Search Results

Creator:

Hassinger, Maren  Search this

Names:

Maryland Institute, College of Art  Search this

Nengudi, Senga, 1943-  Search this

Extent:

11.3 Linear feet

4.55 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Video recordings

Diaries

Date:

1955-2018

Summary:

The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material; personal and professional correspondence; and writings; as well as project and exhibition files; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including teaching files; photographic material; and artwork and artifacts.

Scope and Contents:

The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material including appointment and address books, education records, family and other home movie recordings, interview transcripts, and resumes; personal and professional correspondence; and writings including diaries, notebooks, notes, and writings by others. Also included are project and exhibition files, including accompanying audiovisual material and performance recordings; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including other teaching files, panels, and grants; printed material; photographic material depicting Maren Hassinger, other individuals, and works of art, including student work; and artwork and artifacts.

Arrangement:

This collection is arranged as nine series.

Series 1: Biographical Material, 1959-2001, 2013-circa 2015 (Box 1; 0.5 linear feet, ER01; 0.001 GB)

Series 2: Correspondence, 1961-2018 (Boxes 1-2; 1 linear foot, ER02; 3.01 GB)

Series 3: Writings, 1955-2017 (Boxes 2-3; 0.7 linear feet)

Series 4: Project and Exhibition Files, 1966, 1982-2015 (Boxes 3-4, OV 12; 1.5 linear feet, ER03-ER04; 1.31 GB)

Series 5: Rinehart School of Graduate Sculpture/MICA Files, circa 1960s-2018 (Boxes 4-5; 1.4 linear feet)

Series 6: Professional Activities, circa 1969-2017 (Boxes 5-6; 0.8 linear feet, ER05; 0.006 GB)

Series 7: Printed Material, 1960-2018 (Boxes 6-9, OVs 12-15; 2.9 linear feet)

Series 8: Photographic Material, 1969-2010s (Boxes 9-10, OV 12, Box 16; 2.2 linear feet, ER06; 0.224 GB)

Series 9: Artwork and Artifacts, circa 1960s-2010s (Box 11; 0.3 linear feet)

Biographical / Historical:

Maren Hassinger (1947- ) is an African American artist in New York known for sculpture, performance, and public art in which she uses natural and industrial materials. She was also an educator and is the director emeritus of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, MD.

Born Maren Jenkins in Los Angeles, California in 1947, Hassinger studied dance and sculpture at Bennington College, earning a Bachelor of Arts in sculpture in 1969. In 1973 she completed a Master of Fine Arts in fiber structure at UCLA.

During her time in Los Angeles, Hassinger began to collaborate with Senga Nengudi — a collaborative relationship that has continued throughout their careers. She also participated in the Studio Z collective with Nengudi, Ulysses Jenkins, David Hammons, and Houston Conwill.

Hassinger taught at the State University of New York, Stony Brook from 1992 to 1997 and was the director of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art from 1997 to 2018. Throughout her career, she has been awarded numerous residencies, awards, and grants. Her work is held in many collections including the Baltimore Museum of Art, the California African American Museum, the Hammer Museum, and the Studio Museum in Harlem.

Provenance:

The Maren Hassinger papers were donated to the Archives of American Art in 2018 by Maren Hassinger.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.

Rights:

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

Occupation:

Performance artists -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Educators -- Maryland -- Baltimore  Search this

Topic:

African American artists  Search this

Women artists  Search this

Women sculptors  Search this

Women educators  Search this

African American art -- African influences  Search this

African American educators  Search this

African American sculptors  Search this

Genre/Form:

Sound recordings

Video recordings

Diaries

Citation:

Maren Hassinger papers, 1955-2018. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.hassmare

See more items in:

Maren Hassinger papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cd224705-e329-48a4-bf88-db31ad8ebd4e

EDAN-URL:

ead_collection:sova-aaa-hassmare

Creator:

Koppers Company.  Search this

Bartlett-Hayward Company.  Search this

Former owner:

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

Extent:

6 Cubic feet (20 boxes, 5 map folders)

Type:

Collection descriptions

Archival materials

Trade catalogs

Tracings

Correspondence

Drawings

Place:

Baltimore (Md.)

