New York: Charles Scribner’s Sons)
Literature. (Philadelphia: Porter and Coates)
Music history. American history. (New York: Macmillan Co.)
Essays, lectures, anecdotes. (Philadelphia: Theodore Presser)
Musical instruments. (London: His Majesty’s Stationary Office)
Music history. (New York: National Society of Music)
Essays, lectures, anecdotes. (New York: Funk and Wagnals)
Essays, lectures, anecdotes. (New York: Charles Scribner’s Sons)
Essays, lectures, anecdotes. (New York: Funk and Wagnals)
Music history. American history. (Boston: Oliver Ditson)
American history. (Boston: Houghton, Mifflin and Co.)
Music collection. Periodical. (London: Folk Song Society)
Music collection. Periodical. (London: Folk Song Society)
Music collection. Periodical. (London: Folk Song Society)
Music collection. Periodical. (London: Folk Song Society)
Music collection. Periodical. (London: Folk Song Society)
Biography. (Norwood, MA: Plimpton Press)
Music theory. (Leipzig: Arthur P. Schmidt)
Music history. Essays, lectures, anecdotes. Opera. (London: Macmillan)
Music composition and orchestration. (London: Macmillan)
Music history. (St. Louis, MO: Art Publication Society)
Opera libretti. (New York: Samuel French & Son)
Literature. (New York: Charles Scribner’s Sons)
Music Pedagogy. (London: E. Ascherberg & Co.)
Poems and lyrics from Victorian songs. (Boston: Little, Brown and Co.)
Text and plates of art works. (New York: Mitchell Kennerley)
German history. Essays, lectures, anecdotes. (New York: George H. Doran)
Music collection. Music history. (New York: National Society of Music)
Music collection. Music history. (New York: National Society of Music)
Literature. (London: Daniel O’Connor)
Biography. British history. (London: Methuen)
Biography. (London: Hutchinson and Co.)
Music theory. (New York: G. Schirmer)
Music history. (New York: John Day Co.)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Charles E. Burden)
Opera libretto. (New York: Fred Rullman)
Biography. Music history. (London: J. M. Dent; New York: E. P. Dutton)
Music theory. (Pittsburgh: Joseph P. Haigh)
Music history. Music survey. (New York: National Society of Music)
Music history. (New York: National Society of Music)
Music history. (New York: National Society of Music)
Program notes. Essays, lectures, anecdotes. (Chicago: Orchestral Association)
Program notes. Essays, lectures, anecdotes. (Chicago: Orchestral Association)
Program notes. Essays, lectures, anecdotes. (Chicago: Orchestral Association)
Program notes. Essays, lectures, anecdotes. (Chicago: Orchestral Association)
Program notes. Essays, lectures, anecdotes. (Chicago: Orchestral Association)
Program notes. Essays, lectures, anecdotes.
Aesthetics. (London: Strahan and Co.)
Acoustics. (London: Longmans, Green and Co.)
American history. (London: John Lane)
Music history. (New York: Longmans, Green and Co.)
South American history. (Washington, DC; Robert Armstrong)
South American history. (Washington, DC; Robert Armstrong)
Music history. Biography. (Boston: Broughton Mifflin)
Literature. (London: Chappell and Co.)
Biography. Music history. (Boston: L. C. Page and Co.)
Music survey. Biography. Music history. (Boston: L. C. Page)
Music survey. Biography. Music history. (Boston: L. C. Page)
Dictionary, encyclopedia. (Garden City, NY: Doubleday, Page and Co.)
Music theory. (London: Augener; Boston: Boston Music)
Text and plates of art works. (London: Chatto and Windus)
Text and plates of art works. (London: Chatto and Windus)
Text and plates of art works. (London: Chatto and Windus)
Music history. Essays, lectures, anecdotes. (New York: Macy-Masius)
Music history. Biography. (New York: John W. Lovell)
Opera. Music survey. (New York: Edward Schuberth & Co.)
Music theory. (New York: G. Schirmer)
French history. (Paris: Librairie Hachette)
Biography. (Boston: Stratford Co.)
