Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
William Jones World War II Scrapbook, NASM.2006.0067, National Air and Space Museum, Smithsonian Institution.
This accession consists of records documenting the various curatorial activities of Valerie Neal, curator in the Space History Department. Documents pertain to exhibit
planning, display updates, National Air and Space Museum (NASM) Trophy process and events, collections care and plans, Space Telescope History Project, exhibit space upgrades,
special events, object worksheets, loan materials, agreements, schedules, funding, royalty reports, visitor comment forms, and inquiries. A significant topic covered in this
accession includes the Orbiter Vehicle (OV) 101 Enterprise Space Shuttle, which was transferred to NASM and maintained at the Steven F. Udvar-Hazy Center in 1985 from the
United States National Aeronautics and Space Administration (NASA). Some records date to when the department was known as the Department of Space Science and Exploration (1980-1986),
the Department of Space History (1987-1996), and Space History Division (1997-2013). Some records originated from other organizations at earlier dates and provide more context.
Materials include correspondence, agreements, charts, memoranda, contracts, outlines, floor plans, illustrations, presentations, captions, scripts, budget plans, proposals,
photographs, negatives, transparencies, agendas, notes, pamphlets, invitations, meeting minutes, reports, articles, news clippings, newsletters, brochures, publications, VHS
cassettes, and related materials. Some materials are in electronic format.
Collection consists of posters featuring lowrider imagery.
Content Description:
Posters for fundraisers, social actions, and community events for the Latino community of Northern California; all prominently feature lowrider imagery.
Arrangement:
The collection is arranged into one series.
Series 1: Posters, 1975-2016
Biographical:
Rudolfo "Rudy" Ojeda Cuellar was born and raised in Roseville, California. Rudy graduated from Roseville High School where he learned about screen printing, linoleum block printing and a deeper understanding of what being an artist was about. He enrolled at Sierra College, three miles from his hometown, where he was exposed to ceramics and cultural sculptural images. A friend helped him transfer to Sacramento State University where he met professors Jose Montoya and Esteban Villa and many other members of the Royal Chicano Artist group. At Sacramento State, he learned mask making, mold making, and silversmithing. From 1971 to 1979 he worked for Centro de Artistas Chicanos teaching at risk kids from the local school district screen printing skills, art and design and how to get along with one another. While working at the Centro de Artistas he taught and helped the other Royal Chicano Art Front members with the silk-screening process, and creating prints, signs and posters for other community events.
In 1980 Cuellar started Centro Screen Print & Associates with Louie "the Foot" Gonzalez (another founding member of RCAF). Rudy taught silk screening at Folsom State Prison and Louie became a rural mail carrier. His work as printer and as artist has been in numerous exhibits and publications such as Triumph of our Communities, Posada's Mexico 1979, CARA Chicano Art: Resistance and Affirmation, 1965-1985 Wight Art Gallery – University of California, Los Angeles. Design in California and Mexico 1915 – 1985 and Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now. Cuellar was deeply influenced by his trips to Mexico and especially art teachers, counselors, and friends such as George Lem and Mr. Otis, John Adams, Juan Cervantes, and Stephan Kaltenbach that each taught him to never put boundaries on his quest to create Mexican and pre-Colombian images.
Historical:
The Rebel Chicano Art Front was created in 1969 by art professors José Montoya and Esteban Villa along with many other artists, activists, community organizers, poets, and teachers while at California State University, Sacramento. As artists and art students, they often loosely worked to support community events with creative endeavors. The group eventually came together under Joe Serna and was managed by Ricardo Favela in 1972 to form the Centro de Artistas Chicanos, an organization that provided much needed community space and support for after school arts programs, a library and bookstore, training programs, family and child programs such as Día de Los Muertos festivals, acting classes, and even an auto body repair training program. As part of the after-school arts program (and print shop), RCAF artists came together to teach community children about history and culture through art.
To supplement the meager city and private funds for the Centro, the artists organized art and gallery shows, art auctions, and sale of prints in the bookstore. As this collective of artists started having art shows, they would shorten their name to the "RCAF," often being confused with the Royal Canadian Air Force. Being a creative bunch, they changed their name from the Rebel Chicano Art Front to the Royal Chicano Air Force. They embraced this new identity/confusion, getting Army surplus clothing, and creating "ranks" of general or "creative mechanicos comsimcos" [cosmic mechanics] for everyone. They created a mythical origin story that states that they flew here from the mythical homeland of Aztlán in adobe airplanes. This playfulness broke down many social barriers in the barrio as well as within the larger Sacramento community and helped them tackle serious subjects through their programs and art.
The 1960's and 70's ushered in a wave of political and social awareness for communities of color. Community organizations around the country began advocating and organizing for more political and social empowerment as a counter to the discrimination, oppression, and neglect that many Chicanos (and other Latino communities) encountered. The GI Bill sent many Chicanos to college, opening young Chicano eyes to new ways to fight injustice. Many young social reformers started to take advantage of funds from the War on Poverty programs to establish community service organizations. Chicano and Latino artists were very aware of neglect and lack of representation in mainstream galleries and art institutions and started to rethink and reinvent cultural spaces. The RCAF was formed as a way to creatively instill pride, dignity, and respect for the Chicano community of Sacramento (Los Angeles Times, July 22, 1979 "Chicano Air Force Flies High").
In addition to the RCAF, other Latino groups and organizations formed during the late 1960's and 1970's in the Bay area such as the Mexican American Liberation Art Front, La Raza Graphics Center, and Artist Sies that cultivated artist collectives and artist support networks. Galleria de La Raza, the first Mexican American "museum" in the Bay area opened to encourage Chicano and Latino art within their own community. Throughout the country, Latinx artists and activists formed organizations and galleries such as Self-Help Graphics in Los Angeles. The East coast also saw their share of organizations develop such the Taller Puertorriqueño in Philadelphia in 1972. In New York, the Taller Boriqua and El Museo de Barrio saw the Puerto Rican activist community grow and build their own galleries, arts spaces, and educational spaces to reach Latino communities in ways that traditional art and cultural centers did not.
Art, and the inexpensive silk screen process, became one of the fronts in the fight for community self-empowerment and advocacy. The traditions of mural and poster art in California were already very strong by the time RCAF was formed. In the 1930's, 40's, and 50's, African American and labor organizations had formed art workshops developing poster woodcut technique both as an art form and a way to advance political awareness. Art schools and colleges in California (and New York) organized artistic workshops to help combine art with social movements. The RCAF members also drew artistic and activist inspiration from a long tradition of printmaking in Mexico such as political and cultural artist José Posada in the 1890's and the Taller Grafica Popular in the 1930's. The reliance on silk screen poster art created a whole new movement and vocabulary of artistic forms, colors, and representations that drew from Mexican heritage but was also quick and easy to replicate. Artists like Montoya and Favela used these posters as their canvas to create a body of work that was bought and sold like other traditional art pieces, but was inexpensive to create and could relate and engage with the community not accustomed to gallery shows.