Date:

1902-1921

Scope and Contents note:

These records of the Bartlett Hayward Company deal chiefly with the manufacture, erection, and sale of gas holders. Included are record books of drawings, 1882-1906, 1912, 1918; design calculation books; 1904-1935; trade literature, 1945; order books, 1920-1921; order progress reports, 1926-1929, 1946-1950; specifications, calculations and data; notes; shipping records; records of drawing costs; lists of materials needed; a card file listing owner, location, and dimensions of gas holders built by the company, 1883-1946; a record of employee injuries, 1929; and photographs of coupling engines, gas holders and their erection, gas works, and plants.

Arrangement:

Arrangement: By type of material.

Biographical/Historical note:

The Bartlett Hayward Company of Baltimore, Maryland, was founded in 1840 as Hayward and Friend, stove manufacturers. The company eventually expanded into the foundry, machinery, erection, and engineering fields and began manufacture of gas holders in 1876. The company merged with Koppers Company in 1937.

Provenance:

Donated by Charles Ferner of the Kopper Company, circa 1977.

Rights:

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

Topic:

Gas  Search this

Gasholders  Search this

Stoves  Search this

Engineering -- 19th century  Search this

Foundries  Search this

Genre/Form:

Trade catalogs

Tracings

Correspondence -- 19th century

Drawings -- 1860-1890

Citation:

Archives Center, Bertlett Hayward Company Records, National Museum of American History.

Identifier:

NMAH.AC.0993

See more items in:

Bartlett Hayward Company Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8d27f92e5-1aca-45a9-a020-7f8c143f6ba4

EDAN-URL:

ead_collection:sova-nmah-ac-0993

Collection Collector:

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Collection Creator:

Quinn, Terry (photographer)  Search this

Container:

Box 39, Folder 11

Type:

Archival materials

Date:

1950

Collection Restrictions:

Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

The Robinson and Via Family Papers, Archives Center, National Museum of American History

Sponsor:

Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.

See more items in:

Robinson and Via Family Papers

Robinson and Via Family Papers / Series 2: Robinson Family / 2.6: Robinson, Franklin A. / 2.6.1: Correspondence, diaries, personal ephemera

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c69fd212-5fa6-426e-8f82-ac71a4266346

EDAN-URL:

ead_component:sova-nmah-ac-0475-ref167

Collector:

Archives Center, National Museum of American History  Search this

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 20" x 16".)

Type:

Archival materials

Posters

Place:

Baltimore (Md.) -- 20th century

Fells Point (Baltimore, Maryland)

Date:

circa 1978-1980

Arrangement:

Oversize folder.

Local Numbers:

AC1146-0000047m.tif(AC Scan No.)

Exhibitions Note:

Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.

Series Restrictions:

The collection is open for research use.

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

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

Series Rights:

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

Topic:

HIV and AIDS  Search this

HIV Positive  Search this

Gay rights  Search this

LGBT  Search this

Homosexuality  Search this

Sexuality  Search this

Genre/Form:

Posters -- 1950-2000

Series Citation:

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

See more items in:

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

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 4: Advertising, Business, and Publications / 4.4: Bar, Restaurant Ephemera and Advertisement / The Brig, bar advertising poster (Baltimore, Maryland), circa 1979-1980

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a512fda0-b62e-4913-a790-d0e0960bf504

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2747

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2021-12-22T16:47:02.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_6NbZyeLZ1dE

Creator:

Smithsonian Gardens  Search this

Type:

YouTube Videos

Uploaded:

2023-05-03T13:15:02.000Z

YouTube Category:

Education  Search this

Topic:

Gardens  Search this

See more by:

SmithsonianGardens

Data Source:

Smithsonian Gardens

YouTube Channel:

SmithsonianGardens

EDAN-URL:

edanmdm:yt_i3Fl8w2HALc

Collector:

Whitehead, Henry Preston, 1917-2002  Search this

Extent:

156.91 Linear feet (178 boxes)

Type:

Collection descriptions

Archival materials

Pamphlets

Sound recordings

Clippings

Memorabilia

Newspapers

Photographs

Books

Brochures

Date:

1843-2010

bulk 1940-1986

Summary:

The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection documents Whitehead's careers, as well as his family and personal life. The collection also includes the personal papers of Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The combined collection is comprised of black theatrical memorabilia; materials relating to civil rights activities in the District of Columbia; and the African American experience in general. Included are playbills, sheet music, admission tickets, newspapers, magazines, books, photographs, clippings, flyers, brochures, pamphlets, sound recordings, research files, and other material.

Scope and Contents note:

The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection includes the personal papers of Henry P. Whitehead, Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The collection is divided into four series.