Music survey. Essays, lectures, anecdotes. (New York: Pierre Key)
Music composition and orchestration. (New York: Carl Fischer)
Poetry. (Boston: Houghton Mifflin)
Poems and lyrics from songs. (Boston: L. C. Page)
Texts and plates of art work. (New York: Cassell)
Essays, lectures, anecdotes. (New York: Charles Scribner’s Sons)
Illustrated chapbook for children. (London: M. J. Godwin)
Music history. (New York: National Society of Music)
Music history. (New York: Charles Scribner’s Sons)
Music theory. (n.p.: the author)
Poetry. (London: Kegan Paul, Trench and Co.)
Music composition and orchestration. (New York: Arthur Lange)
Music analysis. (New York: Dodd and Mead)
Music history. Opera. Music survey. (New York: Dodd, Mead and Co.)
Music history. Music survey. (London; Walter Scott; New York: Charles Scribner’s Sons)
Music theory. (Boston: Boston Music)
Biography. (New York: Didier)
Music composition and orchestration. (London: Novello & Co.)
Literature. (n.p.: New American Library)
Dictionary, encyclopedia. (New York: Macmillan, 2nd ed.)
Dictionary, encyclopedia. (New York: Macmillan, 2nd ed.)
Biography. (New York: G. P. Putnam’s Sons)
College yearbook. (Milwaukee, WI: Marquette University)
American history. Biography. (Philadelphia: C. P. Wayne)
American history. Biography. (Philadelphia: C. P. Wayne)
American history. Biography. (Philadelphia: C. P. Wayne)
American history. Biography. (Philadelphia: C. P. Wayne)
American history. Biography. (Philadelphia: C. P. Wayne)
Music composition and orchestration. (New York: S.T. Gordon)
Biography. (New York: Century)
Music history. (Meadville, PA: Chautauqua Century Press)
Music theory. (Boston: Ginn and Co.)
Music theory. (Boston: Ginn and Co.)
Program notes. Essays, lectures, anecdotes. (Chicago: Orchestral Association)
Opera libretto. (London: Chappell & Co.)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Opera libretto. (New York: Fred Rullman)
Essays, lectures, anecdotes. Biography. (New York: the author)
Music pedagogy. (Chicago: Charles C. Miles)
Poetry. (London: Longmans, Green, Reader and Dyer)
Military instruction and history. (Paris: Librairie Militaire Berger-Levrault)
Dictionary, encyclopedia. (Boston: Oliver Ditson)
Biography. Essays, lectures, anecdotes. (New York: Charles Scribner’s Sons)
Essays, lectures, anecdotes. Music history. Music survey.(London: Novello)
Periodical. Sacred and church music. (New York: Mason Brothers)
Essays, lectures, anecdotes. (New York: National Bureau for the Advancement of Music)
Music analysis. (London: Bertram Dobell; New York. G. P. Putnam’s Sons)
Biography. (London: William Reeves)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
American history. Essays, lectures, anecdotes. (n.p.: Lincoln Memorial University)
Dictionary, encyclopedia. (London: Augener and Co.)
Music theory. (Philadelphia: Theodore Presser)
Music theory. (Philadelphia: Theodore Presser)
Music theory. (Philadelphia: Theodore Presser)
Biographical dictionary. (New York: Thomas Y. Crowell)
American history. Washington, DC. (New York: Doubleday, Page and Co.)
Music theory. Music collection. (Boston: Silver, Burdett)
Music collection. (Boston: Silver, Burdett)
Music theory. Music collection. (Boston: Silver, Burdett)
Music history. (New York: D. Appleton and Col.)
Piano/vocal songbook. Music history. (Garden City, NY: Doubleday, Doran and Co.)
Text and plates of art works. (London: Methuen)
Music survey. (London: Hutchinson)
Organization and society publications.
Music history. Music theory. (London: Augener and Co.)
Music history. Music theory. (London: Augener and Co.)
Opera libretto. (London: Ricordi)
Music method books. (Elkhorn, WI: Arthur Herbert Rackett)
American history. Text and plates of art works. (New York: Century)
Biography. (New York: Alfred A. Knopf)
Music composition and orchestration. (Berlin: Édition Russe de Musique)
Music history. (Boston: Oliver Ditson)
Music history. (Boston: Oliver Ditson)
Music history. Essays, lectures, anecdotes. (Boston: Oliver Ditson and Co.)
Biography. (New York: Harper and Bros.)
