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Underwood & Underwood Glass Stereograph Collection

Creator:
Underwood & Underwood  Search this
Publisher:
American Stereoscopic Co.  Search this
H. C. White Co.  Search this
Killela, J.J.  Search this
Underwood, Bert, 1862-1943  Search this
Underwood, Elmer, 1859-1947  Search this
Photographer:
Ponting, Herbert George, 1870-1935  Search this
Underwood, Bert, 1862-1943  Search this
Underwood, Elmer, 1859-1947  Search this
White, Clarence W.  Search this
Extent:
160 Cubic feet
Type:
Collection descriptions
Archival materials
Stereographs
Photographs
Stereoscopic photographs
Lantern slides
Date:
1895-1921
Summary:
A collection of approximately 28,000 glass plate negatives showing views of a variety of subjects.
Scope and Contents:
The major part of the collection, series 1-4, contains nearly 28,000 glass plates, including original stereoscopic negatives, interpositives, and both negative and positive non-stereoscopic plates used to produce lantern slides and paper prints. The photographs were taken all over the world. The majority are from the Underwood & Underwood active files, but plates from other publishers are also included. Series 5 is a small collection of paper stereographs. Series 6 contains 4 Underwood & Underwood descriptive sales catalogs and 1 H. C. White & Co. catalog (numbers on the Underwood plates correspond to the numbers on catalog captions). Series 7 is apparatus--four stereoscopes.

The approximately 28,000 glass plates in this collection have not been completely inspected at this point due to handling problems associated with asbestos contamination of the collection. A preliminary survey, however, indicated that the selections of images cover the full range of subject matter encompassed by the "Underwood Travel System." The subject matter is most easily comprehended by consulting one of the Underwood sales catalogs which accompany the collection. The catalog captions are arranged geographically, for the most part, and generally represent an organized "tour" which could be purchased as a boxed set, complete with maps and guide book, although individual images could be purchased separately. The catalogs indicate that the Underwood files were continually updated, for extensive modifications in some of the sets can be seen from edition to edition, and actual inspection of published stereographs shows that alternate views with identical Underwood catalog numbers were substituted from time to time, and that new subjects (with new catalog numbers) were sometimes introduced into the sets and old subjects were retired. There are glass plate negatives as well as positives in this collection. The positive images were probably interpositives used for the production of duplicate negatives. Some of the original stereo negatives were cut apart and the images transposed; they were then bound with an additional glass support (in many cases the tape has deteriorated). Half stereo positives also appear in the collection: these probably were intended for use in lantern slide production. Frequently a drawer of plates contains several incarnations of a single image, including the original negative, a copy negative, an interpositive, and a positive lantern slide. In other cases a drawer may contain only a single mode, e.g., original negatives, while corresponding positives and/or lantern slides appear in separate drawers.

A small quantity of the Underwood & Underwood plates are not from the Travel System, but represent humorous and genre subjects which were cataloged and marketed separately. The work of several other publishers, usually without Underwood catalog numbers, is also represented, including H. C. White, American Stereoscopic Company, and J. J. Killela.

The arrangement of the collection seems to reflect a combination of permanent reference storage as well as active use files. The apparent anomalies or inconsistencies probably indicate the pulling of plates from permanent files into temporary work files, and the collection may consist of a combination of permanent storage and temporary working files. As the drawers do not appear to have been renumbered according to any easily discernible pattern, they have become intermixed and rearranged in storage. The contents of each drawer usually have been found in good order, however, and the plates were nearly always arranged numerically,usually with the low numbers at the rear of the drawer and the highest number at the front. As the plates have been rehoused, the reverse numerical order has been corrected. When all the plates have been rehoused and inventoried, consideration will be given to general collection rearrangement and renumbering of the containers, either strictly in numerical order or topically and/or geographically with a numerical sequence within each group.

The collection is in good condition for the most part, although conservation attention will be required. There is a certain amount of emulsion peeling or frilling at the edges of some plates, but this is a condition to which emulsions on glass frequently are prone. A few plates, bound in a sandwich arrangement between cover glass and acetate facing the emulsion, have suffered severe damage, peeling, and image losses through the apparent ferrotyping and sticking of emulsion to the plastic, probably under conditions of high humidity at some stage. There is surprisingly little glass breakage within the collection.

Most of the stereoscopic negatives and many of the positives are defaced with a double "XI' scratched into the emulsion of either the left or right side, as described above in the historical note. Of particular interest and presumed rarity are cards found interfiled with plates in many of the drawers. These cards, filed by Underwood (i.e., catalog) numbers, bear printing'or production dates and notes, along with the unique, chronological accession numbers which the company assigned to each plate, regardless of the "active" number which it might eventually receive. A check mark on a card usually refers to a plate actually in the collection and with which the card is found physically associated; additional accession numbers without check marks listed on the cards possibly refer to variant views which were discarded or may in fact be in the Keystone Mast Collection (pending further research). For ease of handling and in the interest of conservation, the cards have been separated from the plates within each drawer and are arranged as a group at the rear, but can still be located easily. Frequently when a plate and/or its original envelope does not bear both the "active" and accession numbers, the missing number can be located on one of these cards.

