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    Carl Venth holding a violin

    Pictured: Carl Venth

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    Subseries Box Folder Description
    1 23 1 Biographical notes, undated
    1 23 2 Carl Venth scholarship tea guests, 1954, 1971, 1974
    1 23 3 Compositions, “Air de Ballet,” 1911
    1 23 4 Compositions, “Album of Fifteen Songs,”  undated
    1 23 5 Compositions, “Am Abend,” 1911
    1 23 6 Compositions, “An American Lullaby,” undated
    1 23 7 Compositions, “Cantus Doloris (Chanson Triste),” 1911
    1 23 8 Compositions, “Der Traumfabricatn,” undated
    1 23 9 Compositions, “Dolls” Scores, Letters, Programs, (1920s)-1973
    1 23 10 Compositions, “Fair Betty,” undated
    1 23 11 Compositions, “Frithjof und Ingeborg,” 1891
    1 23 12 Compositions, “From Olden Times (Myth Voices),” 1914
    1 23 13 Compositions, “Gavotte Antique,” 1911
    1 23 14 Compositions, “I Am Texan,” 1936
    1 23 15 Compositions, “La Vida de la Mision” Programs, 1959
    1 23 16 Compositions, “The Little Lady of Ch’ing Hsi,” 1937
    1 23 17 Compositions, “Miscellaneous,” undated
    1 23 18 Compositions, “Missa in D,” 1926
    1 23 19 Compositions, “Myth Voices,” 1914
    1 23 20 Compositions, “Norwegian Rhapsodie,” undated
    1 23 21 Compositions, “Pan in America” musical score, undated
    1 23 22 Compositions, “Pan in America” musical score, undated
    1 23 23 Compositions, “Pan in America” performances, notes, etc., 1978, undated
    1 23 24 Compositions, “Pioneer Mothers,” Music by Carl Venth, words by Mary Daggett Lake, 1928
    1 23 25 Compositions, Quartet, undated
    1 23 26 Compositions, “The Rebel (Fairy Opera),” undated
    1 23 27 Compositions, “Sonata (Dionysus),” 1922
    1 23 28 Compositions, “The Streets of Old Japan,” undated
    1 23 29 Compositions, “Ten Modern Trios,” undated
    1 23 30 Correspondence, Concerning Carl Venth, 1934-1958
    1 23 31 Correspondence, Venth, Carl and Cathinka and Allen, Daisy and Sheila, 1931-1957
    1 23 32 Manuals, “Musical Theory and Writing Books” by Carl Venth, 1920
    1 23 33 Manuals, “Steady Steps for Class Violin Instructions” by Marjorie Murray Keller and Carl Venth, 1932
    1 23 34 Name card and engraving plate, undated
    1 23 35 Newspaper clippings, 1934-1959
    1 23 36 Newspaper clippings, assembled into booklet, 1920-1930
    1 23 37 Newspaper clippings, assembled by Sheila Allen for scrapbook, 1925-1959
    1 23 38 Programs, “A Fascinating Lecture: Western Norway” class taught by Dr. Venth, Texas Woman’s College Junior Recital (Carl Venth violin, Sheila Allen piano), Woman’s Club Musician’s Lunch Honoring Dr. Venth, The Eutherpean Club Spring Concert (performing Hawatha’s Song by Carl Venth), Texas Composers’ Program, undated, 1930-1937
    1 23 39 Programs, Dr. Carl Venth Memorial, University of Texas Fine Arts Festival: A Program of the Works of Carl Venth, Symphony Society of San Antonio’s “La Vida de la Mision” by Carl Venth, 1938, 1953, 1959
    1 23 40 Publications, About Carl Venth, 1924, 1935, undated
    1 23 41 Publications, Berliner Konzert-Zeitung, Führer durch die Konzertsäle Berlins, September 22–October 5, 1924
    1 23 42 Publications, Signale für die Musikalische Welt, October 8, 1924
    2 24 1 Brown cardboard Scrap Book with tie bindings. Contains newspaper clippings and recital programs from Brooklyn, New York; Charleston, South Carolina; St. Paul, Missouri; Oklahoma City, Oklahoma; Sherman, Texas; and Houston, Texas, 1908-1910