Music history. Opera. (New York: National Society of Music)
Dictionary, encyclopedia. (New York: Current Literature)
Music method books. Military music. (New York: Carl Fischer)
Commemorative yearbook from the exposition. (San Francisco: Panama-Pacific International Exposition)
Cuban music. (Havana, Cuba: El Siglo)
Poetry. (Toronto: Ryerson Press)
History of dance. Music history. (London: Novello and Co.)
History of dance. Music history. (London: Novello and Co., 2nd ed.)
History of dance. Music history. (London: Novello and Co.)
History of dance. Music history. (London: Novello and Co.)
History of dance. Music history. (London: Novello and Co.)
Essays, lectures, anecdotes. (Boston: The Four Seas Company)
Biography. (Baltimore, MD: O’Donovan Bros.)
American history. Biography. (Philadelphia: J. W. Bradley)
Organization and society publications.(Philadelphia: La Societe)
Literature. Two copies. (Indianapolis, IN: Bowen-Merrill) two copies
Literature. (New York: Grossett and Dunlap)
Literature. Two copies. (Indianapolis: Bobbs-Merrill)
Literature. Three copies. (New York: The New York Book Co.)
Literature. Two copies. (Boston: Small, Maynard and Co.)
Literature. Two copies. (Boston: Hale. Cushman and Flint)
Literature. (Indianapolis, IN: Bobbs-Merrill)
Literature. (New York: Thomas Y. Crowell)
Piano/vocal songbook. Essays, lectures, anecdotes. (New York: Simon and Schuster)
Piano-vocal songbook. Essays, lectures, anecdotes. (New York: Simon and Schuster)
Essays, lectures, anecdotes. (New York: Boni and Liveright)
American history. (Bennington, VT: Bennington Battle Monument and Historical Association)
Opera libretto. (New York: Boosey & Co.)
Music history. (New York: Macmillan)
Music history. (New York: Macmillan)
British history. (New York: Harcourt, Brace and Co.)
Biography. (London: The Strad; New York: Charles Scribner’s Sons)
Poetry. (Philadelphia: Wm. F. Fell)
Opera libretto. (London: Chappell & Co.)
Opera libretto. (London: Chappell & Co.)
Music history. (Boston: Arthur P. Schmidt Co.)
Music history. American music. (New York: Thomas Y. Crowell)
Music history. (New York: National Society of Music)
Biography. (Chicago: A. C. McClurg)
Biography. (Chicago: A. C. McClurg)
Dictionary, encyclopedia. Opera. (Morgantown, WV: Acme)
Music survey. Music history. (New York: National Bureau for the Advancement of Music)
Biography. German history. Polish history. (New York: Grosset and Dunlap)
Military instruction and history. Military music. (Washington, DC: United States Government Printing Office) two copies
American history. (Chicago: L. W. Walter)
Essays, lectures, anecdotes. (New York: G. Schirmer)
College yearbook. (Poughkeepsie, NY: Vassar College)
Poetry. (New York: George H. Doran)
Essays, lectures, anecdotes. (New York: Thomas Y. Crowell and Co.)
Conducting. (n.p.: the author)
British history. Music history. (Bournemouth, England: Winter Gardens Committee)
Music history. (London: Simpkin, Marshall, Hamilton, Kent and Co.) two copies
Text and plates of art works. Essays, lectures, anecdotes. (New York: Simon and Schuster)
Biography. (London: George Newens)
Music history. Piano/vocal songbook. (London: Chappell and Co. and Macmillan and Co.; New York: Novello, Ewer and Co.)
Music history. Piano/vocal songbook. (London: Chappell and Co. and Macmillan and Co.; New York: Novello, Ewer and Co.)
Portraits of the sovereign rulers of Europe. (W. Tullberg: Collection Hasse)
Opera libretto. (London: Samuel French)
Acoustics. (Chicago: A. C. McClurg)
This series contains study scores, bound collections of genres such as songs or piano music, piano/vocal scores for operas and oratorios, libretti, and operetta music by both Sousa and his contemporaries.
Arranged alphabetically by composer last name, then by title therein.