Photographers represented include Herbert G. Ponting and Clarence W. White. A photographer and/or publisher named J. J. Killela is also represented.
Arrangement:
This collection is arranged in seven series. Series 1, 2, and 3 are each divided into negative and positive subseries. Plates are arranged numerically in groups based on geographical and subject content. Controlled at the series level in the finding aid and at the item level in a computer database.

Series 1, H. C. White glass plates

Series 2, American Stereoscpopic Co. glass plates

Series 3, Underwood & Underwood glass plates

Series 4, Broken glass plates

Series 5, Original company catalogs

Series 6, Paper stereographs

Series 7, stereoscopes (viewers)
Biographical / Historical:
Underwood & Underwood was established at Ottawa, Kansas, by the young brothers Elmer and Bert Underwood in 1882. They initially operated as distributors for eastern photographers' stereographs to new markets in the West. Their activities included door to door canvassing with views by Charles Bierstadt, J. F. Jarvis, and Littleton View Co.(1) Underwood & Underwood, Publishers, opened a branch office in Baltimore in 1887.(2)

Soon Underwood & Underwood and other large stereograph publishers began recruiting college students to work as salesmen during summer months (1890). Underwood and Underwood claimed that their organization alone sent out as many as 3,000 college students in one Summer [sic]. With the other ... big companies each employing more than 1,000, it is easy to understand how the countryside of the Nation literally swarmed with stereograph salesmen throughout the summer months! ... The competition between the salesmen themselves was likewise aggressive, with no holds barred. Many successful business and professional men of today relate with considerable pride that they got their start on their careers in this practical and very effective school of salesmanship.(3)

The company moved its main office from Ottawa, Kansas to New York City (1891),(4) and gradually began to publish its own stereographs. Bert Underwood finally took photography lessons from M. Abel in Mentone, France during the same year.(5) B. L. Singley, erstwhile salesman for the Underwood & Underwood and James M. Davis & Co. firms, in 1892 formed the Keystone View Company of Meadville, Pennsylvania, which was to become Underwood & Underwood's chief competitor and imitator.(6)

Underwood & Underwood entered the education market (1895) by producing packaged sets of 100 or more stereographs with descriptive texts.(7) From 1897 the firm employed full time staff photographers as well as free lancers. By 1901 the Underwoods were publishing 25,000 stereographs per day (i.e.,total number of cards). Increasing production levels led them to gain control of the Jarvis, Bierstadt, and William H. Rau photoprinting facilities in 1897 1898.(8)

The Keystone view Company created its own Educational Department in 1898. This division sustained the Keystone View Company past the period of the stereograph's popularity. In this year Underwood & Underwood reprinted Oliver Wendell Holmes's series on the stereograph and stereoscope which originally appeared in The Atlantic Monthly between 1859 and 1863. This eighty page booklet included testimonials from eminent scholars on the value of the stereograph in education. The company had been test marketing what itlater called "The Underwood Travel System." This consisted of a boxed set of stereo views of a country or region, a guide book describing the significance of the places shown, and a map showing their location and the viewpoints from which the stereographs were taken. Captions on the backs of the stereographs were sometimes printed in six languages.(9) As stereographs began to be used in schools as visual aids, the firm promoted its Travel System with endorsements from prominent educators, citing the usage of the system by various schools and universities.(10)

The H. C. White Company, which had manufactured stereoscopes for several decades, entered the stereo publication field in 1899.(11) Much of its production seemed to imitate Underwood & Underwood cards, including typography and the color of mount stock. Underwood & Underwood expanded into news photography by 1910 and gradually decreased its stereographic work. Few new stereo negatives were added to the file after 1912 except for a flurry of activity during the early war years, 1914 1916. The total number of Underwood & Underwood "titles" in stereo were from 30,000 to 40,000 (there might be a substantially larger number of actual negatives, since the files frequently were updated with newer views for old catalog numbers).(12)

Underwood & Underwood sold a portion of its negative file to the educational division of Keystone View Company in 1912,(13) and between 1921 1923 conveyed to this competitor their remaining stereo stock (presumably both cards and negatives) and rights.(14) In addition to its involvement as a news photographic agency, the company eventually opened portrait studios which flourished during the World war II years. A former Smithsonian employee, Vince Connolly, worked for Underwood & Underwood, which competed with Harris & Ewing in general portrait work during that period: he did portraiture and other photography, but says he was unaware of his employer's earlier stereo publishing activities.

