Search Results

Names:

Cino, Joe, 1931-1967  Search this

Donor:

Dominic, Magie  Search this

Extent:

1 Cubic foot (3 boxes)

Type:

Collection descriptions

Archival materials

Advertisements

Ephemera

Magazines (periodicals)

Off off broadway

Photographs

Theater programs

Place:

Broadway (New York, N.Y.)

Greenwich Village (New York, New York)

Date:

1948-2023, undated

Summary:

The collection documents Caffe Cino in Greenwich Village, New York, founded in 1958 by Joe Cino as a coffee shop and art exhibition space. The collection has materials related to and written by author and artist Magie Dominic, Caffe Cino alumni and chronicler.

Content Description:

The materials consist of printed materials, photographs, scripts, advertisements, ephemera, and theater programs.

Arrangement:

Collection is unarranged.

Biographical / Historical:

An Overview with Personal Reflections, Timeline 1958-1968, and The Archives-Key Moments were supplied by donor, Magie Dominic in April 2024

An Overview with Personal Reflections by Magie Dominic

Early Years: 1931-1958

Joe Cino was born on November 16, 1931 in Buffalo, NY. His parents, Mary and Joseph were both Sicilian. There were four brothers, Gabby, Richard, Joe, and Steve. Joe's father, Joe Cino senior, died at a very young age and Mary worked to support the family. She worked at a candy factory at night and wrapped candy in tissue and throw it out the window for the boys to catch. As a child, Joe did little shows in the backyard for the neighbors.

Michael Smith, Village Voice critic, interviewed Joe in 1965 and asked him why he came to New York City. "The opportunity arose because four friends of mine were running away from home, and two of them had some money." (1948; Joe was sixteen; his friends were Tony Vaccaro, Angelo and Stephen Lovoulo (brothers). "I had to make a decision within two hours. It was snowing. My mother was visiting a neighbor, and she came home calling me as I was leaving the house. I ran into the street and jumped into a passing car. I heard my mother calling, and I said, "I'll be back soon, there's a note on the kitchen table." The note said, "I'm going to Rochester to visit some friends."

He arrived in New York City on February 7, 1948, during a blizzard, and broke. "I had a job within three days at the YMCA in Penn Station as a counterman for $110 a month. February to summer. I was making ice cream sodas at Howard Johnson's. Hotel Statler reservations department."

Eight weeks later, April 12, he sent a long, handwritten letter to his mother explaining why he'd run away and his dream to study acting and dance, "Dear Mom, Don't read this letter until tonite when you're relaxed—don't read it half-fast—go through it quite carefully. There are 12 pages (24 sides) Love "Junior"

"When I got the job at the Statler I enrolled in the Henry Street Playhouse and took courses in everything. I was there for about two years. I went home (Buffalo) in July. She (his mother) gave me her blessing. When I left at the end of the week everything was O.K. from then on."

In 1953 Joe was given a dance scholarship to Jacob's Pillow; danced with the Mary Anthony Dance Theater and toured with Maxine Munt and Alfred Brooks.

Michael Smith asked him when he got the idea of opening a café, "I started thinking about the café in 1954. I would talk about it with close friends. My idea was always to start with a beautiful, intimate, non-commercial, friendly atmosphere where people could come and not feel pressured or harassed."

He worked two jobs, studied, and saved for ten years. In the summer of 1958, his friend Ed Franzen saw a For Rent sign on 31 Cornelia Street. He called Joe and introduced him to the landlady, Josie Leema, who was leaning out an upstairs window. Joe said 'Oh you're Italian." Josie said, Yes, what are you. Joe said Sicilian. Josie said, "I don't have to come down," and threw him the key and gave him the first month's rent free if he did all the needed repair work. Josie was Joe's landlady for the Caffe's entire existence. She often brought down pots of soup when Joe was unable to pay the rent. Her reasoning was, if Joe didn't have rent money, he probably didn't have food money. Joe opened the Caffe Cino on a Friday in December 1958. There was room for about twenty mismatched ice cream parlor tables and chairs, and a tiny kitchen with his espresso machine. The room could accommodate about forty people.

MAGIE DOMINIC: PERSONAL REFLECTIONS

In 1962 I left my home in Newfoundland, as a teenager, like Joe Cino. I was 18 and studied at the Art Institute of Pittsburgh. In 1964 I moved to New York, worked in interior design, gave poetry readings in New York venues, stage managed productions at Lighthouse for the Blind and stage managed a play at La Mama. Ellen Stewart introduced me to Tom Eyen. Tom introduced me to Joe Cino. Joe asked me my sign, (Cancer) and we began a friendship and a dialogue that lasted in one form or another to this day. I entered the Caffe that day and never left. Joe was handsome, broad-shouldered, dark hair, a quick smile; his dark brown eyes were filled with passion. He could hold you with his eyes.

I stage managed for Lanford Wilson and Tom Eyen, created roles for new playwrights, created tiny collages for the Caffe walls and worked on the sets; created the large stars and flags for the Dames at Sea set and made Joe an apron from left over stars. I was assistant director to Marshall Mason; I occasionally ran to the store for groceries for the Caffe kitchen. There was no job description. We worked for free, passed the basket after each performance and if we collected fifty dollars by the week's end, and the production had five people, we received $10. each for a week's work. We would have worked for a dollar. We would have paid to be there. The Caffe Cino ceiling was a maze of intricate lighting equipment. Lights were dimmed, stage lights appeared on a tiny performance area, and the room opened like a chakra. The walls were collages with photographs, posters, and twinkle lights. Music ranged from opera to Shirley Temple to Kate Smith, belly dancing, Christmas carols and Billie Holiday. A curtain of crystals and bells stretched in front of the espresso machine; a musical explosion by Joe before each performance with the words, "It's magic time!" And each performance was dedicated to somebody's birthday.

Eventually there was a stage, a tiny eight-foot portable wooden platform. New playwrights emerged and used the free venue Joe offered. Joe would ask them their sign, (I think it was his way of reading people), give them a date, say, "This is your week," and politely refuse to read the script. Joe was generous to the extreme. People came to him for help - and he offered it.

For several years Joe operated the Caffe at night, while simultaneously working during the day as a typist for American Laundry Machinery Company. That salary probably sustained the Caffe. Every new playwright paving the way to the next century had roots there - Lanford Wilson, Tom Eyen, Sam Shepherd, John Guare, Robert Patrick, Doric Wilson, Paul Foster, H. M. Koutoukas, William Hoffman, among many, many others. Bernadette Peters, Marshall Mason, and Harvey Keitel began there. Performances were done for the room, with or without an audience. In the words of theater critic John Gruen, ― Caffe Cino presented the outrageous, the blasphemous, the zany, the wildly poetic, the embarrassingly trite, the childish, and frequently, the moving and the beautiful. A few years ago, someone asked me in an interview where the Caffe Cino administrative offices were located. I said they were in the kitchen, next to the expresso machine, because that's where Joe was standing. In the years following the Caffe's closing I wrote two books, co-edited a third with Michael Smith, gave several presentations on the Caffe, and raised a daughter. My artwork was exhibited in Canada and the United States, and my large fabric installation, The Gown, was presented at The United Nations. Two Caffe Cino people have fabric in the Gown, Robert Patrick and Jim Gossage. For many, the Caffe Cino was a second home. For others it was the only home they'd ever known. Awards received by those who began their careers at the Caffe Cino include the Pulitzer, the Emmy, the Grammy, the Tony, the Obie, the New York Drama Critics' Circle Award, the Robert Chesley Award, and the New York Innovative Theater Awards.