    2 24 2 Brown leather Texas Woman’s College scrapbook of newspaper clippings about the Harmony Club and other musical organizations, 1914
    2 24 3 Black “My Memories,” contains loose discarded orchestra scores, undated
    2 24 4 Green cloth Scrap Book of newspaper and magazine clippings and recital programs from New York, Dallas, Fort Worth, and Camp Bowie, annotations by Sheila Allen, 1901-1939
    2 24 5 Black leather scrapbook of newspaper clippings and recital programs from Venth’s time with the Dallas Symphony Orchestra, 1910-1913
    2 24 6 My Memories by Carl Venth, two copies. Autobiography published posthumously with additional information written by Clyde Whitlock, musician and music critic for the Fort Worth Star-Telegram. Alamo Printing Company, San Antonio, 1939
    3 25 1 Carl Venth, 1914, 1937, undated
    3 25 1 I1: Portrait of Carl Venth holding a violin, (1880-1900)
    3 25 1 I2: Portrait, undated
    3 25 1 I3: Portrait, undated
    3 25 1 I4: Portrait, three copies. One copy signed, “ To my dear pupil Angie Mae Lee, Carl Venth,” undated
    3 25 1 I5: Portrait taken in Fort Worth, 1914
    3 25 1 I6: Portrait. Written on back of frame, since removed: “This was taken when the Prexis got too arrogant, too stupid – when Jackson did not have $100.00 to admit U.S.A. into the Southern Association of Colleges,” undated
    3 25 1 I7: Portrait taken in San Antonio, 1937
    3 25 1 I8: Portrait, undated
    3 25 1 I9: Portrait of Carl Venth writing at desk, undated
    3 25 1 I10: Portrait, undated
    3 25 1 I11: Portrait in frame, Carl Venth sitting at piano holding violin, undated
    3 25 1 I12: Portrait of Carl Venth and two men. Written on back of frame, since removed: “(Thaulin, Mile), C. V., died in Russia, Lubbock. From Abilene when C. V. went to help them, undated
    3 25 1 I13: Portrait of Carl Venth holding violin, undated
    3 25 2 Cathinka Venth, (1890s)-1949, undated
    3 25 2 I1: Portrait of Cathinka Venth wearing white embroidered dress and large necklace. Written on front: “Kathinka Venth (illegible) of (Mani M. Goerge),” (1890s-1900s)
    3 25 2 I2: Portrait of Cathinka Venth wearing black gown, (1900s-1910s)
    3 25 2 I3: Cathinka Venth sitting on porch swing. Written on back: “Our 54 feet long porches were screened in. The Englandes Hammock had just come from New York – it is now at Bella Vista. This was in 1915”
    3 25 2 I4: Written on back: “I was hiding my broken arm,” San Antonio, 1948-1949
    3 25 2 I5: Copy of portrait with partial note and signature by Cathinka Venth. Written on back, note from Sheila Allen: “Made from one given to mother “Dr. D.E. Allen” for paper on Mrs. Venth’s passing. Article by Whitlock as requested by SA,” undated
    3 25 3 Carl and Cathinka Venth, 1900-1935
    3 25 3 I1: Portrait by Marceau, 524 Fifth Avenue, New York, (1899-1900s)
    3 25 3 I2: Two copies of portrait of Carl and Cathinka Venth, (1899-1900s)
    3 25 3 I3: Carl Venth standing to side of automobile, Cathinka Venth in middle seat, unnamed woman in back seat, and chauffer in front, (1900s-1910s)
    3 25 3 I4: Carl and Cathinka Venth standing next to unnamed woman next to automobile. Written on back: “That’s the way we were dressed (for) our trips,” undated