The silk screen process was eventually replaced by the screen print process, a technologic change that cut reliance on harmful chemicals, but still retained the "look and feel" of a DIY silk screen. However, what was crucial among RCAF were all the commissioned pieces, like these lowrider posters, that showcased how the artistic forms melded with community activism and documentation. While some of the artworks were bought and sold and made for art spaces, most art was primarily displayed in storefronts, restaurants, and community centers. The community and street space became the gallery that advertised United Farm Worker events, social justice gatherings, health initiatives, etc. The Chicano Civil rights movement succeeded and was sustained in part, by posters like these. The poster "transcended" the advertisement of events into a production of art. More importantly, these posters help document the Chicano movement, bridging community activism, art, advertisement, and social formation.
Source
Historical content note courtesy, Steve Velasquez, Curator, Division of Cultural and Community Life, National Museum of American History, August 13, 2020.
Related Materials:
Materials at the Smithsonian Institution
Archives of American Art
Roberto Sifuentes papers, circa 1988-2006, bulk 1993-2000. The papers document Chicano performance artist and educator Roberto Sifuentes.
Philip Brookman Papers, 1977-1993. The collection documents Brookman's exhibition, writing, and filmmaking projects in the form of artist files, exhibition files, professional files, and subject and research files. Much of the material concerns the production and distribution of Brookman's 1988 video documentary about Chicano art in California, Mi Otro Yo (My Other Self), that grew out of the exhibition and conference "Califas: An Exhibition of Chicano Art and Culture in California," held at University of California, Santa Cruz in 1981 and 1982.
National Museum of American History
Tomas Ybarra-Frausto Calendar Collection, NMAH.AC.0660
Lowrider "Dave's Dream," 1982. See accession: 1990.0567.
Smithsonian Institution Archives
Exhibition Records, circa 1983-1994 and undated. Accession 00-002. INcludes records for the exhibition American Encounters
Exhibition Records, 1970-1995. Accession 01-097. INcludes documentation for American Encounters Lowriders, 1992.
Productions, 1991-1994, 1997-1998. Accession 02-123. Includes Smithsonian Productions video program entitled, ""Spreading Beauty Wherever I Go," on the lowrider cars of New Mexico, 1992.
Productions, 1987, 1989, 1991-1993, 1997. Accession 02-202. Includes video footage for "Spreading Beauty Wherever I Go," on the "lowrider" cars of New Mexico.
Productions, 1991-2000. Accession 05-231. Includes video footage from the exhibit American Encounters Lowrider show, 1978 from the Museum of Fine Arts.
Materials at Other Organizations
Division of Rare and Manuscript Collections, Cornell University Library
University of San Diego, San Diego Lowriders Archival Project
The San Diego Lowrider Archival Project documents the history of lowriding in San Diego and the surrounding borderlands, from the 1950s through today. The project includes photographs, car club documents and memorabilia, official records, meeting minutes, dance posters and lowrider art.
University of Southern California, Boeckmann Center for Iberian and Latin American Studies
Lowrider magazine collection 0589
A collection of 56 issues of Lowrider magazine, along with three issues of Q-VO: A National Lowrider's Magazine -- all spanning from 1977 to 2003
UC Santa Barbara, Special Research Collections
Royal Chicano Air Force Archives, CEMA 8
Extensive collection of slides and silkscreen prints, along with administrative records, news clippings, correspondence, exhibition descriptions and flyers, photographs, creative writings, and miscellaneous publications of the Sacramento-based artists collective. Founding members of the RCAF include José Montoya, Esteban Villa, Juanishi V. Orosco, Ricardo Favela, and Rudy Cuellar.
UCLA Chicano Research Center
Alturas Films Records, CSRC.2018.009
Alturas Films is a film production company based in Emeryville, Californis. Founded by Rick Tejada-Flores, it specializes in documentaries that focus on overlooked topics in Latino and Latin American culture, many of which were broadcast on public television. Among its films are Low 'n Slow, Rivera in America, and Elvia.
Provenance:
Fifteen posters were purchased from Rudy Cuellar in 2021.
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.
This collection consists of historical files on FI, its predecessors, and subsidiaries. The material consists primarily of historical/public relations material, including photographs and brochures, but also includes significant amounts of business records for FEAC, Kreider-Reisner, Hiller, Republic, Ranger, Stratos, and Swearingen. The collection also documents Fairchild's joint ventures with Fokker, Pilatus, and other aircraft manufacturers. The material also includes an extensive negative collection as well as film and videotape libraries.
Scope and Contents note:
Sherman Mills Fairchild (1896-1971) founded Fairchild Aerial Camera Corporation (FAEC) in 1920. FAEC was incorporated in New York State for the purpose of developing, manufacturing and selling aerial photographic equipment. It went through many changes over the course of its existence. By 1971, FAEC was called Fairchild Industries, Inc. and had become an enormous corporation that produced such famous and history making aircraft as the Model 24 and A-10 as well as acquired other aviation industry giants such as Republic Aviation and Hiller Aircraft Company.
The Fairchild Industries, Inc. Collection, accessions 1989-0060 and 1990-0047, was donated to the Archives Division of the National Air and Space Museum, Smithsonian Institution in 1989 and 1990. The collection consists of printed and photographic materials. The subject matter of the material has a wide scope that includes, but is not restricted to, the following subject areas: public relations, legal matters, production photography, aircraft drawings and manuals, company published materials such as brochures and press releases, and history files. This collection does not contain the engineering files or the complete photo holdings or corporate records of Fairchild Industries, Inc or any of its predecessors.
The collection was maintained for many years by Theron Rinehart, a Fairchild Industries employee. Due to the large size and lack original order, the Archives Division decided to create a database as well as a traditional finding aid for access to the collection. Access to the Fairchild Docs database is available from the Archives Division by appointment. Aircraft types and designations are listed in the database and finding aid as they are in The Smithsonian National Air and Space Museum Directory of Airplanes Their Designers and Manufacturers, edited by Dana Bell, 2002 (Greenhill Books: London). Folder titles are those that appeared on the original folders and dates are provided for those materials that had them. The material was rehoused by the Archives Division and is now in acid free folders and boxes. There are few instances of water damage; these materials are indicated in the finding aid and database.
This finding aid contains a corporate history and chronology of the companies owned by of Fairchild Industries, Inc and a list of the Fairchild, Hiller, Republic and Swearingen aircraft documented in this collection. The books, periodicals and artifacts that were part of this collection have been removed. This finding aid contains a list of these materials. Please ask for assistance in contacting the NASM Branch and Smithsonian Libraries and the NASM Aeronautics Division.
Sherman Mills Fairchild's personal papers, The Sherman Fairchild Papers, can be found in the Manuscript Division of the Library of Congress.
Biographical/Historical note:
The following information was taken from The Smithsonian National Air and Space Museum Directory of Airplanes: Their Designers and Manufacturers, edited by Dana Bell, 2002 (Greenhill Books: London).