Series I focuses on Whitehead and includes papers dating from 1843 to his death in 2011. This series includes biographical material including a large amount of appointment books, identification and membership cards, resumes, certificates, and personal and family material. There is a limited amount of correspondence, which focuses on his personal relationships with family, friends, and general correspondence relating primarily to his work as a local historian.

Also found within Whitehead's papers are countless records from his time employed by the Washington DC government. Materials include memoranda, notes, research material, handbooks, guides, manuals, affirmative action info and records, affirmative action plans, promotion recommendations, recruitment plans and summaries, personnel files (complaints), civil actions and reports related too Whitehead's 37 years of government employment. It reflects the activities of numerous departments, primarily in regards to employment and affirmative action.

There are also a number of files that document Whitehead's involvement in numerous community organizations. Among the organizations in which Whitehead was involved include U Street Festival, Lincoln Corporation, and the U Street Theater Foundation. The papers of the U Street Foundation document the production and establishment of the annual U Street Festival. The Lincoln Theater Foundation and the U Street Theater Foundation papers document the efforts to reopen the Lincoln Theater. Also included are Whitehead's research on the Lincoln as well as old Lincoln Theatre programs. Additionally found within this series are documents and clippings on the economic development within Washington DC particularly in the Shaw/U Street location.

The majority of this series consists of printed material. Printed material in this series includes books, clippings, magazines, newsletters, newspapers, press releases, sheet music, programs as well as promotional material for several Washington DC theaters and organizations. There is a large quantity of theater programs dating from 1900-1986. The majority of the clippings and magazines are theater related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Whitehead's attention.

Research, notes and writings include a large amount of scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook pertaiing to Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.

There are several photographs of African Americans in the performing arts as well as images of Washington DC and several unidentified men, women, and children.

Audio recordings include 23 cassette from the Alexandria Church of God.

The remainder of the collection consists of the papers of Tomlinson D. Todd, Elizabeth B. Delaney, and those about the Howard Theatre.

The Howard Theatre papers are arranged in Series II and include documents relating to the Washington DC historic Howard Theatre and date from 1910 to 1986. The papers in this series predominantly document the Howard Theatre Foundation's efforts to reestablish and run the Howard Theatre in which Whitehead was the vice president. Records include business correspondence, founding documents, photographs, memoranda, press releases, member lists, financial records, clippings, and scrapbooks of clippings pertaining to the organization and theatre.

The correspondence in the collection include a handful of letters from the Washington DC government along with individuals and organizations. Also included is a large amount of interoffice memoradums.

Administrative records include lawsuits, resolutions, meeting minutes, grant proposals, press releases, memoranda, member lists, studies and reports.

Financial records include check stubs, receipts, invoices, bank statements, expenses, and contribution lists. Printed material includes original and photocopied clippings relating to the history and coverage of the foundation activities. Mostly promotional material as flyers, brochures, and press releases along with programs. In particular two 1920 Howard Theatre programs.

The scrapbooks of original and photocopied clippings compiled by Whitehead chronicle the history of the theatre and coverage of the foundation activities.

There are three VHS cassette featuring Whitehead discussing the Howard Theatre. Also found in series 2 are numerous stock investment record books belonging to A.E. Lichtman one of the early managers of the Howard Theatre. In addition early correspondence between Lichtman and the Rex Amusement Company concerning operational management issues of the Howard Theatre.

The Tomlinson D. Todd papers are arranged in Series III and date from 1902-1986 they include organization files, collected printed materials, subject files, and personal papers.

The collection includes materials relating to organizations in which there was a relationship to Todd's work and in which he had an interest primarily during the 1940s and 1950s, organizations include the National Negro Congress (ca, 1946-1947); the Congress for Industrial Organizations (1943-1947); National Council of Negro Women (1947-1949); Committee for Racial Democracy in the Nation's Capital (1947-1948).

The subject files include documents from three of Todd's organizations; Institute on Race Relation, Club Internationale, and his radio program "Americans All". As well as printed material from Todd's alma mater Lincoln University.

The largest subject file is "Americans All" which includes radio scripts as well as audio recording of a few programs and public service announcements. Also found are several black and white photographs of Todd at the radio studio. Printed materials include newspapers, leaflets, convention proceedings, and flyers, There are a large amount of programs ranging from church worship to convention as well as performance. Also present is a small amount of personal papers, including resumes, certificates, admission tickets, family documents, and travel ephemera from his all expense paid trip to Nigeria.