Many of these items appear on the JEB inventory and have corresponding JEB numbers (only listed here in the absence of a Sousa number). GySgt Russ Girsberger prepared a partial list of materials in 1993 that provided a starting point for description. Most items are interfiled on the shelves (Location: 12.5.5.2-4) with the Books in the number order originally assigned by John Philip Sousa or his family; these items are identified by either three- or four-digit numbers. Operettas composed by Sousa, libretti for his operettas, and a few libretti unassociated with any completed works are stored separately in boxes and/or folders at 12.5.18.7. Charles Willett completed description of all items and arranged the books and notated music according to the original catalog numbers when present. Items not numbered follow and are arranged alphabetically by author last name.
Piano/vocal songbook. (New York: Hinds, Noble and Eldredge)
Opera piano/vocal score. (London: Boosey and Co.)
Opera piano/vocal score. (Boston: Oliver Ditson)
Opera piano/vocal score. (London: Chappell and Co.)
Opera piano/vocal score. (Boston: Oliver Ditson and Co.)
Orchestral score. (n.p.:Eulenberg)
Orchestral score. (n.p.:Eulenberg)
Orchestral score. (n.p.:Eulenberg)
Piano/vocal songbook. (London, New York: Novello, Ewer and Co.)
Music collection. (London: Novello, Ewer)
Music collection. (New York: the author)
Orchestral score. (n.p.:Eulenberg)
Libretto, typed original.
Libretto, typed original.
Poetry. (New York: George H. Doran Co.)
Opera piano/vocal score. (London: J. B. Cramer)
Piano/vocal collection. (London, New York: Samuel French and Son)
Piano/vocal collection. (London: Thomas Hailes Lacy)
Opera piano/vocal score. (London: Chappell and Co.)
Opera piano/vocal score. (Boston: White, Smith and Co.)
Piano/vocal songbook. (New York: G. Schirmer)
Music collection. (Leipzig: C. F. Peters)
Music collection. Sacred and church music. (Cincinnati: John Church)
(New York: Music Lovers Press)
(New York: Music Lovers Press)
(New York: Music Lovers Press)
(New York: Music Lovers Press)
(New York: Music Lovers Press)
(New York: Music Lovers Press)
(New York: Music Lovers Press)
Opera piano/vocal score. (Boston: White, Smith, and Co.)
Piano-vocal songbook. Sacred and church music. (Decorah, IA: Lutheran Publishing House)
Music collection. (London: G. H. Davidson)
Music collection. (London: G. H. Davidson)
Opera piano/vocal score. (Boston: Oliver Ditson)
Piano/vocal collection. (London: How and Parsons)
Piano/vocal collection. (London: How and Parsons)
Opera piano/vocal score. (London, New York: Boosey and Co.)
Oratorio piano/vocal score. (Boston: Oliver Ditson and Co.)
Oratorio piano/vocal score. (New York: R. L. Huntzinger)
Sacred and church music. (Boston; The Parish Choir)
Piano/vocal songbook. (Redding, CT: C. E. Ives)
Piano/vocal songbook. (New York: Viking Press)
Oratorio piano/vocal score. (Boston: Geo. D. Russell)
Opera piano/vocal score. (Boston: Oliver Ditson)
Opera piano/vocal score. (New York: Richard A. Saalfield)
Opera piano/vocal score. (London: E. Ascherberg and Co.)
Piano/vocal collection. (Cincinnati: John Church)
Opera piano/vocal score. (Milan: G. Ricordi)
Comic opera in two acts. Libretto. Two typed originals.
Opera piano/vocal score. (London: Boosey and Co; New York)
Libretto, typed original.
Opera piano/vocal score. (London, New York: Boosey and Co.)
Opera piano/vocal score. (London: Hopwood and Crew)
Piano/vocal collection. (n.p.: s.l.)
Music collection. (New York: G. Schirmer)
Opera piano/vocal score. (New York: Edward Schuberth)
Opera piano/vocal score. (Boston: Blair and Lydon)
Music collection. (London: Kegan Paul, Trench and Co.)
Opera piano/vocal score. (Philadelphia: J. M. Stoddart)
Opera piano/vocal score. (London: E. Ascherberg)
JEB 1146. Operetta. Incomplete piano/vocal score and seven libretto books with marginal notations by unidentified person.
JEB 1147. Operetta. Libretto by Charles Klein, lyrics by Tom Frost and Sousa. Piano/vocal score.