Underwood & Underwood donated approximately 6000 negatives to the Section of Photography of the Division of Graphic Arts (1964). These photographs are primarily 4" x 5", captioned glass plate and film negatives. The subjects are news events and theatrical, sports, and political subjects of the early 20th century. In a letter to the Smithsonian of March 25, 1966 (in accession number 270586), Mrs. John M. Stratton described another collection of Underwood & Underwood photographs, stating that her husband had been a partner in Underwood & Underwood Illustrations and owned Underwood & Underwood News Photos. In November of the same year Mr. and Mrs. Stratton donated this collection of glass plates by Underwood & Underwood and other publishers to the Division of Photographic History (then the Section of Photography of the Division of Graphic Arts) . This material consists of both negative and positive stereographic plates, as well as non stereoscopic plates, chiefly copies made from the stereographs, with some catalogs, stereoscopes, and other material. The donor estimated 12,900 plates, but in 1983 the Smithsonian Institution inventory yielded a total of approximately 28,000 plates.

The Keystone View Company's stereoscopic production continued much later than Underwood & Underwood's. It was not until 1939 when declining interest in stereography led the firm to discontinue stereograph production and enter the field of visual optometrics. The stereoscopic negative collection, including material obtained from Underwood & Underwood and other firms, was placed in storage in concrete vaults. The Mast family of Davenport, Iowa, eventually purchased the collection in 1963, and in 1977 donated the collection to the University of California for its California Museum of Photography in Riverside. The University took physical possession of this vast collection in 1979.(15)

Many of the Underwood & Underwood plates donated by the Strattons (which were transferred to the Archives Center in 1983), in effect have been cancelled by having diagonal lines (double "X" marks) scratched into the emulsion of either the left or right image of each stereo pair (never both sides). These cancellation marks do not appear on the Underwood & Underwood plates in the Keystone Mast Collection in Riverside. This leads to several theories: (a) that these cancellations were in fact the reason that the Smithsonian plates were not purchased by Keystone in either 1912 or 1921, since Keystone clearly intended to use the Underwood material for stereograph production and the defaced plates would be of no value to them for this purpose; or (b), as stereo collector John Waldsmith suggests, that the cancellations were part of an agreement between Underwood & Underwood and Keystone: Keystone may have asked Underwood & Underwood to cancel one side of each stereoscopic plate not being sold to Keystone so that Underwood & Underwood would no longer be able to compete with Keystone in the stereo market. The defaced plates, as well as other material which Keystone did not purchase, apparently remained in Underwood custody and eventually were acquired by Mr. and Mrs. Stratton. The cancellation marks in the Smithsonian's collection are the subject of further conjecture. Edward Earle at Riverside feels that, since Underwood & Underwood sought to abandonded stereograph production much earlier than Keystone's departure from the field in order to enter the non stereoscopic lantern slide market, the cancellation may have served to indicate which side of each sterescopic pair should be converted to lantern slide production use; the existence of the 4" x 5" copy negatives and positives from stereographs in this collection seem to corroborate this. The Underwood & Underwood conversion from stereograph to lantern slide materials seems to coincide with the ascendance of lantern slide projection as visual aids in schools. The company apparently modified the type of photographic product which they published at least partially in recognition of this new educational trend.

NOTES

1. edward W. Earle, ed., Points of View: The Stereograph in America A Cultural @ Visual 'g . E!Ltory, Rochester, F.Y., Th Studies Workshop ress, 1979, p. 60; William Culp Darrah, The World of Stereographs, Gettysburg, Pa., 1979, p. 46.

2. Tbid., p. 62.

3. George E. Hamilton, Oliver Wendell Holmes, His Pioneer SLtuereoscope and Later Industry, New York, New )men Society, 1949, p. 17, quoted in Points of 1=e w:, 6 4 . P.

4. Points of View., p. 66.

5. Darrah, p. 47.

6. points of View, p. 66.

7. Ibid., p. 68.

8. Darrah, p. 47.

9. Points of View, p. 70.

10. Howard S. Becker, "Steteographs: Local, National, and International Art Worlds," in Points of View, p. 95. 11. points of View, p. 72.

12. Darrah, p. 48.

13. Darrah, p. 48, quoted in Points of View, P. 82.

14. Darrah, p. 48.

15. Chris J. Kenney, introduction to "Perspective and the Past: The Keystone Mast Collection," CMP Bulletin, Vol. 1, No. 2, 1982.
Related Materials:
California Museum of Photography, University of California--Riverside, Riverside, California 92521.