There are a few photographs of Todd at functions and with notable individuals as well as some family, friends and travel.

Elizabeth's B. Delaney papers are arranged in Series IV and date from 1874-1973.

The papers primarily document her involvement in four organizations, the Grand Oder of Odd Fellow of Kentucky, the Order Eastern Star Kentucky, the State Federation of Colored Women's Clubs of Kentucky and the National Association of Colored Women. There is a small amount of printed material belonging to her son primarily the Alpha Phi Alpha material and Gospel Choral Sheet Music, and books.

The Scrapbook was complied by Whitehead consisting of photocopied clipping documenting the life of Elizabeth B. Delaney.

Arrangement note:

This collection is arranged into four series:

Series 1: Henry P. Whitehead papers Series 2: Howard Theatre Series 3: Tomlinson D. Todd Series 4. Elizabeth B. Delaney

Biographical/Historical note:

Henry Preston Whitehead Jr., was a native of Columbus Ohio. A graduate of Ohio State University, where he also attended law school and was a member of the Omega Psi Phi fraternity. Mr. Whitehead discovered Washington's "Black Broadway" in 1940, when he was a soldier in town on a weekend furlough. As he served in the Army in the South Pacific during World War II. Prior to moving to Washington DC Henry P. Whitehead worked for five years as a liquor inspector. Mr. Whitehead moved to Washington D.C. in 1949 and worked for the Post Office before working for the District of Columbia government where he stayed 21 years. He led several equal employment initiatives during the 1960s and 1970s, and was last employed as associate director of the District's Office of Human Rights. In 1980 after putting in 37 years of government service Mr. Whitehead retired. Mr. Whitehead was an historian who led efforts to restore Washington's U Street cultural corridor and achieved recognition as an authority on and collector of black theatrical memorabilia. Mr. Whitehead worked to promote and preserve the city's rich African American cultural heritage.

Mr. Whitehead, served as the chairman and president for 10 years of the Howard Theater Foundation Inc., which he helped establish. There he led the effort to include Howard Theatre in the National Register of Historic Places.

Similarly he was an active member of the U Street Festival Foundation. He was an adviser to the Kennedy Center, Anacostia Museum, and other Smithsonian Institution units and contributed materials to their exhibitions. He was also a consultant to historical documentaries broadcast on public television and radio, including PBS's "Duke Ellington's Washington." His writings included "Remembering U Street," a book used for annual festivals in the historic area.

Mr. Whitehead was also the founder and board member of the Lincoln Theatre Foundation.

Henry P. Whitehead Jr. died on January 8th 2002 at the age of 84.

Provenance:

The collection was donated to the Anacostia Community Museum on September 1, 2005 by Michael A. Watkins.

Restrictions:

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

Rights:

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

Topic:

Howard Theatre (Washington, D.C.)  Search this

African Americans  Search this

National Negro Congress (U.S.)  Search this

National Council of Negro Women  Search this

Radio broadcasting  Search this

African American neighborhoods  Search this

African American musicians  Search this

Genre/Form:

Pamphlets

Sound recordings

Clippings

Memorabilia -- 20th century

Newspapers

Photographs

Books

Brochures

Citation:

Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.

Identifier:

ACMA.06-042

See more items in:

Henry P. Whitehead collection

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa751389911-f3d5-474b-82b4-126047b9cc46

EDAN-URL:

ead_collection:sova-acma-06-042

Creator:

National Association of Colored Women's Clubs (U.S.)  Search this

Collection Collector:

Whitehead, Henry Preston, 1917-2002  Search this

Extent:

1 Document (10 3/4 x 8 1/4 inches)

Type:

Archival materials

Documents

Bulletins

Place:

Washington (D.C.)

Date:

July 27, 1946

Collection Restrictions:

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

Collection Rights:

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

Topic:

Anniversaries  Search this

African American women -- Societies and clubs  Search this

Genre/Form:

Bulletins

Collection Citation:

Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.

See more items in:

Henry P. Whitehead collection

Henry P. Whitehead collection / Series 3: Tomlinson D. Todd / 3.7: Subject Files / National Association of Colored Women's Club's, Inc.