    3 25 3 I5: Carl Venth holding violin and Cathinka Venth at piano inside home. Written on back: “To my dear Annie, with all love, Cathinka Venth, June 3, 1921”
    3 25 3 I6: Three photos taped together: Carl Venth posing next to gate; Cathinka Venth in San Antonio; Carl Venth in conversation with man, standing next to potted cacti, 1931, undated
    3 25 3 I7: Carl Venth standing with Cathinka Venth leaning into him, 1935
    3 25 3 I8: Manuscript of poem, “The Rebel,” from Carl Venth to Cathinka Venth, July 13, 1900
    3 25 4 Portraits – Friends, Family and Students, (1880)-1930
    3 25 4 I1: Portrait of Erica Nisson on a photographic postcard. Note written on back by Cathinka Venth: “Norway’s greatest pianist – Erica Nissen – my sister Elsa (Myhr) [Knefting’s] teacher. When she came home from the lessons she always said, she had been in paradise. I studied with her sister Ida Lie and sat in at Erica Lie Nissen’s when teaching my sister – Kristiania 1884 – the tragedy of her marriage to Nissen, with whom she had 8 children, Carl Nissen her pianist son died after she had presented him to the public,” (1880-1900s)
    3 25 4 I2: Cabinet card by Notman, Boston: “Arthur Nikish, Conductor of Boston Symphony, one of the greatest and earliest from Germany, 1855-1922,” (1880-1900)
    3 25 4 I3: “Mrs. Freer in Chicago. Carl performed some of her compositions in the M.S. Society and she sent him this picture – the letter acc. Is lost,” 1905
    3 25 4 I4: Portrait of Christian Sinding, inscribed to Carl Venth in non-English language, possibly German. Under the photo is a sketch of a musical interlude, 1905
    3 25 4 I5: Portrait of Christian Sinding, inscribed to Carl Venth “in friendship,” (1900s)
    3 25 4 I6: Portrait of woman in white gown. Signed on front: “To my dear Friends, Director and Mrs. Carl Venth with best wishes from theirs most sincerely, Rosa Olitjke,” February 1917
    3 25 4 I7: Portrait of young woman holding a small dog. Written on back of its original frame: “Inscribing to my husbands  (sic) opinion concerning Mr. and Mrs. Venth, they for a little place in the famous sky  (illegible), Miss Epstein-Strauss, Vienna,” 1924
    3 25 4 I8: Portrait of man, signed, “To my most beloved teacher Mr. Venth. With love, A.A. De Monel,“ undated
    3 25 4 I9: Four portraits on one board. Bottom left: couple dressed in traditional Dutch costume, bright portions handpainted; top left: portrait of young woman; top right: woman sitting at a piano; bottom right: portrait of woman inscribed with a note to Professor Carl Venth, 1917, 1925, undated
    3 25 4 I10: Four portraits on one board. Left: Carl Wiesman; top center: unidentified man; bottom center: Carl Venth in military uniform; right: Warren (Green), written on back: “Weisman – splendid organist – played at Carl’s funeral. Greene – Baritone – until teacher 1913, now at Ela [Hockador], a better [illegible] than pianist,” 1914, 1930, undated
    3 25 4 I11: Cabinet card of by Newsboy, New York: Dora Leslie wearing costume and posing with hands behind head, hand-colored, undate
    3 25 5 Portraits – Friends, Family and Students, 1914-1944
    3 25 5 I1: Portrait of a man in profile, undated
    3 25 5 I2: Portrait of Yves Nat, inscribed in French, “A madame Cathinka Venth respectueusement, Yves Nat,” 1914
    3 25 5 I3: Portrait of Yves Nat, inscribed in French, “A mon grand et venere ami Carl Venth plus musician que la musique et plus modeste que la modestie! En respectueuse affection, Yves Nat, Fort Worth” 1914