TIMELINE, PLAYWRIGHTS, KEY MOMENTS

"The one thing I never thought of was fully staged productions. I opened as the Caffè Cino Art Gallery, and we had openings every six weeks." Joe Cino

1958-1959 Primarily art exhibitions, poetry and readings of classic plays, Tennessee Williams, etc.

1960 First original play is written for the room, "Flyspray"' by James Howard. In the beginning there is no stage. Tables are moved aside, and actors perform in the space between tables. The photographer, Rowland Sherman, has his first exhibition, with mainly Caffe Cino people as his subjects.

1961 Original plays are now written for the room. Doric Wilson presents his first three plays. The Caffe receives "The Coffee Cup Award" from Show Business newspaper. Al Pacino makes his Off-Off Broadway début in the production of William Saroyan's Hello Out There. "It was a very important moment for me," Pacino, 2014, New Yorker Magazine.

1962 The official menu is designed by Michael Wiley. The $1. minimum includes a show, coffee, and pastry. The one dollar minimum is never changed. Dramatic lighting effects are achieved through the ingenious work of lighting designer John P. Dodd. Adaptation of Alice in Wonderland. "The play was one of the most beautiful things we had at the Cino. I think it was the first time we had that kind of magic." Joe Cino

1963 One-week performances. Claris Nelson writes three original plays. Lanford Willson produces his first plays. Harassment from New York City inspectors.

1964 Two week runs begin with 14 performances weekly. Caffe Cino becomes eligible for the Obie Award. There is continued harassment from New York City inspectors. They categorize the Caffe as a cabaret and insist that Joe obtain a cabaret license and sell alcohol, the requirement for obtaining the license. Joe has a valid restaurant license, wants only a caffe with expresso, and wants nothing to do with liquor. He offers to pay for the cabaret license but refuses to serve alcohol. In an attempt to stop the fines, he changes the name of the Caffe Cino to the Caffe Cino Arts Club and issues membership cards, but the fines continued, and the name change is abandoned. It is a cafe without a category. The staging of Lanford Wilson's The Madness of Lady Bright is a breakthrough hit as the play deals openly about homosexuality. The Caffé has become well known for its plays dealing with gay subject matter. For the first time in New York, and perhaps in the country, LGBT people see depictions of themselves in a more multi-dimensional and realistic light.

1965 On the night of March 3, a fire caused by a gas leak, completely destroys the caffe interior. Edward Albee and H.M. Koutoukas organize a benefit to rebuild the Caffe. Several benefits are held throughout the city. The Caffe is rebuilt and reopens on May 18. The Caffe receives special Obie Award. Playwrights include Diane di Prima, H. M. Koutoukas, David Starkweather, Lanford Wilson, Jean-Claude van Itallie, John Guare, Mary Mitchell, Robert Heide, Tom Eyen, William M. Hoffman, Sam Shepard.

1966 In May, Dames at Sea, a 40-minute musical, opens on the tiny stage, is directed by Robert Dahdah and runs for three consecutive months. It is the first New York play for a teenage Bernadette Peters and, is probably the most successful play in Off-Off-Broadway history. Unfortunately, a producer moves Dames from the Caffe Cino to an Off-Broadway theater and Joe and the Caffe are never acknowledged for its creation.

1967 In January, Joe's lover is electrocuted in an accident in upstate New York and Joe is devastated. City fines and harassment increase. At the end of 1966 and the beginning of 1967, a group of non-Caffe Cino people begin to frequent the room, bring a darkness and quantities of drugs, and although they are not welcomed by most at the Caffe, they continue to frequent the room. On the night of March 31, alone in the room, Joe Cino tries to end his own life. He survives for three days but is pronounced dead at St Vincent's Hospital on Sunday, April 2. Joe Cino cherished life. He cherished his family; the arts; and cherished his magical Caffe. He is devastated by the death of his lover, by the years of unrelenting fines, by the years of harassment, by exhaustion, and is overpowered by a lethal supply of drugs offered to him. They are all contributing factors.

On April 10th at Judson Church, the memorial program cover is wordless. Only a black and white photo of Joe smiling, and wearing an apron made from left over "Dames at Sea" stars.

Four people, led by Charles Stanley - Ken Burgess, Robert Patrick, and Magie Dominic are joined by a few others and work to keep the Caffe open, following the schedule Joe had planned. An unexpected classic comic book production of Snow White. Charles Stanley is the magic mirror; Ken Burgess is all the magical forest creatures; Robert Patrick, playwright, is both Doc and the haunted forest; H.M. Harry Koutoukas, the Greek playwright, is the evil queen; Magie Dominic is Snow White. At every performance the dwarfs are different, and the number is always changing. City harassment and fines intensify. Michael Smith and Wolfgang Zuckerman take over management of the Caffe.

1968 City harassment and fines reach a breaking point. "The summonses cost $250 each. We could not get them to stop, and we could not afford to pay them. So in March, after a final, beautiful production of "Monuments" by Diane di Prima, directed by James Waring and Alan Marlowe, with lighting by John P. Dodd, the Caffè Cino closed for good." (Michael Smith) The Caffe Cino closes on March 17, 1968. Michael Smith, in the days after the Caffe's closing in 1968, takes pictures and programs from the Caffé walls and brings them to Library for the Performing Arts, Lincoln Center.

THE ARCHIVES. KEY MOMENTS

1972. Off-Off Broadway Book by Albert Poland and Bruce Mailman, published with a chapter on Caffe Cino, research and scripts. 1977. Magie Dominic contacted photographer Jim Gossage, a main photographer of Caffe Cino and 1960s OOB theater, regarding existing Caffe Cino photographs. Together, they began assembling documentation. 1979. The newspaper Other Stages published a series of articles about Caffe Cino. 1979. Dorothy Swerdlove, Curator of the Billy Rose Theatre Division of New York Public Library for the Performing Arts (LPA) was shown Caffe Cino documentation by Magie Dominic, and established a 1985 exhibition date in the Astor Gallery, Lincoln Center. For the following six years, 1979-1985, and with the assistance of several Caffe Cino people; Ken Burgess - designer of Caffe show posters; the photographer Jim Gossage; the LPA curatorial staff and Richard Buck, Magie Dominic co-curated the exhibition Caffe Cino and Its Legacy. 1985 Caffe Cino and Its Legacy, March 5 - May 11, Astor Gallery, New York Public Library for the Performing Arts, Lincoln Center.

AIDS devastated the Caffe Cino people during the 1980s and into the 1990s. Over sixteen playwrights, actors and designers were lost.

2000: The Queen of Peace Room, memoir by Magie Dominic, published, with a chapter depicting Caffe Cino; and loss of people to AIDS; nominated for three literary awards. 2005. The New York Innovative Theatre Awards established The Caffe Cino Fellowship Award. 2005: Caffe Cino: The Birthplace of Off-Off-Broadway, by Wendell Stone, published. 2006. Bernadette Peters, in Legends of Broadway Compilation, related working on Dames at Sea at Caffe Cino. 2006 CUNY TV, Conversations with William M. Hoffman: Caffe Cino/Off-Off Broadway interviews. 2007. In The Life: Channel 13 TV, fifteen-minute documentary on Caffe Cino's impact on New York theatre and gay theatre in New York. 2007. Return to the Caffe Cino, co-Edited by Steve Susoyev and George Birimisa, published. 2008. Thirty-minute video by Library for the Performing Arts, documenting Greenwich Village Society for Historic Preservation's tribute to Caffe Cino's historic importance; plaque designed by playwright Robert Patrick installed. 2010. H.M. Koutoukas Remembered by His Friends, co-edited by Michael Smith and Magie Dominic, published. 2011. Caffe Cino documentation entered into Library for the Performing Arts permanent archives including the show posters designed by Ken Burgess. 2011. Fales Archives, NYU, enters Magie Dominic writing and art documentation into their permanent archives. 2016. New York Press Association awarded Second Place for Coverage of the Arts to The Villager newspaper for their story, "Magie Dominic - Magic Time at the Caffe Cino". 2017. Caffe Cino placed on The National Register of Historic Places for its significance to LGBT history. It was placed on The State Register of Historic Places the same year. 2019. Caffe Cino designated a New York City Landmark by the Landmarks Preservation Commission. 2019: Lifetime Achievement Award from New York Innovative Theater Awards awarded to Magie Dominic for her contribution to the arts, and Caffe Cino archival work. 2022. Nov 16. A plaque honoring Caffe Cino's placement on The National Register of Historic Places installed on 31 Cornelia Street. It was also Joe Cino's 91st birthday. Research and documentation are ongoing. In 2017, the Cino family found among Mary Cino's papers, the 24-page letter Joe had written to her in 1948.