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7ec568a7c-732b-4999-8fc9-e52de254b029

EDAN-URL:

ead_component:sova-acma-06-042-ref1881

Artist:

Auguste Edouart, 1788 - 1861  Search this

Sitter:

George S. Gibson, 1800 - 1872  Search this

Solomon Hillen, Jr., 1810 - 1873  Search this

Medium:

Lithograph, chalk and cut paper on paper

Dimensions:

Image/Sheet: 28cm x 21.2cm (11" x 8 3/8")

Type:

Silhouette

Place:

United States\New York\Saratoga\Saratoga

Date:

1843

Topic:

Exterior\Landscape\Rural  Search this

Silhouette\Cut-out  Search this

Nature & Environment\Plant\Tree  Search this

Costume\Headgear\Hat\Top hat  Search this

Costume\Outerwear\Cape  Search this

George S. Gibson: Male  Search this

George S. Gibson: Medicine and Health\Physician  Search this

Solomon Hillen, Jr.: Male  Search this

Solomon Hillen, Jr.: Law and Crime\Lawyer  Search this

Solomon Hillen, Jr.: Politics and Government\US Congressman\Maryland  Search this

Solomon Hillen, Jr.: Politics and Government\State Legislator\Maryland  Search this

Solomon Hillen, Jr.: Politics and Government\Public official\Mayor\Baltimore, MD  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Robert L. McNeil, Jr.

Object number:

S/NPG.91.126.55.A

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4786ae87a-45a2-4e34-94d5-1418ffe94db5

EDAN-URL:

edanmdm:npg_S_NPG.91.126.55.A

Author:

Moyer, Teresa S. 1976-  Search this

Writer of foreword:

Shackel, Paul A  Search this

Subject:

Mount Clare (Baltimore, Md. : Building) History  Search this

Physical description:

1 online resource

Type:

Electronic resources

Electronic books

History

Place:

Maryland

Baltimore

Baltimore (Md.)

Date:

2015

Topic:

Slavery--History  Search this

Historic buildings  Search this

African Americans--History  Search this

Slaves--Dwellings--History  Search this

POLITICAL SCIENCE--Public Policy--Cultural Policy  Search this

SOCIAL SCIENCE--Anthropology--Cultural  Search this

SOCIAL SCIENCE--Popular Culture  Search this

African Americans  Search this

Buildings  Search this

Slavery  Search this

Slaves--Dwellings  Search this

Buildings, structures, etc  Search this

Call number:

F190.N4 M69 2015 (Internet)

Restrictions & Rights:

Non-linear

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1147325

Artist:

Joan Clark Netherwood, born York, SC 1932-died Joppa, MD 2021  Search this

Medium:

gelatin silver print

Dimensions:

image: 7 1/8 × 7 in. (18.1 × 17.8 cm) sheet: 10 × 8 in. (25.4 × 20.3 cm)

Type:

Photography-Photoprint

Date:

1978

Topic:

Figure group  Search this

State of being\disabled  Search this

Occupation\vendor  Search this

Cityscape\Maryland\Baltimore  Search this

Architecture Interior\commercial\store  Search this

Credit Line:

Smithsonian American Art Museum, Transfer from the National Endowment for the Arts

Object number:

1983.63.1029

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk798f3d29c-9a79-432b-a3e3-a5e6da413ee2

EDAN-URL:

edanmdm:saam_1983.63.1029

Artist:

Linda Rich, born Cleveland, OH 1949-died Los Angeles, CA 1998  Search this

Medium:

gelatin silver print

Dimensions:

image: 6 × 7 3/8 in. (15.2 × 18.7 cm) sheet: 8 × 10 in. (20.3 × 25.4 cm)

Type:

Photography-Photoprint

Date:

1977-1980

Topic:

Figure male  Search this

Animal\dog  Search this

Dress\accessory\hat  Search this

Cityscape\Maryland\Baltimore  Search this

State of being\disabled\physical disability  Search this

Architecture Exterior\detail\door  Search this

Architecture Exterior\detail\stairs  Search this

Credit Line:

Smithsonian American Art Museum, Transfer from the National Endowment for the Arts

Copyright:

© 1975, George Jadowski

Object number:

1983.63.1130

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7368d9159-578c-4ade-be71-6498e7cb4dbf

EDAN-URL:

edanmdm:saam_1983.63.1130

Artist:

Elinor Cahn, born Baltimore, MD 1925-died Baltimore, MD 2020  Search this

Medium:

gelatin silver print

Dimensions:

image: 7 1/8 × 7 1/8 in. (18.1 × 18.1 cm) sheet: 10 × 7 7/8 in. (25.4 × 20.0 cm)

Type:

Photography-Photoprint

Date:

1978

Topic:

Figure female\elderly\knee length  Search this

African American  Search this

State of being\disabled\blind  Search this

Cityscape\Maryland\Baltimore  Search this

Object\written matter\newspaper  Search this

Credit Line:

Smithsonian American Art Museum, Transfer from the National Endowment for the Arts

Object number:

1983.63.276

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7b58932ce-8713-4a54-b7b5-9b45b03f892a

EDAN-URL:

edanmdm:saam_1983.63.276

Artist:

Aaron Sopher, born Baltimore, MD 1905-died Baltimore, MD 1972  Search this

Medium:

pen and ink and crayon on paper

Dimensions:

5 1/8 x 7 1/4 in. (13.0 x 18.4 cm)

Type:

Drawing

Date:

ca. 1934

Topic:

Cityscape\street  Search this

Architecture\vehicle\automobile  Search this

Figure group\male  Search this

Occupation\vendor  Search this

State of being\disabled\physical disability  Search this

Object\other\wheelchair  Search this

Credit Line:

Smithsonian American Art Museum, Bequest of Olin Dows

Object number:

1983.90.175

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7e34153e4-f047-459c-8c7e-1437466e5df6

EDAN-URL:

edanmdm:saam_1983.90.175

Extent:

855.72 Gigabytes (96 MP3's; 19 QuickTime Movies, 12.3 GBs of Audio Interviews 843.42 GBs of Video Interviews )

Culture:

Hispanic Americans  Search this

Chinese Americans  Search this

African Americans  Search this

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Oral histories (document genres)

Place:

Washington Metropolitan Area

Chinatown (Washington, D.C.)

Anacostia (Washington, D.C.)

Barry Farms (Washington, D.C.)

Shaw (Washington, D.C.)

Columbia Heights (Washington, D.C.)

Adams Morgan (Washington, D.C.)

Mount Pleasant (Washington, D.C.)

Chevy Chase (Md.)

Brookland (Washington, D.C.)

Deanwood (northeast Washington, D.C.)

Capitol Hill (Washington, D.C.)

Foggy Bottom (Washington, D.C.)

Georgetown (Washington, D.C.)

Baltimore (Md.)

Southwest (Washington, D.C.)

Date:

2016-2018

Summary:

The oral histories in this collection were conducted as part of the research for an exhibition exploring the history of neighborhood change and civic activism in the nation's capital. Focused on the dynamic histories of six DC neighborhoods—Adams Morgan, Anacostia, Brookland, Chinatown, Shaw and Southwest—the exhibition recounted the story of these communities through the eyes of the Washingtonians who helped shape and reshape the city in extraordinary ways. The exhibit was organized by the Anacostia Community Museum and curated by Samir Meghelli. The audio and video interviews were conducted between 2016-2018.

Scope and Contents:

In the early twenty-first century, as Washington, DC was experiencing rapid population growth, mounting tensions over gentrification, and persistent inequality, the Anacostia Community Museum's "A Right to the City" exhibition explored the history of neighborhood change and civic activism in the nation's capital. Focused on the dynamic histories of six DC neighborhoods—Adams Morgan, Anacostia, Brookland, Chinatown, Shaw and Southwest—the exhibition recounted the story of these communities through the eyes of the Washingtonians who helped shape and reshape the city in extraordinary ways: through their fights for quality public education, healthy and green urban spaces, equitable development and transportation, and a genuinely democratic approach to city planning. The oral histories that comprise this collection were conducted as part of the research for the exhibition. The audio and video interviews were conducted between 2016-2018.

Provenance:

"A Right to the City" Exhibition were created by the Anacostia Community Museum. Records of "A Right to the City" Exhibition were created by the Anacostia Community Museum.

Restrictions:

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

Rights:

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

Topic:

Museum exhibits  Search this

Neighborhoods -- Washington, D.C. -- History  Search this

Gentrification  Search this

City planning  Search this

Urban renewal  Search this

Urban policy  Search this

Activism  Search this

Housing policy  Search this

Genre/Form:

Interviews -- 21st century

Oral histories (document genres)

Citation:

"A Right to the City" Exhibition Records, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.03-119

See more items in:

A Right to the City Exhibition Records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa70de8ee2c-83f7-49a7-880f-d272715441b6

EDAN-URL:

ead_collection:sova-acma-03-119

Creator:

Pagon, Katherine W. Dunn, 1892-1988  Search this

Names:

Barnes Foundation  Search this

Philadelphia Museum of Art  Search this

Barnes, Albert C. (Albert Coombs), 1872-1951  Search this

Kimball, Fiske, 1888-1955  Search this

Extent:

0.4 Linear feet ((75 items))

Type:

Collection descriptions

Archival materials

Date:

[ca. 1938-1961]

Scope and Contents:

Letters, notes, writings and printed material collected by Pagon regarding the Barnes Foundation, Albert C. Barnes, and the Philadelphia Museum of Art.