    3 25 5 I4: Portrait of Richard Epstein. Signed, “The coat of arms of Fort Worth, Texas, ought in my opinion to include the ‘Lantern,’ because it is the place where the great Diogenes of Lantern-fame found two real human beings – ‘Meuschen’ with two hearts of skyscraper-size, in short ‘The real article’ – They are Carl and Cathinka Venth, to whom this humble portrait is dedicated in sincere and affectionate friendship,” 1917
    3 25 5 I5: Portrait of Bernard U. Taylor, Jr. Signed, “To Mr. Venth, who is a constant source of Inspiration to me, and one whom I have the warmest admiration,” 1923
    3 25 5 I6: Portrait of young woman wearing silk dress and tasseled shawl over one shoulder, (1920s-1930s)
    3 25 5 I7: Portrait of young woman in flower-printed silk dress with taffeta shawl, (1920s-1930s)
    3 25 5 I8: Portrait of young woman looking over her shoulder. Signed, “To Cathinka with love, Lorena (Waleatt),” New York, (1920s)
    3 25 5 I9: Portrait of young woman. Signed, “To my Esteemed friends Mr. and Mrs. Carl Venth. With all good wishes, Mabel Helmcamp Neely,” 1927
    3 25 5 I10: Portrait of young woman wearing loose patterned dress with fur-lined sleeves and collar, Hollywood, California. Written on back: “I send you this instead of the copy of the painting,” (1920s-1930s)
    3 25 5 I11: Portrait of young woman. Signed, “To my dear Dean Venth – for the happiness it has been to love you. Ruth Dale Mallory,” Fort Worth, (1920s-1930s)
    3 25 5 I12: Portrait of Michevitz [illegible]. Written on back of its original frame: “’Mik’ always said publicly that all artists could learn from Carl Venth. Sherman, Fort Worth, Dallas, 1910-1931. Cathinka Venth – He always called me Princess Cathinka. I should like so much to write some sketches from the life of this eminent pedagogue. Tho’ he was impatient sometimes arrogant and like a child – craving adulation – he was a great missionary in Tex; we were friends – always. Tho’ his bachelor life had left him a suspicious, difficult, and lonely, he took as much as he gave. Cathinka Venth,” undated
    3 25 5 I13: Portrait of man in uniform. Signed, “To our dear friend, Mrs. Carl Venth. Lt. Colonel F.W. Maxwell,” 1943
    3 25 5 I14: Portrait of young woman holding stringed instrument. Signed on front: “To Mr. and Mrs. Carl Venth with highest esteem and warm affection, Alix Young Maruches.” Written on back: “Macias was a very good cellist and Carl Venth’s copyist – Carl Paid him well.” and “Alex Young Maruches, a lovely brave artist who was my guest with Mrs. Peter. (Resting) in San Antonio at 2170 West Stimmel. She paid Macias for new copies of the compositions dedicated to her and sent me the originals! Now in the archives in Austin (later placed in rare books collections). Her husband died in April 1938 – so near my own tragedy! I hope to meet this lovely courageous friend again! Time is so short! C. V., July 1944”
    3 25 6 Postcards, 1945-1946, undated
    3 25 6 I1: Man driving horse-drawn carriage down tree-lined street, with large white house to the right in Fra Stensarmen, Tönsberg, Norway, undated
    3 25 6 I2: South African War Memorial, Newcastle upon Tyne, undated
    3 25 6 I3: Black Gate and Castle, Newcastle upon Tyne, undated
    3 25 6 I4: Armstrong College, man and child walking on sidewalk, Newcastle upon Tyne, undated
