U.S. Vice-President Lyndon B. Johnson seated at a board room table with four other men. Another four men stand behind. There is a large mirror on the wall behind them and framed photographs, including one of President Kennedy. Ink on negative: "12 8 x 10 Glossy". Ink on envelope: caption and "12 8 x 10 Glossy". "KODAK - SAFETY -- FILM" edge imprint. Retouching on faces with New Coccine.
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Johnson, Lyndon B. (Lyndon Baines), 1908-1973 Search this
3 Microfilm reels
Scope and Contents:
REEL 2249: A letter from Lyndon B. Johnson; a scrapbook of clippings and a few photos; sketches; and photos of Salinas and his paintings.
REEL 2250: Clippings and printed material, 1949-1974.
Biographical / Historical:
Painter; San Antonio, Tex.
Microfilmed as part of the Archives of American Art's Texas project.
Material on reel 2249 lent for microfilming 1981 by Maria B. Salinas, widow of Salinas; material on reel 2250 donated 1981 by Dewey Bradford, former dealer of Salinas, then subsequently transferred to the NMAA/PG Library after microfilming.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The Ethel Payne papers, which date from circa 1960s to 1980s and measure .50 linear feet, document the career of journalist Ethel Payne. The collection is comprised of passports, badges, photographs, press credentials, awards and ephemera.
Scope and Contents note:
This small collection documents the career of Ethel Payne from circa 1960s - 1980s through passports, badges, photographs, press credentials, awards and ephemera.
The Ethel Payne papers are arranged into five series:
Series 1: Biographical
Series 2: Correspondence
Series 3: Travel
Series 4: Photographs
Series 5: Posters
Ethel Payne, born August 14, 1911 was a freelance journalist and the first African American woman to become an international news correspondent. She covered issues pertaining to the political advancement and the social inequality among Blacks in America. An early crusader for African American civil rights, she remained a constant and vigorous political spokesperson in the fight to end racial discrimination. In her thirst for knowledge, and in her desire to share valuable information with the public, Payne, who would later receive international recognition for her endeavors, was dubbed the "First Lady of the Black Press" by the Washington Press Corps, of which she later became president in 1970.
While covering U.S involvement in the Vietnam War, Payne focused on the plight of the Black soldier and how issues, such as racial segregation and discrimination, remained relevant to life back home. In documenting the conditions of these soldiers, her aim was to "fully concentrate on the Negro effort," and to "paint an adequate picture of why they were in Vietnam." Later however, as a writer for the Chicago Defender, she remarked on her experience in covering the war as a failed attempt at reporting the overall immorality of it.
The daughter of a Pullman porter and a stay at home mother of 6, Payne, who desired to become a civil rights leader but was denied entrance into law school on account of her race, discovered her niche in journalism after being jailed for witnessing and questioning the brutal acts performed by a police officer on an African American man. After threatening to report the brutality to the press, she refused her approval for release, remained in jail and advocated for the liberation of the other detainees.
Her break into journalism came when she began organizing recreation and entertainment for African American troops stationed in Japan. In her diary, Payne transcribed accounts of the failed efforts of the U.S military during the war, which had later been published in the Chicago Defender. Despite the discrimination she encountered from high ranking officials in the U.S government, Payne was offered and accepted a full-time position with the Defender in 1951.
Along with her work as a Vietnam War correspondent, Payne became involved in various endeavors to move her career in journalism. During her time as White House correspondent from 1962-1966, Payne led the fight to end the segregation of interstate travel, immigration quotas, and discrimination in federal housing . Ethel was also the first African American woman to host network news by becoming a political commentator for the CBS aired program "Spectrum" in 1972. Persistently involved in international politics, Payne in 1970 completed a 10-nation tour of Africa with Secretary of State William P. Rogers, and a 6-nation tour with Secretary of State Henry Kissinger six years later. She covered several Democratic National conventions, and witnessed President Lyndon B. Johnson's signing of the Civil Rights Act of 1964 and the Voting Rights Act of 1965.
Over her lifetime, she has received dozens of awards and honorable mentions for her political involvement and activism for African Americans, and her legacy continues to live on today. In 2002 the United States Postal Service honored Ethel Payne by issuing her a 37-cent stamp, and each year aspiring journalists wishing to gain experience on international reporting in Africa are awarded the Ethel Payne Fellowship.