"In 1924, Sherman Fairchild established the Fairchild Aviation Corp as the parent company for his many aviation interests. In 1930, The Aviation Corp (AVCO) purchased Fairchild Aviation and its subsidiaries, initially operating the various companies under their original names. The following year, Sherman Fairchild repurchased Fairchild Aviation Corp and began repurchasing the subordinate companies. In a December 1936 reorganization, Fairchild Aviation Corp divested itself of all aircraft manufacturing interests, placing them under a new Fairchild Engine and Airplane Co.
The original aircraft manufacturing subsidiary of Fairchild Aviation Corp was Fairchild Airplane Manufacturing Co; it was created in 1924 to design and build aircraft as platforms for Fairchild's aerial survey cameras. Fairchild Airplane Manufacturing was one of the subsidiaries purchased by AVCO in 1930, but not one of the first companies repurchased by Sherman Fairchild. In 1931 AVCO combined the aircraft company with Fairchild Engine Co, forming American Airplane and Engine Corp. Fairchild Aviation Corp bought American Airplane and Engine in 1934, renaming the company the Fairchild Aircraft Manufacturing and Engine Co.
In the 1936 reorganization that divided Fairchild Aviation Corp assets, Fairchild Aircraft Manufacturing and Engine Co became Fairchild Engine and Airplane Co and took charge of all Fairchild aircraft and engine holdings. Fairchild Engine and Airplane Co became Fairchild Engine and Airplane Corp in 1950 and Fairchild Stratos Corp in 1961. With the 1964 purchase of Hiller Aircraft Corp, Fairchild Stratos was renamed Fairchild Hiller Corp, then, again, renamed Fairchild Industries after the separation of all Hiller interests in 1973. Although Fairchild Industries closed and sold its military and commercial aircraft manufacturing divisions in 1987, "Fairchild" aircraft continued to be produced through the Swearingen Metro and Fairchild Dornier lines (see below).
Fairchild created, purchased, and merged with several companies during its history. The following are the most important subsidiaries:
Fairchild Aircraft Ltd was created in 1929 as Fairchild Aviation Corp's Canadian subsidiary. The company ended all aircraft production in 1948.
The Kreider Reisner Aircraft Co Inc was formed in 1927. Kreider Reisner became a wholly-owned division of (first) the Fairchild Airplane Manufacturing Co in 1929, (second) AVCO's American Airplane and Engine Corp (which renamed KR aircraft "Pilgrims") in 1931, and (third) Fairchild Aircraft Manufacturing and Engine Co in 1934. Kreider-Reisner was renamed the Fairchild Aircraft Corp in 1935, becoming Fairchild Engine and Airplane Co's principle US aircraft manufacturing subsidiary. Fairchild Aircraft Corp was renamed the Fairchild Aircraft Division in 1939, the Fairchild Aircraft and Missiles Division in 1961, the Fairchild Stratos Aircraft and Missiles Division in 1961, the Aircraft-Missiles Division in 1965, and the Aircraft Division in 1967. With a growing number of aircraft subsidiaries reporting to Fairchild Industries, the Aircraft Division was broken up in a corporate reorganization of the 1970s. While the Kreider Reisner Midget is listed under Kreider Reisner, all Kreider Reisner Challenger series aircraft (designated "KR" biplanes by Fairchild) appear under Fairchild.
In 1936 Fairchild Engine and Airplane Co founded the subsidiary Duromold Aircraft Corp to better account for time spent developing the Duromold wood/resin bonding process and the Model 46 aircraft. In 1938, the majority interest in Duromold was bought by a group of investors (including process inventor Col. Virginius E. Clark), who formed the Clark Aircraft Corp. Fairchild kept a minority interest in Clark, retaining Duromold as a holding company. In September 1938, Fairchild renamed its Duromold division Fairchild Airplane Investment Corp, and Clark created a subsidiary called Duramold Aircraft Corp (note the spelling change). In 1938 Duramold was renamed Molded Aircraft Corp. In 1939, Fairchild Engine and Airplane Corp bought back a controlling interest in Clark and renamed Molded Aircraft Duramold Aircraft Manufacturing Corp. The Duramold and Clark companies disappeared during one of Fairchild's World War II reorganizations.
In 1952 Fairchild licensed the rights to Dutch Fokker's F.27 medium-range airliner. In 1953, the USAF transferred production contracts for the Chase Aircraft Co, Inc C 123 to Fairchild. The Chase-built XC 123 and XC 123A appear under Chase, while Fairchild's C-123 production is listed under Fairchild.
In 1954, the American Helicopter Co, Inc (founded 1947) became the Helicopter Division of Fairchild Engine and Airplane Corp. The division closed by the end of decade.
In 1964, Fairchild Stratos purchased Hiller Aircraft Corp, and both companies were renamed: Hiller Aircraft Co Inc become a subsidiary of Fairchild Hiller Corp. In the 1973 reorganization of Fairchild Hiller into Fairchild Industries, Hiller helicopter interests passed to an independent Hiller Aviation Inc….
In 1965, the Republic Aviation Corp became Republic Aviation Division (also known as Fairchild Republic) of Fairchild Hiller Corp. In 1987, Republic was shut down when Fairchild Industries ceased building commercial and military aircraft.
Swearingen Aircraft formed in the late 1950s, modifying Beech aircraft for executive transport. In 1965 the company produced its first new design, the Merlin. In 1970 Swearingen began development of the Metro, a joint venture to be marketed by Fairchild Hiller Corp. As a subsidiary of Fairchild Industries, Swearingen became Swearingen Aviation Corp, in 1971, Fairchild Swearingen in 1981, and Fairchild Aircraft Corp in September 1982. When Fairchild Industries closed its aircraft design and production facilities in 1987, Fairchild Aircraft Corp was sold to GMF Investments, Inc; GMF continued to operate the company under the Fairchild name. In 1990, Fairchild Aircraft filed for Chapter 11 protection and was purchased by Fairchild Acquisition Inc as Fairchild Aircraft Inc. Fairchild Aircraft delivered its last aircraft in 2001. Most Swearingen designs are filed under Swearingen; the Metro and Expediter can be found under Fairchild.
In 1996, Fairchild Acquisition became Fairchild Aerospace. While continuing to operate Fairchild Aircraft, the company also purchased 80% of the stock of Germany's Dornier Luftfahrt GmbH (with the remaining 20% of shares held by Daimler Benz Aerospace). Dornier's aircraft manufacturing operations were taken over by Fairchild Dornier Luftfahrt Beteiligungs GmbH. In 2000, Fairchild Aerospace was renamed Fairchild Dornier Aerospace, with corporate headquarters moved to Germany. Dornier designs predating Fairchild's takeover are listed under Dornier. Subsequent designs are found under Fairchild Dornier."