    3 25 6 I5: Bluff View on War Eagle River, near Bentonville, Arkansas. Written on back: “We often came here,” undated
    3 25 6 I6: NICE, La Promenade des Anglais,  Sgt. Hanson to Mrs. Carl Venth September 15, 1945
    3 25 6 I7: Oberammergau, Sgt. Hanson to Mrs. Carl Venth, January 29, 1946
    3 25 6 I8: Idolos, Templo de Quetzalcoatl, Teotihuacan, Mexico, undated
    3 25 7 Snapshots Around Home, San Antonio, 1930s
    3 25 7 I1: Carl Venth with young woman in yard. Written on back: “Mrs. Muller at Wesleyan (snst), San Antonio,” undated
    3 25 7 I2: “Carl Venth, 2170 S. Summit Avenue, San Antonio,” undated
    3 25 7 I3: West side of house, 1933
    3 25 7 I4: West side of house, 1932
    3 25 7 I5: Barbecue pit in yard, undated
    3 25 7 I6: South gate and yard, undated
    3 25 7 I7: “Middle pond and guest room,” undated
    3 25 7 I8: Walkway leading through arbor towards barbecue pit, undated
    3 25 7 I9: “Climbing plant to roof garden,” undated
    3 25 7 I10: “Middle pond,” undated
    3 25 7 I11: View of fountain in yard from roof garden, undated
    3 25 7 I12: Exterior of house, looking south, undated
    3 25 7 I13: Young woman and Cathinka Venth standing in yard, undated
    3 25 7 I14: Young women sitting around table. Written on back: Mary Choate, Louise, Boman, Nattie Jarmen, Elizabeth Story, on the roof - (Aug.),” 1932
    3 25 7 I15: Roof garden at Venth home, 1931
    3 25 7 I16: “Carl Venth, TWC Campus Home, Fort Worth,” undated
    3 25 7 I17: “Four years ago in Brookhaven while writing the score of La Vida de la Mission,” 1935
    3 25 8 Snapshots at Flying Steps, Arkansas, 1930s
    3 25 8 I1: Cathinka Venth sitting on bench in wooded area. Written on back: “Bella Vista, walk from House made by me,” undated
    3 25 8 I2: Flying Steps, the Venth summer home in Bella Vista, Arkansas, 1932
    3 25 8 I3: Front entry to Flying Steps, Bella Vista, Arkansas, undated
    3 25 8 I4: Steps leading to garage, Flying Steps, Bella Vista, Arkansas, undated
    3 25 8 I5: Three men, two women, and one child exiting car, undated
    3 25 8 I6: Cathinka Venth on patio, undated
    3 25 8 I7: Carl Venth on porch, undated
    3 25 8 I8: Carl Venth in home, undated
    3 25 8 I9: Small dam near Bella Vista, undated
    3 25 8 I10: “Garage and a cute little cabin in the woods – 2 rooms – may be here seen, Bella Vista, Ark.,” undated
    3 25 9 Snapshots of Student and Friends, (1920s-1930s), 1960
    3 25 9 I1: Film, three women and one man outside building. Sign in background reads: “Trento, Bologna, Palermo, Siena,” undated
    3 25 9 I2: Film, woman posing outside stone ruins, undated
    3 25 9 I3: Film, unidentified Spanish-style building, undated
    3 25 9 I4: Film, three women (likely Cathinka Venth and Sheila Allen to right) posing in front of stone building and well, undated
    3 25 9 I5: Two women, one possibly Sheila Allen, posing in front of log cabin on display, undated
    3 25 9 I6: Three women, one possibly Sheila Allen, posing behind fountain in a garden, undated
    3 25 9 I7: Woman posing outside stone ruins, undated
    3 25 9 I8: Woman looking upwards in a formal garden outside Spanish-style home, undated
    3 25 9 I9: Young woman posing with wooden item on display, undated
    3 25 9 I10: Three women and one man outside building. Sign in background reads: “Trento, Bologna, Palermo, Siena,” undated
    3 25 9 I11: Woman in Asian garden, undated