The Caffe Cino brought theatre into the modern era, created Off-Off Broadway, and from its humble, little eight foot by eight-foot wooden stage, forever altered the performing arts worldwide.

Provenance:

Collection donated by Magie Dominic, 2024.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Experimental theater  Search this

Genre/Form:

Advertisements

Ephemera

Magazines (periodicals) -- 20th century

Off Off Broadway

Photographs

Theater programs -- 20th century

Citation:

Magie Dominic Caffe Cino Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1596

See more items in:

Magie Dominic Caffe Cino Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fafdcaf8-93f5-45c6-bb27-f93a1c883546

EDAN-URL:

ead_collection:sova-nmah-ac-1596

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 179, Folder 14

Type:

Archival materials

Photographs

Date:

1993

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 24: Universal Fellowship of Metropolitan Community Churches (UFMCC)

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8876d46cf-5f28-42e1-88bd-ad178e7cb7cf

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2955

Creator:

Smithsonian Institution  Search this

Uniform title:

PRISM (Intranet)  Search this

Type:

Electronic records

Collection descriptions

Web sites

Date:

2020

Topic:

Web sites  Search this

Intranets (Computer networks)  Search this

Museums--Administration  Search this

Local number:

SIA Acc. 22-048

See more items in:

Website Records 1995-2023 [Smithsonian Institution]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_404699

Creator:

Smithsonian Institution  Search this

Uniform title:

PRISM (Intranet)  Search this

Subject:

Smithsonian Heritage Month Steering Committee  Search this

Type:

Electronic records

Collection descriptions

Web sites

Date:

2015

2015-2016

circa 2015-2016

Topic:

Web sites  Search this

Intranets (Computer networks)  Search this

Museums--Administration  Search this

Committees  Search this

Local number:

SIA Acc. 22-058

Restrictions & Rights:

Restricted for 15 years, until Jan-01-2032; Transferring office; 12/3/2013 memorandum, Wright to Erixon-Stanford; Contact reference staff for details

See more items in:

Website Records 1995-2023 [Smithsonian Institution]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_404730

Author:

Wallace, Margot A. 1941-  Search this

Physical description:

1 online resource (ix, 285 pages) illustrations (chiefly color)

Type:

Electronic resources

Date:

2022

Topic:

Communication in museums  Search this

Museums--Public relations  Search this

Museums--Social aspects  Search this

Museums--Educational aspects  Search this

Museum visitors  Search this

Authorship  Search this

Rhetoric  Search this

Call number:

AM125 .W35 2022 (Internet)

Restrictions & Rights:

1-user

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1163031

Creator:

Smithsonian Affiliates  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Mon, 28 Aug 2023 12:48:23 +0000

Topic:

Exhibition  Search this

See more posts:

Smithsonian Affiliations

Data Source:

Smithsonian Affiliates

EDAN-URL:

edanmdm:posts_474790fa8d0256361a334378740372a4

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Wed, 20 Sep 2023 18:36:00 GMT

Topic:

Cultural property  Search this

See more posts:

Festival Blog

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

EDAN-URL:

edanmdm:posts_4f16595b9654463807f308fe1135299c

Creator:

White, Charles (1918-1979)  Search this

Names:

Belafonte Enterprises  Search this

Heritage Gallery  Search this

Otis Art Institute  Search this

Barthé, Richmond, 1901-1989  Search this

Catlett, Elizabeth, 1915-2012  Search this

White, Frances Barrett  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Scrapbooks

Date:

1933-1987

bulk 1960s-1970s

Summary:

The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Scope and Contents:

The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.

Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.

Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.

White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.

White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.

Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.

Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.

Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.

Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.

Arrangement:

The collection is arranged as nine series.

Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)

Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)

Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)

Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)

Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)

Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)

Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)

Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)

Biographical / Historical:

Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.

White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.

White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.

Related Materials:

The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.

Separated Materials:

The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.

Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.

Provenance:

Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- California -- Los Angeles  Search this

Printmakers -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Topic:

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Genre/Form:

Interviews

Sound recordings

Scrapbooks

Citation:

Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

Identifier:

AAA.whitchar

See more items in:

Charles W. White papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9280ca62a-d068-4695-872f-041df8333648

EDAN-URL:

ead_collection:sova-aaa-whitchar

Maker:

Undetermined artist  Search this

Medium:

Wood, pigment

Dimensions:

H x W x D: 68.6 x 29.8 x 21.3 cm (27 x 11 3/4 x 8 3/8 in.)

Type:

Mask

Geography:

Grassfields region, Northwestern Province, Cameroon

Date:

Mid-20th century

Topic:

elephant  Search this

male  Search this

Credit Line:

Gift of Robert and Nancy Nooter

Object number:

78-16-4

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys78cf23319-5431-4010-8776-4be58411358a

EDAN-URL:

edanmdm:nmafa_78-16-4

Maker:

Undetermined artist  Search this

Medium:

Wood, pigment

Dimensions:

H x W x D: 21.9 x 98.4 x 12.4 cm (8 5/8 x 38 3/4 x 4 7/8 in.)

Type:

Mask

Geography:

Grassfields region, Northwestern Province, Cameroon

Date:

1960s

Topic:

elephant  Search this

Leadership  Search this

Male use  Search this

male  Search this

Credit Line:

Gift of Pierre Arman

Object number:

80-6-2

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys772a2a8aa-68c9-4439-baa9-c8844b1a81b6

EDAN-URL:

edanmdm:nmafa_80-6-2

Correspondent:

Basto, Arthur  Search this

Bauxar (Finkelstein), J. Joe  Search this

Beardsley, Richard K. (Richard King), 1918-1978  Search this

Barnett, Homer Garner, 1908-  Search this

Bartel, Brad  Search this

Bartlett, Katherine  Search this

Bass, George F.  Search this

Collins, Henry B. (Henry Bascom), 1899-1987  Search this

Chapman, Carl H. (Carl Haley), 1915-1987  Search this

Cheek, Anetta L.  Search this

Clark, M. Margaret  Search this

Clements, Forrest Edward  Search this

Bell, Earl H.  Search this

Bell, Robert E. (Robert Eugene), 1914-2006  Search this

Chambers, Moreau Browne Congleton  Search this

Champe, John L. (John Leland), 1895-  Search this

Antle, H.R.  Search this

Ayres, J.E.  Search this

Anderson, Duane  Search this

Angus, John A.  Search this

Bailey, John H.  Search this

Bennett, John William  Search this

Babcock, Willoughby M.  Search this

Baerreis, David A., 1916-1989  Search this

Fitzhugh, William W., 1943-  Search this

Adams, Richard E.W.  Search this

Barka, Norman F.  Search this

Adovasio, J. M.  Search this

Amsden, Charles  Search this

Deuel, Thorne, 1890-  Search this

Di Peso, Charles Corradino  Search this

DeJarnette, David Lloyd  Search this

Dellinger, Samuel Claudius  Search this

Day, H. Summerfield  Search this

Dean, Jeffrey S.  Search this

Davis, Edward Mott  Search this

Davis, Hester A., 1930-  Search this

Dworsky, Don  Search this

Dyck, Ian  Search this

Downer, Alan  Search this

Dumand, Don E.  Search this

Dixon, Keith A.  Search this

Dorrance, Frances  Search this

Dickson, Don F.  Search this

Dincauze, Dena F.  Search this

Cooper, Paul L. (Paul Lemen), 1909-1961  Search this

Cook, Persifor M.  Search this

Conner, Stuart W.  Search this

Colton, Harold Sellers, 1881-1970  Search this

Collier, Donald, 1911-1995  Search this

Cole, Fay-Cooper  Search this

Coggins, Clemency  Search this

Davidson, D. S.  Search this

Daugherty, Richard D.  Search this

Daniels, Helen Sloan  Search this

Cummings, Calvin R.  Search this

Culbert, T. Patrick  Search this

Cross, Dale R.  Search this

Cordell, Linda S.  Search this

Corbyn, Ronald C.  Search this

Greywacz, Kathryn B.  Search this

Green, Ernestene  Search this

Grayson, Donald K.  Search this

Goodyear, Albert C.  Search this

Goldschmidt, Walter, 1913-2010  Search this

Gladwin, Harold Sterling  Search this

Gladfelter, Bruce G.  Search this

Gilbert, William Harlen, 1904-1988  Search this

Gerald, Rex E.  Search this

Garvey, Robert R.  Search this

Gaines, Sylvia W.  Search this

Beals, Ralph L. (Ralph Leon), 1901-1985  Search this

Frost, Janet A.  Search this

Frost, Everett  Search this

Frison, George C.  Search this

Brew, J. O. (John Otis), 1906-1988  Search this

Breternitz, Donald A.  Search this

Buckner, John L.  Search this

Broadbent, Sylvia M.  Search this

Boudeman, Donald O.  Search this

Blossom, F.H.  Search this

Bray, Warwick  Search this

Brand, Donald Dilworth  Search this

Black, Glenn A. (Glenn Albert), 1900-1964  Search this

Birdsell, Joseph B.  Search this

Blom, Frans  Search this

Bliss, Robert Woods  Search this

Berlin, Heinrich  Search this

Bennett, Wendell Clark, 1905-1953  Search this

Berry, J. Brewton  Search this

Bernal, Ignacio  Search this

Ford, Richard I.  Search this

Fowler, Don D.  Search this

Fox, George R.  Search this

Fisher, Reginald G.  Search this

Fitting, James E.  Search this

Flannery, Kent Vaughn  Search this

Cahill, Edgar D.  Search this

Campbell, Elizabeth W.C.  Search this

Cate, William  Search this

Fewkes, Vladimir Jarolslav  Search this

Buikstra, Jane E.  Search this

Burrill, A.C.  Search this

Butler, Mary  Search this

Byers, Douglas S., 1903-1978  Search this

Farrand, William R.  Search this

Fejos, Paul, 1897-1963  Search this

Dyson, Robert H.  Search this

Edwards, Robert Q.  Search this

Eggan, Fred, 1906-1991  Search this

Ellis, H. Holmes  Search this

Ezell, Paul Howard  Search this

Fagan, Brian M.  Search this

Fairbanks, Charles H. (Charles Herron), 1913-1985  Search this

Ford, James Alfred, 1911-1968  Search this

Creator:

Barnett, Clifford  Search this

Society for American Archaeology  Search this

Eaton, Jack  Search this

McGimsey, Charles R.  Search this

Di Peso, Charles Corradino  Search this

Schwartz, Douglas W., 1929-  Search this

Wendorf, Fred  Search this

Steponaitis, Vincas P.  Search this

Goldstein, Lynne  Search this

Smith, Bruce David  Search this

Rippeteau, Bruce D.  Search this

Lipe, William D.  Search this

Names:

American Antiquity  Search this

Society for American Archaeology  Search this

Extent:

146.25 Linear feet (135 record storage boxes)

Type:

Collection descriptions

Archival materials

Date:

1935-2010

Summary:

The Society for American Archaeology (SAA) is an international membership organization founded in 1934 to advance research and training in archaeology and to promote the conservation of archaeological resources of the Americas. It has published American Antiquity, the premiere journal of archaeology of North America, since its debut volume in 1935, and has hosted its Annual Meeting since that same year. Other areas of activity include the cultivation of professional standards and ethics, promotion of the public's understanding of archaeology, advocacy for Federal legislation protecting archaeological resources, and encouragement of connections between professional and avocational archaeologists. The Society for American Archaeology records contain materials related to the ongoing administration, management, and interests of the SAA through mainly correspondence, reports, research, mailings, financial records, and program planning documents.

Scope and Contents:

The Society for American Archaeology (SAA) records contain administrative and professional correspondence, reports, surveys, publication records, journals, books, member and grant applications, programs, memorandums, contracts, ballots, mailings, research, notes, planning materials, certificates and awards, press releases, financial records, meeting minutes, teaching materials, sound recordings, video recordings, and photographs. These materials relate to a wide range of the SAA's activities including administration and management, finances, publishing, membership, awards, the Annual Meeting, public education, public archaeology, professional standards, government affairs and cultural property law, work with allied organizations, ethics, and special workshops.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Arrangement:

The Society for American Archaeology records are arranged into 13 series: 1) Records of the Secretary-Treasurer and Secretary, 1934-1962; 2) Records of the Treasurer, 1935-1950; 3) President's correspondence, 1947-1948; 4) Executive Committee Meeting minutes, 1945-2003; 5) Records of Officers, 1950-2000; 6) Administrative records, 1934-2022; 7) Annual conference, 1935-2020; 8) Public and professional program committees, 1966-2016; 9) Government affairs, 1968-2021; 10)Affiliated and allied organizations, 1968-2005; 11) Special conferences, workshops, and projects, 1974-2006; 12) Published materials, 1983-2007; and 13) Photographs, 1985-2018

Historical note:

The Society for American Archaeology grew out of the Committee on State Archaeological Surveys of the National Research Council's Division of Anthropology and Psychology. Appointed in 1920 to "encourage and assist" eastern and midwestern states in the organization of archaeological surveys, the Committee came to act as a coordinating body and information clearinghouse for archaeologists and government agencies engaged in archaeological field work. The Committee expanded its activities and network through the 1920s but lacked long-term financial support. By 1933 its leaders identified the need for a permanent, independent organization to take up the work of the Committee and address the lack of standards, training, and communication among professional researchers and avocational archaeologists, which they saw as impediments to the preservation of archaeological data. Carl E. Guthe, then Chairman of the Committee, led the work of establishing the new organization.

In 1934, Guthe drafted a constitution and bylaws for the nascent group and distributed the documents among the Committee's network to solicit comments and generate interest among potential members. The Society for American Archaeology was formally established at an "organizational meeting" on December 28, 1934, when attendees approved Guthe's final version of the constitution and bylaws and elected the first cohort of officers: Arthur C. Parker, President; M. R. Harrington, Vice President; Carl E. Guthe, Secretary-Treasurer; W. C. McKern, Editor. In keeping with its goal of bridging the divide between professional and non-professional archaeologists, anyone with an interest in "furthering the objects of the Society" could apply for membership, regardless of professional affiliation. The SAA is governed by a constitution and bylaws which are voted on by members and implemented by an Executive Committee, referred to as the Council in the early years. The Executive Committee composition has varied through the years. Until the 1960s, most administrative duties were carried out by the Secretary, who assembled the minutes of Executive Committee meetings, circulated background materials among its members, and collected reports from SAA committees. The Secretary's office also acted as a "clearinghouse and advisory center on archaeological matters" for SAA members and the public. Without a true business headquarters, the Secretary's office essentially served as the SAA's central office, with the outgoing Secretaries passing on their files to the incoming Secretaries at the end of their terms.