On May 28, 1991 Ethel Payne died of a heart attack in her home in Washington, D.C. She is survived by close relatives, as she forfeited marriage and children for the sake of her work. She was commemorated as one of the 100 most influential correspondents by the National Association of Black Journalists, and remained, untill her death, a longtime advocate in the struggle to bring about change, and to correct the inequalities and racial injustices in the world.
This collection contains artifacts catalogued in the ACM Ojects collection.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Ethel Payne 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.
United States of America -- District of Columbia -- Washington
Scope and Contents:
The folders include worksheets, magazine and newspaper clippings, plans (drawings), and other information.
Les Ormes (The Elms) was the home of George and Marguerite Skirvin Tyson and Mrs. Tyson's sister, the well-known Washington hostess and political figure Perle Skirvin Mesta. Perry Wheeler created the landscape design for the property, which was situated in the hilly Spring Valley section of the city, and gave it a French flavor in keeping with the style of the house and the taste of its owners. Taking advantage of the natural slope of the site, Wheeler designed a series of terraces which incorporated existing flowering trees amidst flagstone surfaces and gravel walkways. Seating areas were placed throughout, while spring bulbs--Thalia daffodils, tulips, and grape hyacinths--provided abundant color. At one end of the house the terraces descended to a fountain pool and summer house punctuated with large holly standards. The property was sold in the early 1960s to then Vice-President Lyndon Baines Johnson and Ladybird Johnson. The Tyson-Mesta menage moved to an apartment for which Perry Wheeler did one design, for a terrace roof, included in the Archives of American Gardens as series DC120.
Persons associated with the garden include Perry H. Wheeler (landscape architect, 1955-1956); Perle Skirvin Mesta (former owner, ca. 1955-1961); and George and Marguerite Skirvin Tyson (former owners, ca. 1955-1961); and Lyndon Baines and Ladybird Johnson (former owners, ca. 1961-1963).
Les Ormes related holdings consist of 3 folders (19 slides (photographs); 10 safety film negatives; 11 plans (drawings))
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: email@example.com.
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Primarily audiotapes, sheet music, and photographic images. Also: correspondence, newspaper clippings, magazine articles, itineraries, awards, and ephemera.,Of particular interest are recordings or photographic images, including the personalities listed below, and President and Mrs. Tubman of Liberia; also, two interviews and three recordings of Cat Anderson as guest with various university and college jazz bands.
Collection is divided into four series.
Series 1: Music
Series 2: Original tapes and recordings
Series 3: Photographs
Series 4: Miscellaneous
Cat Anderson (Sept 12, 1916 - April 29, 1981) was one of the premier trumpet players of the Duke Ellington Orchestra. Known for his effortless high notes, he was a strong section leader and a great soloist whose style exhibited humor and precision. He grew up in Jenkins= Orphanage in Charleston, SC, received basic music training there, and participated in many of their famous student ensembles. He formed and played with the Cotton Pickers, a group of orphanage teens while still a young man. Before joining Ellington in 1944, he played in several big bands, including Claude Hopkins and Lionel Hampton. Anderson left the Ellington organization from 1947 through 1949 again to lead his own group. From 1959 to1961 and after 1971 Anderson free lanced, working with the Ellington orchestra intermittently. He died in 1981 after receiving honors from the US Air Force, the Prix du Disque de Jazz, and the City of Los Angeles.
Related Archival Materials:
Related artifacts include: awards, plaques, mutes, trumpet mouth pieces, and the Jon Williams/Cat Anderson simulator in the Division of Cultural and Community Life (now Division of Cultural and Community Life). See accession: 1998.3074.
The collection was donated to the National Museum of American History in January 1998, by Dorothy Anderson, Cat Anderson's widow. It was acquired through negotiations with her, her brother, Mr. John Coffey and her nephew, Andrew Brazington. The materials were picked up from Mr. John Coffey of upper N.W. Washington, DC on January 21, 1998.
Collection is open for research. Master tapes not available to researchers.
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.
Copyright status of items varies. Signed copies of releases on file.