The following lists companies owned by Sherman Fairchild Industries and their years of incorporation. Major divisions of Fairchild are also listed. This list does not include when these entities were divested of or liquidated.
1926 -- Fairchild Air Transport, Limited (name change from Elliot-Fairchild Air Transport, Limited)
1927 -- Fairchild Aviation Corporation (reorganization and refinancing of the following subsidiaries and minority holdings, Fairchild Aerial Camera Corporation, Fairchild Aerial Surveys, Inc., Fairchild Flying Company, Inc, Fairchild Caminez Engine Corporation, Fairchild Airplane Manufacturing Corporation, Fairchild Aviation, Limited, Compania Mexicana de Aviacion, S.A. [20% stock] and International Aerial Engineering Company [20% stock])
1928 -- Faircam Realty Corporation
1928 -- Fairchild Boats, Incorporated
1928 -- Fairchild Engine Corporation
1928 -- V.E. Clark Corporation
1928 -- West Indian Aerial Express, Incorporated
1928 -- Fairchild Aviation Corporation of Illinois
1958 -- Fairchild Aircraft and Missiles Division (name change from Fairchild Aircraft Division)
1958 -- International Aluminum Structures Incorporated
1960 -- Astrionics Division (name change from Electronics Systems Division)
1960 -- Aircraft Service Division
1961 -- Fairchild Stratos Corporation (operating division, subsidiaries and affiliates: Aircraft-Missile Division, Aircraft Service Division, Electronic Systems Division, Stratos Division, Fairchild Arms International Ltd, Fairchild Aviation (Holland) N.V., and Aerotest Laboratories, Inc.)
1962 -- Space System Division formed by Fairchild Stratos Corporation
1962 -- Data Systems Engineering formed by Fairchild Stratos Corporation
1964 -- Hiller Aircraft Company, Inc
1964 -- Fairchild Hiller Corporation (name change from Fairchild Stratos Corporation; division and subsidiaries: Aircraft Missiles Division, Aircraft Service Division, Electronic Systems Division, Data Systems Engineering, Space Systems Division, Stratos Division, Hiller Aircraft Company, Inc., Fairchild Aviation (Holland) N.V. and Fairchild Arms International, Inc.)
1965 -- Republic Aviation Corporation
1965 -- Republic Aviation Division
1965 -- Electronic and Information Systems Division (formed by combining Electronic Systems Division, Data Systems Engineering and similar disciplines from Republic Aviation Corporation)
1966 -- Burns Aero Seat Company, Incorporated
1966 -- Fairchild Hiller – FRG Corporation
1966 -- Aircraft Division (formed by combining Aircraft-Missiles Division and Hiller Aircraft Company, Inc.)
1966 -- Space and Electronics Systems Division (formed by combining Space Systems Division and Electronic and Information Systems Division)
1966 -- Industrial Products Division (forms from the Industrial Products Branch of Stratos Division)
1967 -- S.J. Industries, Inc.
1967 -- Air Carrier Engine Services, Inc.
1967 -- Fairchild Chemical Corporation
1967 -- EWR-Fairchild International
1968 -- Fairchild Aircraft Marketing Company
1968 -- FAIRMICCO
1969 -- Fairchild-Germantown Development Company, Incorporated
1970 -- Fairchild Aviation (Asia) Limited
1971 -- Fairchild Industries, Incorporated (name changes from Fairchild Hiller Corporation, division and subsidiaries: Fairchild Aircraft Marketing Company, Fairchild Aircraft Service Division, Fairchild Industrial Products Division, Fairchild Republic Division, Fairchild Space and Electronics Division, Fairchild Stratos Division, Burns Aero Seat Company, Incorporated, Fairchild Arms International, Ltd., Fairchild Aviation (Asia) Limited, Fairchild Aviation (Holland) N.V., Fairchild-Germantown Development Company, Incorporated and S.J. Industries, Inc.)
1971 -- Fairchild KLIF, Incorporated
1971 -- Swearingen Aviation Corporation
1972 -- American Satellite Corporation
1972 -- Fairchild Minnesota, Incorporated
1972 -- Fairchild International Sales Corporation
1979 -- Bunker Ramo Corporation [18.4% interest]
1980 -- American Satellite Company
1980 -- Space Communications Company (Spacecom) [25% interest]
The Apollo Flight Guidance Computer Software Collection [Hamilton] consists of reports, memoranda, and related material documenting the Apollo flight guidance software developed by Margaret Hamilton's team at the Charles Stark Draper Laboratory (CSDL) in the late 1960s and early 1970s. The collection also includes Hamilton's 1986 handwritten notes on selected documents.
Scope and Contents:
This collection consists of reports, memoranda, and related material documenting the Apollo flight guidance software developed by Margaret Hamilton's team at the Charles Stark Draper Laboratory (CSDL) in the late 1960s and early 1970s. Documents include a printout from an Apollo guidance computer software simulation; software program change routing slips; reports from Apollo Guidance, Navigation, and Control (formerly Apollo Guidance and Navigation); a preliminary flight plan for Apollo 7; memoranda for the submission of MIT/IL Software Development Plan, critiquing each new official version of the flight system; guidance system documents using assorted programs, including Sundisk, Skylark, and Luminary; and an oversized Charles Stark Draper Laboratory brochure. When she donated the collection in 1986, Hamilton composed handwritten notes on the history of selected documents, which are included with each document and identified in the finding aid as "[Note from Margaret Hamilton]."
Arrangement:
The materials are arranged chronologically.
Biographical Note:
Margaret H. Hamilton (b. 1936) was the Director of Software Engineering Division at Charles Stark Draper Laboratory (CSDL), Massachusetts Institute of Technology (MIT) and was responsible for the onboard flight software for NASA's Apollo and Skylab missions. She became known as the "Rope Mother," an apt description for her role and referred to the unusual way that computer programs were stored on the Apollo guidance computers.
Hamilton received a BA in Mathematics from Earlham College in Richmond, Indiana, and postponed her Ph.D. work when she was offered the opportunity to work on the Apollo project. She has published over 130 papers and reports on her areas of expertise in system design and software development. In 1986, she became the founder and CEO of Hamilton Technologies, Inc. in Cambridge, Massachusetts. On November 22, 2016, President Barack Obama awarded Hamilton the Presidential Medal of Freedom for her contribution that led to Apollo 11's successful landing.
Scrapbook, 28 pages, unbound, with heavily tooled brown leather cover with gold decoration. Contents include newspaper clippings and photographs (dated 1933-1939) of members of the Challenger Air Pilots Association (CAPA) from Chicago, Illinois, particularly John C. Robinson and his activities with the Imperial Ethiopian Air Force, which earned him the nickname of the "Brown Condor," and Dale L. White and Chauncey Spencer's 1939 "Goodwill Flight" (May 11 to May 16) from Chicago to Washington, DC.
Digital images displayed are the only pages which have been digitized at this time.
Collection Restrictions:
No restrictions on access.