    3 25 9 I12: Two women in Asian garden, undated
    3 25 9 I13: Carl Venth in conversation with Marcia Van Dresser on bench. Written on back: “Enjoying Marcia van Dresser of Bar Harbor in Denver, Colorado. Meeting again at Bar Harbor, Maine,” undated
    3 25 9 I14: Carl Venth in conversation with Marcia Van Dresser on bench, undated
    3 25 9 I15: Cathinka Venth with four young women and two young men, presumably students, undated
    3 25 9 I16: Cathinka and woman in arbor covered in vines at Flying Steps, Bella Vista, Arkansas, 1937
    3 25 9 I17: Bea Story, (1930s)
    3 25 9 I18: Man wearing light suit and holding hat, identified as “Virginia’s Dad” by Cathinka Venth. Written on back: “This is daddy. He says he is coming to see you this winter,” 1937
    3 25 9 I19: Written on back: “(Gene) Baugh – Mission 809,” undated
    3 25 9 I20: Young woman wearing striped skirt and dark blouse, holding clutch, undated
    3 25 9 I21: Cathinka Venth and two young women, undated
    3 25 9 I22: Cathinka and Carl Venth, undated
    3 25 9 I23: Sheila Allen on porch of Allen home, 2256 Fifth Avenue, Fort Worth. Written on the back (erroneous): Sheila at Flying Steps, undated
    3 25 9 I24: Profile of young woman on deck at lake, undated
    3 25 9 I25: Sheila Allen and Mary, undated
    3 25 9 I26: “Carpenter and Cathinka deciding on trees to be cut,” undated
    3 25 9 I27: Sheila Allen and Cathinka Venth on porch of Allen home, 2256 Fifth Avenue, Fort Worth, undated
    3 25 9 I28: Stockholm, N.J., Villa (illegible), Summer 1936
    3 25 9 I29: Cathinka Venth and young woman, undated
    3 25 9 I30: Carl Venth with two young women, undated
    3 25 9 I31: Carl Venth with two young women, undated
    3 25 9 I32: Three women at Carl and Cathinka Venth’s headstone, 1960
    3 25 9 I33: Group in front of Venth home in San Antonio. Sheila Allen in center, undated
    3 25 9 I34: Photographic postcard, Cathinka Venth with three others in small boat, Mexico, 1934
    3 25 10 Student Orchestras and Music Lessons
    3 25 10 I1: Portrait Carl Venth, Cathinka Venth, and fourteen young women, presumably students, wearing formal attire and posing inside the Venths’ home, (1920s)
    3 25 10 I2: Four young women with stringed instruments wearing long gowns. Written on back: “Louise (Aelmcarry), Beatrice Storey,” (1920s-1930s)
    3 25 10 I3: Woman playing piano in Venth home while child and woman look on. Written on back of frame, since removed: “Elizabeth Ling, her sister, and mother in my Home on the campus! Mrs. Carl Venth, T.W.C., Fort Worth, Tex.,” two copies, (1910s-1920s)
    3 25 10 I4: String quartet of Carl Venth and three young women, Cathinka Venth on piano. Written on back of frame, since removed: “For Willie Fayette Montgomery, Fort Worth.” Willie Fayette Montgomery was Instructor of Theory and Public Schools Music at Texas Woman’s College (now Texas Wesleyan University), (1920s)
    3 25 10 I5: Carl Venth on stage with orchestra of thirty-one young women. Venth is in center of front row. Women in the front row post with violins, a drum set, trumpet, oboe and piano. Women in the back row stand without instruments. Jernigan Photo Service, Fort Worth, (1920s)
    3 25 10 I6: Carl Venth on stage with twenty-three young women wearing formal gowns. One woman is seated at a piano. A.S. Masterson Commercial Photography and Picture Framing, San Antonio, (1930s)