In the 1960s, SAA began contracting with the business office of the American Anthropological Association (AAA) to manage its business operations. That arrangement lasted until the early 1980s, when AAA stopped providing business services to smaller organizations and offered SAA the option to become part of AAA. SAA members voted against merging with AAA, and in 1983 SAA contracted with Bostrom Management to administer its business affairs, an arrangement that included hiring a part-time Executive Director. In 1987, the Executive Committee enlisted a management consultant to conduct a business analysis and identify options for improving SAA's finances and administration. The result of this analysis, referred to as "The Evans Report," was circulated the following year, leading to a major reorganization that would occupy the Executive Committee through the early 1990s. Those efforts ultimately resulted in the establishment of a central office in Washington, D.C., and the hiring of SAA's first full-time Executive Director in 1992. It was during this intense period of reorganization that the structure and governance of SAA began to resemble that of the present day.

Works Consulted:

"Archival Sources Sought." Bulletin of the Society for American Archaeology 1, no 4 (September 1983): 5. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1983_volume-1/saa-bulletin-1-4_sept.pdf?sfvrsn=d6c0f71a_2

"Articles of Incorporation." SAA Records, Acc 1998-85, Box 4, folder: 1972 (mimeograph from Lehman/AAA) - Final box/folder location TBD. Society for American Archaeology records, National Anthropological Archives, Smithsonian Institution.

"The Constitution of the Society for American Archaeology." American Antiquity 1, no. 2 (1935): 146–48. http://www.jstor.org/stable/276027.

"Constitution and By-Laws of the Society for American Archaeology." American Antiquity 13, no. 2 (1947): 198–200. http://www.jstor.org/stable/275700.

Dincauze, Dena F. "Office of the President: 52nd Annual Meeting." Bulletin of the Society for American Archaeology. 5, no. 3 (July 1987): 1-2. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1987/saa-bulletin-5-3.pdf?sfvrsn=30b9179d_4

Fowler, Don D, and Green, Dee. "Change in SAA Management Announced." Bulletin of the Society for American Archaeology 1, no 4 (September 1983): 1-4. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1983_volume-1/saa-bulletin-1-4_sept.pdf?sfvrsn=d6c0f71a_2

Goldstein, Lynne. "The Structure of the SAA." Bulletin of the Society for American Archaeology. 9, no. 8 (June 1988): 8. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1991/saa-bulletin-9-3_june.pdf?sfvrsn=b101aaac_2

Guthe, Carl E. "Prospectus." Department of Anthropology Records. Division of Archaeology. Office Files. Box 14, Museum-Misc. Lists - O. Folder: National Research Council [ca. 1932-1945], folder 2 of 2. Society for American Archaeology records, National Anthropological Archives, Smithsonian Institution.

Guthe, Carl E. "Reflections on the Founding of the Society for American Archaeology." American Antiquity 32, no. 4 (1967): 433–40. https://doi.org/10.2307/2694072.

O'Brien, Michael J. and Lyman, R. Lee. "Gentle Persuasion: The National Research Council and Southeastern Archaeology." Journal of Alabama Archaeology 46, no. 1 (2000): 1-42. [https://cladistics.coas.missouri.edu/assets/pdf_articles/AlaA46.pdf]

Wendorf, Fred, and Raymond H. Thompson. "The Committee for the Recovery of Archaeological Remains: Three Decades of Service to the Archaeological Profession." American Antiquity 67, no. 2 (2002): 317–30. https://doi.org/10.2307/2694569.

"Society for American Archaeology." American Antiquity 34, no. 4 (1969): 499–506. http://www.jstor.org/stable/277764.

"The Society for American Archaeology Organization Meeting." American Antiquity 1, no. 2 (1935): 141–46. http://www.jstor.org/stable/276026.

"Organization of the Society for American Archaeology." Bulletin of the Society for American Archaeology 9, no. 2 (March 1991): 6. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1991/saa-bulletin-9-2_march.pdf?sfvrsn=75834181_2

Rice, Prudence M. "Surveying the Field." Bulletin of the Society for American Archaeology 10, no. 1 (January 1992): 3-4. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1992/saa-bulletin-10-1.pdf?sfvrsn=d095e8fd_2

List of abbreviations commonly referenced:

Includes abbrevations used throughout the Society for American Archaeology's records.

AAA - American Anthropological Association

AAAS - American Association for the Advancement of Science

AAM - American Alliance of Museums

AAQ - American Antiquity

ACHP - Advisory Council on Historic Preservation

ACOE - Army Corps of Engineers

AFFA - Association for Field Archaeology

AIA - Archaeological Institute of America

AIRFA - American Indian Religious Freedom Act

AM - Annual Meeting

A&PE - Archaeology and Public Education

ARPA - Archaeological Resources Protection Act

BLM - Bureau of Land Management

BOR - Bureau of Reclamation

CCONAS - Coordinating Council of National Archaeological Societies

CEHP - Centre for Environment, Heritage and Policy

CoAS - Council of Affiliated Societies

COPA - Committee on Public Archaeology

COSWA - Committee on the Status of Women in Archaeology

CRM - Cultural Resource Management

DCA - Departmental Consulting Archaeologist

DOI - Department of the Interior

GAC - Government Affairs Committee

ICOMOS - International Council on Monuments and Sites

LAQ - Latin American Antiquity

NCPTT - National Center for Preservation Technology and Training

NCSHPO - National Conference of State Historic Preservation Officers

NEH - National Endowment for the Humanities

NHPA - National Historic Preservation Act

NPCC -National Preservation Coordinating Council

NPS - National Park Service

NSF - National Science Foundation

OSM - Office of Surface Mining

PEC - Public Education Committee

PMOA - Programmatic Memorandum of Agreement

ROPA - Register of Professional Archaeologists

SAA - Society for American Archaeology

SHA - Society of Historical Archaeology

SOPA - Society of Professional Archaeologists

Chronology:

Includes a concise chronology of SAA events related to the content of this collection.

1920: Committee on State Archaeological Surveys created by NRC/NAS

1934: Society for American Archaeology formally established

1935: First issue of -- American Antiquity

1935: First Annual Meeting of the SAA

1937: Committee on State Archaeological Surveys disbanded

1939: First issue of the -- SAA Notebook -- distributed to membership

1942: Last issue of -- SAA Notebook

1942: Revised and amended constitution, splitting the Secretary-Treasurer into two separate roles, and eliminates Fellow/Affiliate distinction (among other changes) is approved and takes effect.

1943: No Annual Meeting; executive business conducted by mail

1969: Membership applications now handled through the AAA business office rather SAA Secretary

1970: Major revision to constitution

1972: Incorporated in D.C.

1974: The Archeological and Historic Preservation Act (APHA) and "Moss-Bennett Act" passed, with goal of providing federal funding to mitigate destruction of archeological sites in specific circumstances.