JEB 1148. Libretto by Charles Klein. Piano/vocal score.
JEB 1148. Libretto by Charles Klein. Incomplete piano/vocal score.
JEB 1149. Libretto by Glen MacDonough. Three libretto books for Acts I, II, and III. Three piano/vocal scores.
JEB 1150. Libretto by Edward Tabor and John Madison. Bound libretto for Act II with marginal annotations, three piano/vocal scores. Published by White, Smith, and Company, 1893. Published John Church and Company.
JEB 1151. Libretto by Harry Bache Smith. Libretto book for Act I, two libretto books for Act II, two piano/vocal scores.
JEB 1152. Libretto by Leonard Liebling. Libretto available for Act 1, Scene 4; Act II Scene 5; Act III, Scene 7; typed plot book (31 pages).
JEB 1152. Libretto by Leonard Liebling. Two piano/vocal scores.
JEB 1153. Libretto by Wilson Vance. Two Piano/vocal scores.
Copy of libretto.
Oratorio piano/vocal score. (London: Novello, Ewer and Co.)
Music collection. (Boston: Oliver Ditson)
Opera piano/vocal score. (London: Boosey and Co.)
Opera piano/vocal score. (n.p.: J. M. Stoddart)
Opera piano/vocal score. (Boston: Oliver Ditson)
Opera piano/vocal score. (n.p.: J. M. Stoddart)
Opera piano/vocal score. (n.p.: J. M. Stoddart)
Opera piano/vocal score. (Boston: Oliver Ditson)
Opera piano/vocal score. (New York: William A. Pond and Co.)
Piano/vocal collection. (Boston: C. C. Birchard)
Opera piano/vocal score. (Paris: Bureau Central de Musique)
Opera piano/vocal score. (Milan: G. Ricordi)
Opera piano/vocal score. (New York: G. Schirmer)
Opera piano/vocal score. Title page missing.
Libretto, typed original, likely incomplete.
Piano-vocal songbook. (New York: J. J. Little and Ives)
This series contains eighteen published scripts for plays.
Arranged alphabetically by author's last name.
This series was processed by MGySgt Jane Cross in 2019.
(London: Samuel French)
(New York: Samuel French & Son)
(New York: T. H. French)
(London: Samuel French)
(Oxford: James Parker and Co.)
(London: Samuel French)
(London: Samuel French)
(New York: Samuel French)
(Philadelphia: Penn Publishing Company)
(London: Samuel French)
(New York: Samuel French)
(London: Samuel French)
(New York: Samuel French & Son)
(New York: Samuel French)
(New York: Samuel French)
(London: Samuel French)
(New York: Samuel French)
The following information is offered according to a chart penned by Paul Bierley on July 6, 1975.
Library of Congress: John Philip Sousa began his Sousa Band music library in 1892, which was lost in litigation to the Blakely heirs in 1900 and then sold back to Sousa around 1924. This music was given to Victor Grabel of Chicago. Grabel sold part of this collection to Louis Blaha at Morton High School in Cicero, Illinois. Some of Grabel’s and Blaha’s music becomes mixed in over time. This music is now located at the Library of Congress, representing about 4% of the Sousa Band’s music library holdings. (The Sousa Family also gifted hundreds of music manuscripts to the Library of Congress in addition to their holdings of The Sousa Band music library.)
US Marine Band: The other portion of the music given to Grabel goes with him to Stetson University. This music is given to the US Marine Band in 1969 and is known as the Victor Grabel collection, accession numbers starting with “SOU.” This music, plus the encore books that came by way of Charles Hyde Walker, account for approximately 25% of Sousa total music library holdings.
University of Illinois: John Philip Sousa had started a new music library in 1897 when his initial holdings began to be in contention with the Blakely heirs. This library becomes the one most used by The Sousa Band. In 1931, Sousa gives a small segment to the University of Illinois Bands under the direction of Albert Austin Harding. After Sousa’s death in 1932, the remainder of this portion of his music library also goes to the University of Illinois, where it remains in the care of their Sousa Archive to this day. This portion accounts for about 71% of the Sousa Band music library.
The Marine Band Library and Archives also maintains 79 collections or donations related to John Philip Sousa. Organized by name or subject alphabetically. List compiled by MGySgt Jane Cross in 2018.