Collection Rights:
Permissions Requests
Collection Citation:
Dale L. White, Sr., Papers Collection, Accession 2013-0050, National Air and Space
Museum, Smithsonian Institution.
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1888-1996
Summary:
The collection includes approximately 250,000 photonegatives, photoprints, color transparencies from the photographic business founded by Addison Scurlock in Washington, DC. Collection also includes business records and ephemera.
Scope and Contents:
Photographs includes portraits of famous African-American luminaries such as Booker T. Washington, W.E.B. DuBois, and many other artists, intellectuals, educators, entertainers, etc., as well as documentation of Washington, DC, including both the African-American community and national political life, and important photographs of Howard University; also commercial photography, including color materials.
Color separation materials include sets of black-and-white color-separation negatives, sets of matrices for the Kodak Dye Transfer process (full-color Dye Transfer prints are storied in a different series).
Business records: The photography studio records and Custom Craft records are in separate series, reflecting the fact that they were operated as separate businesses.
The collection includes all forms of photographs produced by the studio, such as prints in black-and-white and color, black-and-white and color negatives, color transparencies, black-and-white dye-transfer matrices, slides, etc.; as well as business documents, studio session ledgers, appointment books, business and personal correspondence, tax documents, and books, catalogs, and other publications. This material documents not only the photographic output of the business, both commercial and artistic, as well as the personal and business side of the enterprise.
Some photographs in the collection were not created by the Scurlocks. Some black-and-white and color prints seem to derive from assignments in the Capitol School of Photography, and are therefore student work. Also Custom Craft, the professional color processing service provided by the studio, made prints for other photographers, and samples for printing reference, as well as studio decor, have been retained in the collection. Custom Craft worked for such diverse photographers as artist Robert Epstein and well-known Washington photographer Fred Maroon, for example.
The collection numbers several hundred thousand photographic negatives, prints, and transparencies made by the Scurlocks and other staff photographers of the studio in its various Washington locations. The negatives are estimated at approximately 160,000-200,000 in number, and the prints of all sizes and types at nearly 57,000. The vast majority of the photographs are portraits of individuals, family groups, and organizations, as the primary business of the studio was portrait photography. They date primarily from the 1940s to 1990s. There are also a number of images, made for commercial clients, of building interiors and exteriors, and food. A small group of photojournalistic documentation also exists. The subjects also include architectural and industrial views, scenes in and around Washington, including children and street laborers, political events, social events, and 35mm slides of President Kennedy's funeral, 1964. There are also more personal artistic images, including still lifes with plants and flowers, and a few nudes; Robert's wartime service is also documented by his photographs, including European landscape photographs.
In addition to images taken by the Scurlock studio photographers, there are some prints, especially color, of images by other photographers who were clients, such as Fred Maroon, a prominent Washington photojournalist, and Robert Epstein, a teacher at the Corcoran School of Art. A print of one of Maroon's pictures had been displayed in the studio reception room at the time the studio was closed.
A large group of manuscript items, business documents, ephemera, and office and studio supplies constitutes a separate series from the photographs. An important adjunct to the photographs, a set of ledgers recording and identifying portrait sittings, highlights this group.
Nearly all of the photographs and documents stored in the studio and auxiliary storage locations were accepted for acquisition in order to form a complete history of this family business's production and operations over the better part of a century, whereas a selection of photographic apparatus and studio equipment was acquired by the Photographic History Collection: these items have been inventoried and catalogued separately.
Studio Portraits
The majority of the surviving photographic negatives and proof prints were made in connection with the studio's portrait work for a wide variety of clients. These portraits include images of famous people, such as political figures, entertainers, and noteworthy persons in a variety of fields, including scientists, writers, intellectuals, and academics. The majority of the figures depicted among both the famous and the not so famous are black. The greatest number of studio portraits, most of which are identified and dated, depict a general clientele who visited the studio for portrait sittings. Although the individual images in this vast quantity have limited research value in the usual sense, the aggregate represents a chronology spanning almost ninety years, which may be useful for demographic and genealogical information and as visual evidence of changing styles in clothing, hair, and accessories. It constitutes a panorama of a significant percentage of Washingtonians of the period, especially the black community.
Portraits of famous personages include George Washington Carver, Dr. Martin Luther King, Jr., Duke Ellington, Marian Anderson, Archbishop Desmond Tutu, Sammy Davis, Jr., Sugar Ray Leonard, Muhammad Ali, Mayor Walter Washington, and Presidents Kennedy, Johnson, Nixon, Ford, Reagan, Bush, and Clinton, Mayor Marion Barry, DC Council members, statesmen such as Ralph Bunche, and many other noteworthy figures. Of particular interest is a signed group portrait of the US. Supreme Court with Chief Justice Berger presiding. There are also large- format portraits of Justice Thurgood Marshall and J. Edgar Hoover.
Group portraits include both formal sittings and the informal documentation of banquets, convocations, and similar events. This material includes groups at Howard University; Dunbar High School; the Post Office Clerks' Banquet; the Bishops' Meeting of the AME Church; a YMCA camp, cira 1947 1949; the 23rd annual conference of the NAACP, 1932, etc.
Howard University
Several thousand black and white negatives and prints, 1930s-1960s, depict the people, facilities, and events of Howard University, with which the Scurlocks had a long business relationship. There are various portraits, including Howard University Medical School, represented by 850 negatives and 100 prints. A group of law school and medical school images numbers some 800 negatives and 200 prints. In addition, there are class portraits, as well as images of famous guests speaking at Howard convocations, such as President Herbert Hoover.
Wedding Photography
An important aspect of any portrait studio's output is wedding photography, and the Scurlock studio was no exception. Bridal portraits, group pictures of wedding parties, and the complete documentation of weddings, in both black and white and color, constitute a significant part of the collection. African-American weddings predominate and provide important insights into this aspect of the society.
Exhibitions
The studio's work was shown in special public exhibitions over the years, and several of these are included in toto. The most important was an extensive retrospective display of 121 prints of Addison's work, both vintage and posthumous, prepared by Robert for the Corcoran Gallery of Art in 1976. Others include: (1) a set of 32 black and white images made by Robert at the Ramitelli Air Base, Italy, while he was a major in the US Air Force during World War II; (2) a group of portraits from a Black History Month exhibit at Woodward and Lothrop; and (3) a set of sixteen vintage and modern prints which Robert displayed in an interview on the "Today" television show in the 1980s.
Commercial Work
This category includes architectural and industrial photography for commercial clients, food and still life photographs, etc. Much of this material is comparatively recent and was made in large format color, and includes transparencies and enlargements. It is possible that some of the prints represent Custom Craft work for other photographers rather than the camera work of Robert and George Scurlock. Thus far, prints by artist Robert Epstein have been identified as extra prints of his work from orders which he placed with the firm. At least one image by Fred Maroon has been identified.