Included are letters, 1948-1952, from Pagon to the editors of Philadelphia area newspapers regarding the Barnes Foundation, and several letters received, 1948-1953, including one from Barnes, 1950; Pagon's notes from a Barnes Foundation class taught by Angelo Pinto, 1946, and other notes; a file containing copies of correspondence between Barnes, Henry Clifford and Fiske Kimball regarding a 1948 Matisse exhibition at the Philadelphia Museum of Art; writings by Barnes, including pamphlets on art education and writings on Fiske Kimball, the Philadelphia Museum of Art, and the arts in Philadelphia, 1938-1948.

Printed material includes a pamphlet, 1938, by Harry Fuiman, "The Progressive Decay of the Pennsylvania Museum of Art," an article on Matisse, and pamphlets and clippings on Barnes and the Foundation, primarily focused on the lawsuit after Barnes' death to force the Foundation to open its gallery to the public, 1943-1961.

Biographical / Historical:

Painter, Philadelphia, Pa., and Baltimore, Md. Studied at the Pennsylvania Academy of the Fine Arts between 1910 and 1918, and later at the Barnes Foundation. Albert C. Barnes was a collector of modern art who acquired over 800 paintings, particularly French Impressionists and other modern painters such as Cezanne, Renoir, Matisse and Picasso. The collection is housed in the Barnes Foundation in Merion, Pa. Barnes directed in his will that the collection never be allowed to tour or be reproduced.

Provenance:

Donated by Pagon's granddaughter, Katherine Pagon Tawney and her husband, Lee Tawney, 1992.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Topic:

Art, Modern -- 20th century -- Collectors and collecting  Search this

Art -- Collectors and collecting -- Pennsylvania  Search this

Identifier:

AAA.pagokath

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f2b60957-e97e-487d-89c8-13305cc55287

EDAN-URL:

ead_collection:sova-aaa-pagokath

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Container:

Box 43, Folder 2

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Collection Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 2: Correspondence / 2.2: Charles Lang Freer Letterpress Books, 1892-1910

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc32c9750c2-6a1e-44f9-a85c-78838d98bd20

EDAN-URL:

ead_component:sova-fsa-a-01-ref652

Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

200 Cubic feet

Type:

Collection descriptions

Archival materials

Dye transfer process

Studio portraits

Matrices, color separation

Photographs

Color separation negatives

Place:

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.

Topic:

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

Segregation  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

African Americans -- History -- 20th century  Search this

African American entertainers -- 20th century  Search this

African American photographers  Search this

Genre/Form:

Dye transfer process

Studio portraits

Matrices, color separation

Photographs -- 20th century

Color separation negatives

Citation:

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

GUID:

https://n2t.net/ark:/65665/ep852403536-424e-4026-9305-7c0938436f63

EDAN-URL:

ead_collection:sova-nmah-ac-0618

Creator:

Maril, Herman, 1908-1986  Search this

Subject:

Federal Art Project  Search this

Citation:

Herman Maril papers, 1934-1986. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8001

(DSI-AAA_SIRISBib)210170

AAA_collcode_mariherm

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210170

Artist:

Linda Rich, born Cleveland, OH 1949-died Los Angeles, CA 1998  Search this

Medium:

gelatin silver print

Dimensions:

image: 6 × 7 3/8 in. (15.2 × 18.7 cm) sheet: 8 × 10 in. (20.3 × 25.4 cm)

Type:

Photography-Photoprint

Date:

1977-1980

Topic:

Cityscape\Maryland\Baltimore  Search this

Architecture Exterior\ruins  Search this

Object\written matter\graffiti  Search this

Credit Line:

Smithsonian American Art Museum, Transfer from the National Endowment for the Arts

Copyright:

© 1975, George Jadowski

Object number:

1983.63.1100

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7064629f2-2aa8-433e-bdae-df93f5d92a2e

EDAN-URL:

edanmdm:saam_1983.63.1100