    3 25 10 I7: Carl Venth and male violinist with orchestra of twelve women with instruments, (1910s-1920s)
    3 25 10 I8: Carl Venth in portrait studio, flanked by two young men and 14 women holding violins, (1910s-1920s)
    3 25 10 I9: Carl Venth in portrait studio with 16 young women holding instruments, (1910s-1920s)
    3 25 10 I10: Two women walking with a banner embroidered with the word “Harmony” and image of a lyre. Behind the women is a young child and other women, (1910s-1920s)
    3 25 10 I11: Cathinka and Carl Venth standing outside paneled building wtih four young women holding bouquets of flowers, (1910s-1920s)
    3 25 11 Addendum, Photographs and Photographic Christmas Cards, 1948
    3 25 11 I1: Baby picture, 1917
    3 25 11 I2: Postcard portrait of child, 1920
    3 25 11 I3: Marpa Dietrich, 1921
    3 25 11 I4: Marpa Dietrich, 1921
    3 25 11 I5: Marpa Dietrich, 1923
    3 25 11 I6: Children, 1937
    3 25 11 I7: Woman with two dogs, 1937
    3 25 11 I8: Children holding hands, 1939
    3 25 11 I9: Child on steps, 1940
    3 25 11 I10: Wedding photo, 1942
    3 25 11 I11: Portrait of Mrs. Brookover, 1942
    3 25 11 I12: Baby photo of Philip Anders Hansen, 1943
    3 25 11 I13: Betsy and baby, 1943
    3 25 11 I14: Exterior of house, 1944
    3 25 11 I15: Two boys, 1946
    3 25 11 I16: Woman and two children, 1946
    3 25 11 I17: Dr. and Mrs. Carlos, 1946
    3 25 11 I18: Capt. Ira Rosenthal, 1946
    3 25 11 I19: Happy Holidays, The Huffs, 1948
    3 25 11 I20: Dianna and Mary Taith, 1949
    3 25 11 I21: Patsy Watkins, 1950
    3 25 11 I22: Merry Christmas, The Moores, 1954
    3 25 11 I23: Easter, 1955
    3 25 11 I24: Philip Hanson, 1956
    3 25 11 I25: Merry Christmas, The Monts, 1956
    3 25 11 I26-I72: Undated photographs and postcards
    Map Drawers B 2 Photograph mounted on board, left side, Carl and Cathinka Venth standing with seventeen pupils from Texas Women’s College. Written on back of frame: “Pupils at T.W.C., Mrs. Venth and Sheila Allen with dogs,” (1920s)
    Map Drawers B 2 Photograph mounted on board, right side, eight young women posing in formal dress with stringed instruments. Written on back of frame: “String Group, Acc. – Virgian England [Este], Sheila Allen,” (1920s)
    Map Drawers B 2 Photograph mounted on board, left side, Cathinka Venth playing piano in home while Carl Venth and seventeen young women gather around the room to listen, (1920s-1930s)
    Map Drawers B 2 Photograph mounted on board, right side, formal portrait of Cathinka Venth and nine young women, (1920s-1930s)
    Map Drawers B 2 Four photographs mounted on one board, left to right: four musicians looking at a musical score, one man wearing hat and holding cane, portrait of woman signed “Nina Lymnan,” woman dressed in costume. Written on back: “Ellen Jane Lindsay as Katherine Carr, my teacher – Richard Epstein – Mrs. Joann (Pratiss’s) son-in-law, the (Zollners) studying Carl Venth’s In (illegible) in Los Angeles. The dear girl Nina Lyman was with us a short time at T.W.C. Fort Worth, returned to her husband – Minneapolis,” undated
    Map Drawers B 2 Photograph board of Carl Venth. 11X14, Removed from frame, undated
    3 27 17 Portrait of Anton Seidl, From a copyrighted photograph by Aime Dupon, 1895.
    3 27 18 Framed portrait of Maria Jeritza, signed “To Mrs. Carl Venth with Best
    Wishes, Maria Jeritza, 1926”