1974: Arlie House Seminars held ("Six Seminars on the Future Directions of Archaeology")

1983: Resolved against merger with AAA (aka "the break with AAA")

1983: Change from AAA to Bostrom firm to manage business activities

1983: First issue of -- SAA Bulletin

1985: SAA and SOPA co-host the Conference on Reburial Issues

1988: Evans Report on Management announced

1989: Changes to Articles of Incorporation

1989: New Bylaws adopted that change the organizational structure of SAA

1989: SAA Hosts Anti-Looting Conference in Taos

1990: First issue of -- Latin American Antiquity

1990: Executive Board approves plan to establish in-house admin/operations office

1992: Transition to "independent home office" and hiring of full-time Executive Director

1993: Last year of last term in which Editor of -- American Antiquity -- is an Officer

1997: SAA, SOPA, and Society for Historical Archaeology (SHA) approve formation of Register of Professional Archaeologist (ROPA), which begins work in 1998.

1998: Executive Board name change to Board of Directors

2000: Last issue of -- SAA Bulletin

2001: Begin publishing -- The Archaeological Record

Restrictions:

Some material in Subseries 6.6: Membership, is under embargo until 2070. Contact the repository for further information.

Access to the Society for American Archaeology records requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Scholarly periodicals  Search this

Professional associations  Search this

Archaeology  Search this

Public Education  Search this

Cultural property -- Repatriation  Search this

Citation:

Society for American Archaeology records, National Anthropological Archives, Smithsonian Institution

Sponsor:

Funding for the processing of this collection was provided by the Society for American Archaeology

Identifier:

NAA.1980-55

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3ccc0ebcc-5b11-45ba-84c1-b305f9db853d

EDAN-URL:

ead_collection:sova-naa-1980-55

Collection Creator:

Missionary Catechists of Divine Providence.  Search this

Massachusetts Institute of Technology (MIT) Civil Engineering Department  Search this

Underwood and Underwood  Search this

Container:

Box 27, Item 10

Type:

Archival materials

Photographs

Date:

undated

Collection Restrictions:

Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Division of Work and Industry Lantern Slide Collection, 1886-1931, Archives Center, National Museum of American History.

See more items in:

Division of Work and Industry Lantern Slide Collection

Division of Work and Industry Lantern Slide Collection / Series 1: Engineering / Bridges, Metal Truss / Foreign Metal Trusses

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep877773ebb-7040-499c-84f2-14bdd69402b3

EDAN-URL:

ead_component:sova-nmah-ac-1013-ref2554

Collection Creator:

Missionary Catechists of Divine Providence.  Search this

Massachusetts Institute of Technology (MIT) Civil Engineering Department  Search this

Underwood and Underwood  Search this

Container:

Box 27, Item 19

Type:

Archival materials

Photographs

Date:

undated

Collection Restrictions:

Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Division of Work and Industry Lantern Slide Collection, 1886-1931, Archives Center, National Museum of American History.

See more items in:

Division of Work and Industry Lantern Slide Collection

Division of Work and Industry Lantern Slide Collection / Series 1: Engineering / Bridges, Metal Truss / Foreign Metal Trusses

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep803e50212-9cee-4418-a0a5-b040f09e2e13

EDAN-URL:

ead_component:sova-nmah-ac-1013-ref2563

Creator:

White, Charles, 1918-1979  Search this

Subject:

White, Frances Barrett  Search this

Catlett, Elizabeth  Search this

Barthé, Richmond  Search this

Heritage Gallery  Search this

Otis Art Institute  Search this

Belafonte Enterprises  Search this

Type:

Interviews

Sound recordings

Scrapbooks

Citation:

Charles W. White papers, 1933-1987, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.

Topic:

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Theme:

Diaries  Search this

African American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9350

(DSI-AAA_SIRISBib)211546

AAA_collcode_whitchar

Theme:

Diaries

African American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211546

Measurements:

overall: 3/8 in x 3 5/8 in; .9525 cm x 9.2075 cm

Object Name:

Coaster ceramic

Date made:

October 17, 1986

Credit Line:

Gift of Norman Mineta

ID Number:

1987.3058.15

Nonaccession number:

1987.3058

Catalog number:

1987.3058.15

See more items in:

Political and Military History: Armed Forces History, General

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-08f4-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1313936

Creator:

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Names:

Phelps-Stokes Fund  Search this

Tuskegee Institute  Search this

United Negro College Fund  Search this

Carver, George Washington, 1864?-1943  Search this

Moton, Robert Russa, 1867-1940  Search this

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Extent:

18.66 Linear feet (21 boxes)

Type:

Collection descriptions

Archival materials

Diplomas

Notebooks

Articles

Manuscripts

Photographic prints

Ephemera

Scrapbooks

Newsletters

Awards

Photographs

Invitations

Legal documents

Programs

Correspondence

Clippings

Date:

1882 - 1988

Summary:

President of Tuskegee Normal and Industrial Institute (later Tukegee Institute; now Tuskegee University) from 1935 - 1953 and founder of the United Negro College Fund (1944). Patterson was born on October 10, 1901. Orphaned at age two, he was raised by his eldest sister, Wilhelmina (Bess), a school teacher in Texas. He studied at Iowa State College, where he received a doctorate in veterinary medicine in 1923 and a master of science degree in 1927. Five years later, he was awarded a second doctorate degree from Cornell University. Patterson taught veterinary science for four years at Virginia State College, where he was also Director of Agriculture. His tenure at Tuskegee University started in 1928 and spanned almost 25 years, first as head of the veterinary division, then as the director of the School of Agriculture and finally as Tuskegee's third president. He married Catherine Elizabeth Moton, daughter of Tuskegee University's second president, Dr. Robert R. Moton. Patterson also founded the School of Veterinary Medicine at Tuskegee in 1944, the same year he founded the United Negro College Fund (UNCF). The UNCF continues today as a critical source of annual income for a consortium of Historically Black Colleges and Universities, Tuskegee University among them.

Scope and Content note:

The Frederick Douglass Patterson Collection comprises 18.66 linear feet of correspondence, manuscripts, research material, published writings, photographs, audiovisual material, scrapbooks, diplomas, awards, and other materials chronicling the personal life and professional career of Frederick D. Patterson.

The collection is comprised of glimpses into the life of Dr. Patterson. The little correspondece that survived is located in Series 2: Career, Series 3: Correspondence, and Series 4: Organizations. Some of the correspondence takes the form of congratulatory notes from 1953 during Patterson's transfer from Tuskegee Institute to the Phelps-Stokes Fund, located in Series 2. There is also a personal note sent to Patterson's wife, Catherine Patterson, from George Washington Carver in which he describes peanut oil as a good massage oil.

Arrangement note:

The collection is arranged by series and chronologically therein:

1. Biography: This series provides insight into Patterson's family life through primary documents. It is comprised of family wills, insurance policies, and his autobiography. Sub-series are arranged alphabetically by title.

2. Career: This series contains materials from Patterson's long professional career in the field of higher education, including his tenure as present of both the Tuskegee Institute and the Phelps-Stokes Fund. Sub-series are arranged chronologically.

3. Correspondence: This series contains letters sent to Patterson (and his wife) of a personal and professional nature. Several letters relate to Patterson's personal business "Signs and Services," which was a small billboard advertising company. There are also letters from George Washington Carver. The series is arranged chronologically. 4. Organizations: This series contains material from the various foundations Patterson founded and to which he belonged, including the R.R. Moton Fund and the College Endowment Funding Plan. He is especially noted for developing the United Negro College Fund. The series is organized alphabetically by sub-series title.

5. Honors: This series contains the awards, citations, and resolutions Patterson received during his lifetime. Folders are organized chronologically. 6. Subject Files: This series comprises articles, employee vitas, and other documents collected and organized by Patterson. Among the subjects in the files are higher education, Negroes, segregation, civil rights, and employee records. There is no key to this system.