A group of color prints constitutes copies of artworks, primarily in the National Portrait Gallery, for which the Scurlocks worked. Prints in 8" x 10", 11" x 14", 16" x 20" and 20" x 24" sizes are included, and undoubtedly negatives and transparencies corresponding to these subjects will be found.
Photojournalism
In addition to the formal studio portraits and pictures documenting formal events, the Scurlocks took candid photographs of the everyday life of their city, as well as extraordinary events of local and national significance, ranging from occasions such as John F. Kennedy's funeral and the 1968 riots to political rallies and demonstrations.
Capitol School of Photography
The collection includes a variety of materials, such as books and ephemera, which document the activities of the Capitol School of Photography, a sideline of the Scurlock business. Some of the photographs apparently represent student work. The most famous student of the school was Jacqueline Bouvier (later Jacqueline Kennedy Onassis), although no documentation of her association with the school has been located thus far. There are 45 photographs, circa 1950s, showing the photography lab, men retouching prints, students with cameras, etc.
Personal Photographs
A few photographs of the Scurlock family are included in the collection in various forms and formats, including enlarged portraits of Addison and Robert. A self portrait of Addison and Mamie Scurlock is included in the Corcoran Gallery of Art exhibition series. Other photographs which represent personal artistic expression, such as a few nude studies and floral and plant still lifes, are included.
Series 6 consists of photographic materials including color transparencies, slides, film, and proofs but occasionally includes notes, forms, and envelopes associated with the orders.
Series 1: Black and White Photographs:
Dates -- 1888-1993
Extent -- 105 boxes
Contents -- Series 1: Black and White Photographs: The materials are almost entirely black and white photographs, but in the subseries of clients, there may also be job envelopes, order materials, and other photographic material types that were included in the overall order. The series is arranged into two subseries, clients and subjects, and both are arranged alphabetically. The subseries clients documents the orders made by clients of the Scurlock Studio and individuals who were or could be identified but may or may not have actually placed an order at the Studio. The majority of the photographs in the clients subseries are formal portrait sittings but there are photographs of events, organizations, and businesses. The subseries subjects are photographs that were grouped into categories because no known client or individual in the image could be identified. The subjects cover a broad array of subjects but the majority of the subjects include unidentified people in formal portrait sittings and groups. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 1.1: Clients Black and white photographs1.2: Subjects Black and white photographs
Series 2: Color Photographs:
Dates -- 1930-1995
Extent -- 113 boxes
Contents -- Series 2: Color Photographs: The series color photographs consists of color photographs and hand-colored photographs, but there are also order envelopes and materials, and other photographic material types that were part of the order. The subseries are arranged as clients, subjects, weddings, and hand-colored photographs. Clients are arranged alphabetically by last name or the first word of an organization's name. Not all individuals, organizations, or businesses necessarily represent a client of the Scurlock Studio; if an individual or organization could be identified, the photograph was placed under the identified person or organization even if ther were not a known client of the Studio. The majority of the photographs are individual portrait sittings but also included are family portraits, businesses, organizations, and informal images. The subjects are arranged alphabetically, and document images of non-humans and humans that could not be connected to a known client. Weddings and hand-colored are arranged in alphabetical order with clients preceeding subjects. The were a large subject of the overall collection and the majority of weddings are color photographs but also included in the subseries are black and white and hand-colored photographs of weddings. The hand-colored photographs largely reflect the same subject matter of the subseries clients and subjects. In addition, not all photographs in this subseries were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 2.1: Clients Color photographs2.2: Subjects Color photographs2.3: Weddings2.4: Hand-colored photographs
Series 3: Framed Prints:
Dates -- circa 1979
Extent -- 3 boxes
Contents -- Series 3: Framed Prints: The series framed prints includes three framed color photographs. The framed prints are arranged by the size, from smallest to largest, of the frame. The photographs are of two important political figures: Washington, D. C., Mayor Marion Barry and Senator Edward Brooke.
Series 4: Black-and-White Silver Gelatin Negatives:
Dates -- 1900-1994
Extent -- 320 boxes
Contents -- Series 4: Black-and-White Silver Gelatin Negatives: The material type of the series is black and white silver gelatin negatives. The negatives are arranged into twelve subseries. The materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. The subjects represented are individual portrait sittings, organizations, events, businesses, commercial ventures of the Studio, and Washington, D. C. 4.1: Black and white negatives 4.2: Black and white negatives in freezers arranged by job number 4.3: Black and white negatives in freezer storage arranged by client 4.4: Black and white negatives in freezer storage arranged by subject 4.5: Black and white negatives in cold storage arranged by job number 4.6: Black and white negatives in cold storage arranged by client 4.7: Negatives in cold storage arranged by client with index cards 4.8: Negatives in cold storage arranged by subject 4.9: Black and white negatives for publication 4.10: Glass Plate Negatives 4.11: Customcraft Negatives 4.12: Banquet Negatives
Series 5: Color Negatives:
Dates -- 1964-1994
Extent -- 72 boxes
Contents -- Series 5: Color Negatives: The series color negatives primarily of color negatives but it also includes order envelopes and materials. The series is arranged into two subseries: clients and subjects. The subseries clients is arranged by job number, and the materials document the orders placed by clients of the Scurlock Studio and identified persons and organizations. The negatives depict individual portrait sittings, groups, and informal poses. The subseries subjects is arranged in alphabetical order, and the materials document negatives that could not be connected to a client of the studio. The negatives represent subjects such as art, buildings, commercial ventures of the Scurlock Studio, and unidentified people. 5.1: Color negatives arranged by client5.2: Color negatives arranged by subject
Series 6: Color Transparencies, Slides, and Other Formats:
Dates -- 1922-1994
Extent -- 40 boxes
Contents -- Series 6: Color Transparencies, Slides, and Other Formats: The series color transparencies, slides, and other formats consists of black and white and color transparencies, color slides, film, proofs, and order materials. The materials are arranged into four subseries: transparencies, slides, film, and proofs. The subseries are arranged by clients, in alphabetical order by last name, and then subjects, in alphabetical order. The materials document the orders placed at the Scurlock Studio by clients and identified individuals and organizations, and materials that could not be identified and are categorized by subjects. The subjects represented in the materials are primarily individual, family, and group portraits, and events and places. Cut but unmounted slides were typically placed in the subseries transparencies but a small number of cut but unmounted slides are included in the slides. The subseries proofs only contains a form of proof used by the Scurlock Studio that has a fugitive image, and other types of proofs printed on low quality paper or are water-marked and have a lasting image were included in the series Black and White Photographs and Color Photographs if the proof was either black and white or color. 6.1: Transparencies6.2: Slides6.3: Film6.4: Proofs
Series 7: Black-and-White Color Separation Negatives and Matrices:
Dates -- 1955-1957
Extent -- 7 boxes
