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.
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.
20 Linear feet ((partially microfilmed on 10 reels))
Scope and Contents:
Correspondence; biographical material; artists files; files on organizations; business and financial records; photographs; writings and notes; diaries; scrapbooks; appointment calendars; exhibition catalogs and announcements; printed material; and miscellany.
REELS D351-D358: Biographical material; personal and business correspondence with family, artists, museums, and art organizations; 62 artists files containing photos of works of art, printed material, and correspondence; files on the American Federation of the Arts, Artists Equity Association, the Walker Foundation, and other organizations; business and financial records; material relating to Walker's work with Elizabeth McCausland in her studies of Marsden Hartley; printed material; and photos of Walker, his family, and miscellaneous works of art. Among the correspondents are: Berenice Abbott, Ben Benn, Theodore Brenson, Gene Charlton, Philip Evergood, Joseph Hirsch, Mervin Jules, Carl Sprinchorn, Harry Sternberg, and others.
REEL 130: Correspondence with Eugenia M. Fuerstenberg, Oct. 8, 1940-Sept. 25, 1941, concerning the consignment and sale of ca. 400 Alfred Maurer paintings owned by Mrs. Fuerstenberg. One letter is from Parke-Bernet Galleries, declining to handle the paintings.
REEL 1535: 4 volumes of a diary, 1929, 1930, 1942, and 1945. The first two volumes were kept while Walker was a graduate student at Harvard, the 1942 volume covers exhibitions and artists, including Marsden Hartley, and the 1945 volume details Walker's travels in Europe after World War II. Also included are 7 letters, a valentine, and two post cards from his wife, Ione G. Walker, and a 1967 letter from Hans van Weeren-Griek.
UNMICROFILMED: Correspondence with Henry Botkin, Philip Evergood, Susan Fuller, Marsden Hartley, Harry Sternberg and other artists and gallery directors; letters and poems by Harry Kemp, 1948-1955; essays by Walker on Joshua B. Cahn and Marsden Hartley; a report on the Walker Art Center by William Valentiner, 1930; notes from meetings, galleries and art associations; a silk screen by Seong Moy; financial records; 2 diaries, 1938-1939; 2 appointment calendars, 1950-1951; 8 school notebooks; 3 scrapbooks; exhibition catalogs; clippings; and photos of Walker and artists Cameron Booth, Byron Browne, Gladys Rockmore Davis, Carl Gaertner, Dorothea Greenbaum, Mervin Jules, Herman Maril, Dickson Reeder, Henry Schnakenberg, Miron Sokole, Harry Sternberg, Jean Tingley and Clifford West.
Biographical / Historical:
Collector and administrator; New York, N.Y.; d. 1976.
Material on reels D351-D358 & unmicrofilmed donated 1966-1982 by Hudson D. and Ione G. Walker; material on reel 1535 lent for microfilming 1979 by Ione G. Walker, widow of Walker; material on reel 130 donor unspecified.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Administrators -- New York (State) -- New York Search this
Art -- Collectors and collecting -- New York (State) -- New York Search this
0.4 Linear feet ((partially microfilmed on 1 reel))
Scope and Contents:
Correspondence; photographs; sketches and pages from a sketchbook; drawings; certificates; notes; a book; and clippings.
REEL 1052: Correspondence, mostly between Whorf and family members; pages from a scrapbook of clippings and photographs, 1912-1926; 2 National Academy of Design certificates; a drawing, 1913, done by Whorf as a child; photographs of Whorf, his family (including one of his grandfather, ca. 1880), and of his paintings; and clippings, 1924-1961.
UNMICROFILMED: A postcard from Ruth and Loring Dodd; a 1934 letter from a patron; 6 photographs, including The Beachcombers (a painter's club); a street scene (ca. 1890's) taken by John's father, commercial photographer, Harry C. Whorf, photographs of Harry C. Whorf (1890s), John Whorf's work, and of a John Singer Sargent painting; certificates of membership in the National Academy of Design; notes on color; 17 sketches in pencil, crayon and water color (1911); 21 clippings; and an inscribed copy of Harry Kemp's PROVINCETOWN TIDEWAYS (c 1947).
Biographical / Historical:
Painter; Provincetown, Mass.
Materials on reel 1052 lent for microfilming 1975 by Nancy Whorf Kelly, Whorf's daughter. Portions were subquently donated along with unmicrofilmed material, 1983.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.