7. Photographs: The Photograph series mostly documents Patterson's tenure at Tuskegee University. The series includes images of Patterson and various other notable figures during formal functions at the university. Noteworthy personalities include George Washington Carver, Eleanor and Franklin D. Roosevelt, and President Kwame Nkrumah of Ghana.

8. Printed Materials: This series contains books, programs, and other documents from Patterson's personal collection. The series is organized alphabetically by author's last name.

Biographical note:

Frederick Douglass Patterson was born on October 10, 1901 to parents William and Mamie Brooks Patterson, in the Buena Vista Heights area of Anacostia in Washington, D.C. The youngest of six children, Patterson's parents died of tuberculosis before he reached the age of two years, his mother when he was eleven months old and his father a year later. Following his parents' death, the Patterson children were split up and sent to live in the homes of family and friends as stipulated in his father's last will and testament until he was seven years old, Patterson lived in the Anacostia area with a family friend he called "Aunt Julia."

When he was seven years old, Patterson's older sister Bess (a recent graduate of the Washington Conservatory of Music) decided to seek employment in Texas and took him with her. Many of their parents' family still lived in the state, which allowed Patterson the opportunity to spend months with various aunts and uncles, while his sister taught music throughout the South. After completing eighth grade, Patterson joined his sister at the Prairie View Normal School, where she taught music and directed the choir. Patterson attended the school for four years, during which time he developed an interest in veterinary medicine.

In 1920, Patterson enrolled at Iowa State College as a veterinary student. He graduated in 1923 and moved to Columbus, Ohio, to join his brother John. While there, he took the Ohio State Board exam for Veterinary Medicine. Although he became certified, a lack of money prevented him from practicing. Four years later he received a teaching offer from Virginia State College (VSC) in Petersburg, Virginia, which afforded him the opportunity to work within his profession. While at VSC Patterson took a leave of absence and returned to Iowa, in 1926, to pursue a Master's degree in veterinary medicine.

After five years at VSC, the Tuskegee Normal and Industrial Institute offered Patterson a position running the veterinarian hospital and teaching veterinary science. He moved to Tuskegee, Alabama in 1928. While at Tuskegee, Patterson decided to pursue a Ph.D. in bacteriology at Cornell University. During his year and a half leave from Tuskegee, Patterson completed his coursework and wrote his dissertation. After he returned to Tuskegee, a serial killer murdered three people, including the head of the Department of Agriculture. Confronted with this tragedy, school officials quickly offered Patterson the vacant position, which he accepted in 1934.

Robert R. Moton, second president of Tuskegee, retired in 1935 and a search was soon commenced to find the next president for the school. Patterson, in the meantime, pursued more personal matters when he met and married Catherine Moton (with whom he would have a son) in June 1935. By then he was already hired to take his now, father-in-law's, position as President of Tuskegee Normal and Industrial Institute.

As president of Tuskegee, Patterson made several changes and many additions to the institution. He increased faculty housing for professors; integrated the Board of Trustees' meeting meals and eventually arranged for both balck and white members to eat at one table; shortened the name to Tuskegee Institute; and established the Department of Commercial Dietetics in 1935, the veterinary medicine program in 1942, and the engineering program in 1948. While many considered Patterson's changes important achievements, it was his development of the Commercial/Military Aviation Program that would bring the school distinction and fame.

Patterson first attempted to develop the aviation program in 1939. The government fostered the development of such programs by subsiding the expenses. All a university had to do was present able-bodied instructors and willing pupils. Tuskegee had both. By 1940 the United States Air Force was interested in integrating its forces. In order to do this they needed trained black pilots. Tuskegee was the perfect place to provide the needed pilots since the school was situated in an all-black environment where students could concentrate on learning to fly without having to worry about racist reactions from their fellow classmates. To accommodate this program, the Tuskegee Army Air Base was created. Tuskegee pilots flew missions throughout World War II and would later be recognized for their bravery.

An important part of Patterson's duties as president was fund-raising. By 1943 he found it increasingly difficult to find ample sources of funds to run the Institute. He came to realize Tuskegee and similar black colleges would benefit if they pooled their funding resources and asked for larger amounts of money from philanthropic individuals and organizations as a collective. Working together would cut fund-raising expenses; this in turn would leave more money for the colleges to use as they wished. Patterson named his new creation the United Negro College Fund (UNCF); it would go on to raise millions of dollars for the nation's historically black colleges. He served as the first president of the organization.

During the fifteen years Patterson served as president of Tuskegee, he hosted many famous personalities, including W.E.B. DuBois, Mary McLeod Bethune, Eleanor Roosevelt, Duke Ellington, Paul Robeson, Pearl Buck, and Andre Segovia. He developed a lasting relationship with George Washington Carver, who had been a professor with Tuskegee since the days of Booker T. Washington.

Patterson served on many organizational boards in addition to his educational work. His involvement with the Phelps-Stokes Fund would ultimately lead Patterson to leave his beloved Tuskegee Institute to apply his educational philosophies on a broader scale. In 1953 the Fund approached Patterson and offered him the presidency of the organization. Patterson, feeling he needed a change, accepted the offer. He resigned from Tuskegee that same year and moved to New York to begin a new life.

Organized in 1911, the Phelps-Stokes Fund supported African, African American, and Native American education and worked on solving housing problems in New York City. Patterson's interest in African education began before he joined Phelps-Stokes. In 1950 the World Bank/International Bank Commission to Nigeria hired him to "evaluate the resources of Nigeria and…to study the educational programs and the organizational structure of advanced education." Through his work with the Fund he continued his efforts to improve the educational opportunities for Africans and help them move beyond colonialism. Patterson traveled extensively throughout the west coast of Africa in support of these goals.

In addition to forming the UNCF, Patterson created two other organizations (the Robert R. Moton Institute and the College Endowment Funding Plan), during the mid 1960s and 1970s. Each was designed to improve funding efforts for historically black colleges. The Robert R. Moton institute began as an off-shoot of the Phelps-Stokes as a site for conferences to address the Fund's primary concerns. Patterson's idea for the Institute came from a desire to put to use a piece of property inherited after Moton's death. Empathy with the frustrations of college presidents regarding the restricted funding for institutional expenses led Patterson to create the College Endowment Funding Plan. The Endowment was designed to alleviate this situation by providing matching funds to eligible colleges. The Endowment made its first payment in 1978. Unfortunately, by the 1980s, the Moton Institute lost most of its government funding due to federal cutbacks. This resulted in reductions to the Institute's programming.

It was not until Patterson was well into his eighties that he began to retire from his life of public service. On June 23, 1987, President Ronald Reagan presented Dr. Patterson with the Presidential Medal of Freedom, the highest possible honor that can be bestowed upon a civilian, for his service in higher education and his role in creating funding sources for the nation's historically black colleges. A year later Frederick Douglass Patterson died at the age of eighty-seven.