Contents -- Series 7: Black-and-White Color Separation Negatives and Matrices: The materials in the series are black-and-white color separation negatives and a booklet about how to process black-and-white color separation negatives. The materials are arranged into three subseries: clients, subjects, and the booklet. The materials document orders placed at the Scurlock Studio by clients and individuals and organizations that could be identified but not connected to a specific order. The materials also document negatives categorized by subjects because there was no known client or identifiable individual or organization. The subjects represented are individual portrait sittings and groups, and unidentified people. 7.1: Clients Black-and-White Color Separation Negatives 7.2: Subjects Black-and-White Color Separation Negatives Booklet
Series 8: Scurlock Studio Business Records:
Dates -- 1907-1996
Extent -- 66 boxes
Contents -- Series 8: Scurlock Studio Business Records: The series Scurlock Studio Business Records contains paperwork pertaining to the administration of the business, the financial documentation of the business, the reocrds of sales, the advertising signs and promotions of hte business, the files kept on employees, and other materials kept at the Scurlock Studio. The series is arranged into six subseries: administrative file, financial, sales, advertising and marketing, employee and personnel, and office files. Each subseries is arranged differently according to the types of materials predominantly found in the subseries or in chronological order. The subjects represented in the series are mostly related to the financial records of the Scurlock Studio kept and the invoices of sales records. A wide variety of other subjects relating to the the business records of the Scurlock Studio can also be found including: session registers, construction plans, advertisements for specific holidays, and product information sent to the Studio. Some materials found in this series may be marked Scurlock Studio and Custom Craft, the color division of the Scurlock Studio, and were placed with this series because the Scurlock Studio was the primary business. Other materials with an unclear origin of either the Scurlock Studio or Custom Craft were placed in this series. 8.1: Administrative Files8.2: Financial8.3: Sales8.4: Advertising and Marketing8.5: Employee and Personnel8.6: Office Files
Series 9: Custom Craft Business Records:
Dates -- 1951-1994
Extent -- 57 boxes
Contents -- Series 9: Custom Craft Business Records: The series Custom Craft Business Records consists of paper documents relating to the administrative, financial, sales records, employee and personnel, and other files about the affairs of the Custom Craft business's day-to-day operations. The materials are arranged into five subseries: administrative, financial, sales, employee and personnel, and office files. The materials within a subseries are ordered by types of documents that consisted of a large number of materials listed first and materials with few documents following the grouped materials in chronological order. The materials document the day-to-day business of Custom Craft. The subjects represented are documents relating to the administration of the business, journals kept to document finances, the order invoices, the files kept about employees, product information, and materials accumulated in the office. Some documents may list both the Scurlock Studio and Custom Craft and were kept with the business records of Custom Craft if the materials appeared to fit the activities, color photography, of that business. Other documents relating to the business affairs of Custom Craft may be in the series Scurlock Studio Business Records because these documents did not clearly indicate which business the documents belonged to; in these cases, the materials were put in the series Scurlock Studio Business Records because the business was the primary business of the Scurlocks. There business records seem to indicate that there was not always a clear differentiation between the two businesses. 9.1: Administrative9.2: Financial9.3: Sales9.4: Employee and Personnel9.5: Office files
Series 10: Capitol School of Photography:
Dates -- 1948-1954
Extent -- 4 boxes
Contents -- Series 10: Capitol School of Photography: The series Capitol School of Photography consists of paper documents, photographs, and transparencies. The materials are arranged in chronological order and document the administration of the Capitol School of Photography and the students. The subjects represented are administrative documents, student files, photographs by students, photographs of students and the space used for the School, and transparencies of the same subjects.
Series 11: Washington Stock:
Dates -- 1981-1994
Extent -- 2 boxes
Contents -- Series 11: Washington Stock: The series Washington Stock consists of order materials, orders, and published materials. The materials are arranged chronologically and document the orders placed for Washington Stock and how the materials were used and published. The subjects represented are orders, standard forms used by Washington Stock, and published materials.
Series 12: Background Materials and Publications:
Dates -- 1902-1995
Extent -- 18 boxes
Contents -- Series 12: Background Materials and Publications: The series Background Materials and Publications is composed of paper documents, published materials, and materials from exhibitions. The materials are arranged into four subseries: historical and background information, Scurlock images, reference materials, and exhibition materials. The materials document the Scurlocks, published Scurlock images, published materials lacking Scurlock images, exhibitions of Scurlock images, and other exhibitions of related material. The subjects represented are largely materials related to the Scurlocks' photography and personal interests. Images were placed in the subseries Scurlock images if the photograph was credited to the Scurlocks or was a photograph known to have been taken by the Scurlocks; it is possible that uncredited and less well known images taken by the Scurlocks are present in the subseries reference materials. 12.1: Historical and Background Information12.2: Scurlock Images12.3: Reference Materials12.4: Exhibition Materials
Arrangement:
The collection is divided into 12 series.
This collection was processed with numerous changes in arrangement and numbering of boxes. Original box numbers have been retained in this finding aid for cross-reference purposes and to assist anyone with a record of photographs according to the original box numbers.
Biographical / Historical:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994).
The turn of the twentieth century saw a mass exodus of African Americans from the South to northern cities in search of better employment opportunities and fairer racial treatment. Although many considered Washington to be the northern-most southern city, it still offered opportunities for African Americans leaving seasonal agricultural work and racial oppression in the South. In Washington, African Americans found stable employment with the U.S. government. In addition, Howard University offered African Americans teaching opportunities, college education, and professional training as doctors, dentists, nurses, lawyers, and ministers. By 1900 a substantial African-American middle class existed in Washington. Despite the fact that Washington was a historically and legally segregated city (and would remain so into the 1960s), this middle class population continued to grow and prosper.
After graduation from high school, Addison Scurlock moved from Fayetteville, North Carolina, to Washington, D.C., with his family in 1900. With a keen interest in photography, he sought out an apprenticeship at the white-owned Moses Rice Studio on Pennsylvania Avenue. The Rice brothers (Amos and Moses) had been in Washington working as photographers since the 1860s and had one of the more prominent and better studios in the city. There Addison learned portrait and general photography. In 1904, he left Rice and began his photographic career at his parents' home. By 1911, when he opened the Scurlock Studio, he had already captured the likeness of Booker T. Washington (1910; see Appendix B), most likely his most well-known portrait. Scurlock quickly identified his market: a self-sufficient African-American community which included students, graduates, and educators affiliated with Howard University; poets; writers; intellectuals; musicians and entertainers; politicians; socialites; fraternal and religious organizations and their leaders. The Scurlock Studio, located at 900 U Street, N.W., became a fixture in the midst of the thriving African-American business community. As with his white counterparts on Pennsylvania Avenue and F Street, N.W., Addison Scurlock inspired passers-by with window displays of his photographs of national leaders and local personalities.