Honorary Degrees

undated -- Xavier University

1941 -- Virginia State College

1941 -- Wilberforce University

1953 -- Morehouse College

1956 -- Tuskegee Institute

1961 -- New York University

1966 -- Edward Waters College

1967 -- Atlanta University

1969 -- Franklin and Marshall College

1970 -- Virginia Union University

1975 -- Bishop College

1977 -- St. Augustine's College

1982 -- Brooklyn College of the City University of New York

1984 -- Stillman College

1985 -- Payne College

Distinctions

undated -- Association for the Study of Negro Life and History Carter

undated -- The Southern Education Foundation, Inc. Distinguished Service Citation

undated -- The United Negro College Fund (UNCF) and Texas Association of Developing Colleges Annual Leadership Awards

1950 -- Christian Education department, African Methodist Episcopal Zion Church, Inc. Citation for Distinguished Service

1953 -- Bethune-Cookman College, the Mary McLeod Bethune Medallion

1953 -- John A. Andrew Clinical Society at Tuskegee Institute, Citation for Distinguished Service in the Cause of Humanity

1953 -- Tuskegee Institute, Certificate of Appreciation for 25 Years of Service

1957 -- Phi Beta Sigma Fraternity, Inc. Beta Lamda Sigma Chapter, Bigger and Better Business Award

1960 -- National Alumni Council of the UNCF, Inc. Award

1963 -- National Business League, Booker T. Washington Award

1965 -- Booker T. Washington Business Association, Certificate of Acknowledgement

1970 -- Moton Conference Center Award

1970 -- Tuskegee National Alumni Association, R.R. Moton Award

1972 -- American College Public Relations Association, 1972 Award for Distinguished Service to Higher Education

1972 -- UNCF F.D. Patterson 71st Birthday Award

1975 -- National Business League, Booker T. Washington Symbol of Service Award

1976 -- Phelps-Stokes Fund, Continuous Creative and Courageous Leadership in the Cause of Higher Education for Blacks

1977 -- Yale Alumni Associates of Afro-America, Distinguished Service Award

1979 -- Alpha Phi Alpha Education Foundation Inc., Distinguished Educator Award

1979 -- Tuskegee Institute Alumni Association Philadelphia Charter Award

1980 -- The Iowa State University Alumni Association, Distinguished Achievement Citation

1980 -- Gary Branch NAACP Life Membership Fight for Freedom Dinner 1980, Roy Wilkins Award

1980 -- State of Alabama Certificate of Appreciation

1982 -- St. Luke's United Methodist Church Achievement Award

1983 -- Tuskegee Airmen, Inc., Distinguished Service Award

1984 -- Booker T. Washington Foundation, Booker T. Washington Distinguished Service Award

1984 -- The Ohio State University Office of Minority Affairs, Distinguished Humanitarian and Service Award

1985 -- Alpha Phi Alpha Fraternity, Inc, Eta Zeta Lamda Chapter Civic Award

1985 -- United States, Private Sector Initiative Commendation

1987 -- Alpha Phi Alpha Fraternity, Inc of New York State, Founders Day Award

1987 -- Presidential Medal of Freedom

1987 -- Brag Business Achievement Award

1987 -- Phelps-Stokes Fund, Aggrey Medal

Public Service

1941-1971 -- Southern Educational Foundation, Inc., Board Member

1943-1988 -- United Negro College Fund, Founder, President, and Member

1960s-1988 -- Robert R. Moton Memorial Institute, Founder

1970s-1988 -- The College Endowment Funding Plan, Founder

undated -- American National Red Cross, Board of Governors Member

undated -- Boys Scouts of America, National Council Member

undated -- Citizens Committee for the Hoover Report on Reorganization of Federal Government, Board Member

undated -- Institute of International Education, Advisory committee Member

undated -- National Association for the Advancement of Colored People, Life Member

undated -- National Business League, President and Board Member

undated -- National Urban League, National Committee Member

undated -- Phelps-Stokes Fund, Board of Trustees Member

undated -- President's Commission on Higher Education for Negroes

undated -- Southern Regional Education, Board of Control Member

Related Materials:

Additional biographical materials in the Dale/Patterson Collection of the Anacostia Community Museum Archives.

This collection contains artifacts catalogued in the ACM Objects Collection.

Provenance:

The Frederick Douglass Patterson papers were donated to the Anacostia Community Museum in 2001 by Frederick Douglass Patterson, Jr.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Rights:

The Frederick Douglass Patterson papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Topic:

Universities and colleges -- Administration  Search this

African Americans -- Education (Higher)  Search this

African American universities and colleges  Search this

Genre/Form:

Diplomas

Notebooks

Articles

Manuscripts

Photographic prints

Ephemera

Scrapbooks

Newsletters

Awards

Photographs

Invitations

Legal documents

Programs

Correspondence

Clippings

Citation:

Frederick Douglass Patterson papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Frederick Douglass Patterson, Jr.

Identifier:

ACMA.06-010

See more items in:

Frederick Douglass Patterson papers

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7da84300b-c608-41af-b59a-1f44dce53a26

EDAN-URL:

ead_collection:sova-acma-06-010

Collection Creator:

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Extent:

3.81 Linear feet

Type:

Archival materials

Date:

circa 1904 - 1987

Scope and Contents:

The Photograph series mostly documents Patterson's tenure at Tuskegee University. The series includes images of Patterson and various other notable figures during formal functions at the university. Noteworthy personalities include George Washington Carver, Eleanor and Franklin D. Roosevelt, and President Kwame Nkrumah of Ghana. Famous photographer, P.H. Polk, on the staff during Patterson's administration, produced many of these Tuskegee images. The Veterniary Medicine department was heavily photographed, but there are also images of the ArmyAir/Aviation Program, the Nursing program, commencement exercises, and community building projects.

A small collection of personal photographs shed light on his family, including portraits of his wife, Catherine Moton Patterson, and his father-in-law Robert Russa Moton.

Arrangement:

The series is divided into four sub-series: Family Photographs 1904-1981, Career circa 1930 -1987, Organzations 1947-1963, and Honors and Awards circa 1940-1987. The Career series is further divided into Tuskegee Institute and Phelps Stokes Fund.

Collection Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Collection Rights:

The Frederick Douglass Patterson papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Collection Citation:

Frederick Douglass Patterson papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Frederick Douglass Patterson, Jr.

Identifier:

ACMA.06-010, Series 7

See more items in:

Frederick Douglass Patterson papers

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa739f4e92f-d417-448d-82be-8ba6ff4dd111

EDAN-URL:

ead_component:sova-acma-06-010-ref24

Manufacturer:

General Electric Co.  Search this

Materials:

Beta cloth, board, elastic, steel, Velcro

Dimensions:

3-D (L x W x H) (Open): 52.7 × 28.6 × 17.8cm (1 ft. 8 3/4 in. × 11 1/4 in. × 7 in.)

3-D (L x W x H) (Closed): 16 × 28 × 10.2cm (6 5/16 × 11 × 4 in.)

Type:

PERSONAL EQUIPMENT-Hygiene & Waste Management

Country of Origin:

United States of America

Credit Line:

Transferred from the National Aeronautics and Space Administration

Inventory Number:

A20000682000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9bf3f6fce-3a27-4d6d-8134-0c52034b85a7

EDAN-URL:

edanmdm:nasm_A20000682000

Collection Creator:

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Container:

Box 12, Folder 3

Type:

Archival materials

Text

Collection Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Collection Rights:

The Frederick Douglass Patterson papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Collection Citation:

Frederick Douglass Patterson papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Frederick Douglass Patterson, Jr.

See more items in:

Frederick Douglass Patterson papers

Frederick Douglass Patterson papers / Series 6: Subject Files

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa738a87465-b89a-4ac1-95ef-abc6a78d9a59

EDAN-URL:

ead_component:sova-acma-06-010-ref283

Collection Creator:

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Container:

Box 12, Folder 5

Type:

Archival materials

Text

Collection Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Collection Rights:

The Frederick Douglass Patterson papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Collection Citation:

Frederick Douglass Patterson papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Frederick Douglass Patterson, Jr.

See more items in:

Frederick Douglass Patterson papers

Frederick Douglass Patterson papers / Series 6: Subject Files

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa704964f9f-54fb-457a-b272-392246eaef4a

EDAN-URL:

ead_component:sova-acma-06-010-ref285