During the 1930s, Addison Scurlock's two sons Robert and George apprenticed in the studio. In addition to portrait and general photography, the sons learned the techniques of retouching negatives and photographic prints, hand-coloring, hand-tinting, and mat decoration. George concentrated on the commercial side of the business while Robert concentrated on the portrait side. The Scurlocks' work changed with the times. From the early 1900s until Addison's death in 1964, the Scurlock Studio was the official photographer of Howard University. In the 1930s the studio began a press service and prepared newsreels on African American current events for the Lichtman Theater chain, which offered some of the few non-segregated venues in the city. Their press service supplied the African-American press with newsworthy photographs of current events, personalities, and social, political, and religious life. Clients included the Norfolk Journal and Guide, Amsterdam News, Pittsburgh Courier, Cleveland Call and Post and the Washington Tribune and Afro-American. George and Robert ran the Capitol School of Photography from 1948 to 1952. Included among their students were African-American veterans under the G.I. Bill, Ellsworth Davis, who later worked as a Washington Post photographer and Bernie Boston of the Los Angeles Times. Perhaps their best-known student was the young Jacqueline Bouvier.
In 1952 Robert opened Washington's first custom color lab. Capitalizing on his knowledge of color processing, Robert was asked to take color portraits of both noted and ordinary individuals. In addition, the studio offered color views of important Washington landmarks and monuments. By the 1960s, Robert added magazine photography to his list of talents, publishing images in Life, Look, and Ebony. Robert continued photographing Washingtonians at his studio until his death in 1994.
According to George Scurlock, the Scurlock studio never had substantial competition in the African American community. Some Washington residents remember it differently, however. Dr. Theodore Hudson, a retired Howard University professor, recalled two other black photographers: Sam Courtney and a man named Sorrell. He said Courtney photographed events in the African American community...?
The collection represents the most comprehensive record of any long-lived, let alone African-American, photography studio, in a public institution. Other twentieth century studio collections exist, such as Robinson Studio, Grand Rapids; Hughes Company, Baltimore, Md. Among African American studio collections in public institutions are James Van Der Zee (New York City, 1912-80s), P.H. Polk (Tuskegee), and the Hooks Brothers (Memphis, Tenn., 1910-1975). The Scurlock Collection covers a greater time period and provides greater depth of coverage of African-American events and personages.
A number of articles have been written about the Scurlock family. Jane Freundel Levey, editor of Washington History magazine, believes that the family went beyond the artful use of light, shadow, and composition. She wrote, "Perhaps the most distinctive hallmark of the Scurlock photograph is the dignity, the uplifting quality of the demeanor of every person captured by photographs who clearly saw each subject as above the ordinary."
Constance McLaughlin Green, one of the leading historians of Washington, D.C., talks about African-American Washington as "the Secret City," a separate world with institutions of its own that remained virtually unknown to the white majority. Addison Scurlock and his sons captured that world on film and in doing so, documented that world in the course of running his business and perfecting his art. Steven C. Newsome, director of the Maryland Commission on Afro-American History and Culture stated that The Scurlocks' photograph "Gave us connections. They tell stories. They let us remember."
The collection includes photographs of the nationally famous Booker T. Washington, W.E.B. DuBois, Paul Laurence Dunbar, Mary McLeod Bethune, Mary Church Terrell, Marian Anderson; the locally or regionally important: P.B.S. Pinchback, Judge Miflin Gibbs, Col. Jim Lewis, Ernest Just, Anna J. Cooper; and actors, artists, vaudevillians, and musicians such as Fredi Washington, Madame Lilian Evanti, Oakley & Oakley, and Duke Ellington.
Sources
George Scurlock. Interview conducted by David Haberstich and intern Lora Koehler at Mr. Scurlock's apartment, Aug. 2003.
Theodore Hudson, conversation with David Haberstich in the Archives Center, 2 February 2004.
Jane Freundel Levey, "The Scurlock Studio," Washington History, 1989, p. 44.
Robert S. Scurlock, "An Appreciation of Addison N. Scurlock's Photographic Achievements," The Historic Photographs of Addison N. Scurlock. Washington, D.C.: The Charles Sumner School Museum and Archives, 1986 (exhibition catalog).
Materials at Other Organizations:
The Historical Society of Washington, DC holds Scurlock-related materials.
The Charles Sumner School Museumn and Archives holds Scurlock-related materials.
Materials in the National Museum of American History:
Cameras and other photographic apparatus, studio furniture, and miscellaneous ephemera from the Scurlock studio are in the History of Photography Collection (now Division of Work and Industry). An adding machine from the studio is in the Museum's mathematics collection. See accessions 1997.0293 and 2010.0157.
Provenance:
The Museum purchased the Scurlock Studio Records from the Estate of Robert S. Scurlock, through Judge Marjorie Lawson in 1997. During the period of negotiation between the museum and Robert Scurlock's heirs, his widow Vivian and brother George, the collection was on loan to the Museum and was housed primarily in a closed exhibition area on the second floor. Staff of the Archives Center took physical possession of the collection long before the transfer to the Museum was final. The studio records and photographs were housed principally in the 18th Street studio and in two rental storage facilities. The primary move of the collection to the Museum occurred in September 1995. An additional pickup occurred on February 12, 1996 (on tags). There was probably one additional pickup from the studio by David Haberstich and Caleb Fey on an unrecorded date.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
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.
Rights:
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
Sponsor:
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.
Identifier:
NMAH.AC.0618
Archival Repository:
Archives Center, National Museum of American History
This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.
The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.
The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.
The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.
The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.
A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.
Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).
Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).
Arrangement:
The collection is arranged into eleven series.
Series 1: Personal Papers, 1923-1981
Series 2: Professional Papers, 1954-1980
Series 3: Lecture Materials, 1952-1980
Series 4: Biographical Materials, 1954-1980
Series 5: Transparencies, 1947-1980
Series 6: Photoprints, 1913-ca. 1980
Series 7: Photonegatives, 1929-1981
Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979
Series 9: Audio Tapes, 1947-1980
Series 10: Miscellaneous, 1947-1980
Series 11: Steve Eyster Addenda, 1937-1980
Biographical / Historical:
Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast.
It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.
Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.
Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.
Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.
1914 -- April 13, born York, Pennsylvania.
1929 -- In Detroit at Lewis Institute to overcome a speech impediment.
1932 -- To University of Pennsylvania.
1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.
1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).
1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).
1938 -- Summer at home, and Picketts (PA), Camp Pratt.
1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).
1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).
1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).
1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.
1943 -- Summer trip to Mohonk (NY).
1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).
1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).
1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.
1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.
1949 -- Singing tour of North and South Carolina.
1950 -- Summer trip to South.
1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.
1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.
1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.
1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.
1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.
1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.
1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.
1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.
1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.
1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.
1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.
1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.
1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.
1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.
1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.
1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.
1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.
1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.
1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.
1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.
1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.
1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.
1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.
1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.
1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.
1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.
1979 -- To England; Florida.
1980 -- To Florida.
1981 -- March 25: Sultner dies of cancer, York, Pennsylania.
Introduction:
The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.
The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.
This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.
Restrictions:
Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
A small number of letters and photographs are restricted until the year 2031. Identification list in box.
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.