Underwood & Underwood stereographs in this collection and the Smithsonian Underwood & Underwood Collection originally were components of the same company file.
Provenance:
Collection donated by June Stratton (Mrs. John M.) on December 19, 1966.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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:
Traveling sales personnel  Search this
Travel photography -- 1890-1930  Search this
Genre/Form:
Stereographs -- 1890-1930
Photographs -- Interpositives -- Glass -- 1890-1930
Photographs -- Black-and-white negatives -- Glass -- 1890-1930
Photographs -- 1900-1950
Stereoscopic photographs -- Glass -- 1890-1930
Lantern slides
Photographs -- 1890-1900
Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0143
See more items in:
Underwood & Underwood Glass Stereograph Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86e358e26-e305-49a6-bf9b-f2d38d995ae0
EDAN-URL:
ead_collection:sova-nmah-ac-0143
Online Media:

Thomas Warren Sears photograph collection

Topic:
Landscape architecture
Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs. )
Type:
Collection descriptions
Archival materials
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Date:
1899-1964
Summary:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.
Scope and Contents note:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears. Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.

In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.

The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.
Arrangement note:
The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered. Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.' The collection is arranged into 3 series: 1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums) 2) Plans and Drawings 3) Monographs
Biographical/Historical note:
Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.

Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.

During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.
Related Archival Materials note:
The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.

Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.

Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.

The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.
Provenance:
Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.
Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Photographers  Search this
Landscape architects  Search this
Gardens -- United States  Search this
Gardens -- Switzerland  Search this
Gardens -- Scotland  Search this
Gardens -- Italy  Search this
Gardens -- Germany  Search this
Gardens -- France  Search this
Gardens -- England  Search this
Genre/Form:
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS
See more items in:
Thomas Warren Sears photograph collection
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb68e184341-59d2-4612-8886-4cc747c92bfe
EDAN-URL:
ead_collection:sova-aag-srs
Online Media:

Ralph Rinzler papers and audio recordings

Creator:
Rinzler, Ralph  Search this
Names:
Festival of American Folklife  Search this
Folkways Records  Search this
Greenbriar Boys  Search this
Jugtown Pottery (Firm)  Search this
Newport Folk Festival  Search this
Smithsonian Folklife Festival  Search this
UNESCO  Search this
Carter, Jimmy, 1924-  Search this
Hawes, Bess Lomax, 1921-2009  Search this
Lomax, Alan, 1915-2002  Search this
Monroe, Bill, 1911-1996  Search this
Rinzler, Kate, 1937-2010  Search this
Sayles, Charlie  Search this
Seeger, Anthony  Search this
Seeger, Mike, 1933-2009  Search this
Seeger, Pete, 1919-2014  Search this
Seeger, Toshi  Search this
Watson, Doc  Search this
Extent:
106.32 Cubic feet (87.5 cubic feet of papers, 18.82 cubic feet of audio)
Type:
Collection descriptions
Archival materials
Photographs
Field recordings
Correspondence
Phonograph records
Notes
Business records
Audiocassettes
Photographic prints
Black-and-white negatives
Audiotapes
Date:
1890-2011
bulk 1950-1994
Summary:
This collection, with bulk dates from 1950-1994, documents the life of Ralph Rinzler and his professional activities as Director of Field Programs for the Newport Folk Festival, Director of the Smithsonian Folklife Festival (formerly the Festival of American Folklife) and the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage), and the Smithsonian Institution's Assistant Secretary for Public Service. Includes personal papers, business records, correspondence, notes, photographs, audiotapes and field recordings.
Scope and Contents:
The Ralph Rinzler Papers and Audio Recordings encompasses a wide range of materials from Rinzler's prolific personal and professional life. Predominantly consisting of clippings, collected texts, correspondence, meeting notes, photographs, and production materials, this collection charts Rinzler's role in the mid-twentieth century emergence of community-based and institutional efforts to preserve, sustain, and amplify cultural heritage. As an assemblage of materials from all aspects of his life, the Ralph Rinzler Papers also reflect the many integral relationships he developed throughout the years with his colleagues, contemporaries, family, and friends.
Arrangement note:
The collection is currently arranged in 9 archival series as follows:

1. Biographical

2. Collected Texts

3. Correspondence

4. Events

5. Fieldwork

6. Meetings and Organizations

7. Notable Figures

8. Publishing and Production

9. Audio

The papers and photographs contained in the first 8 series are processed at an intermediate level, which means that all material was rehoused in archival folders, with folder-level arrangements and descriptions. Individual items within folders may not be fully arranged or described, due to the collection's level of complexity when it was deposited in the Archives.

When possible, folders were arranged alphabetically within series and subseries.
Biographical/Historical note:
Ralph Rinzler (1934-1994) was born in Passaic, New Jersey, and was interested in music at an early age. He was given a collection of ethnographic recordings from the Archive of Folk Song of the Library of Congress by his uncle, Harvard University ballad scholar George Lyman Kittredge, and they soon became his favorites. He became actively involved in the Folk Revival while attending Swarthmore College, organizing an annual festival on campus. He received his B.A. in 1956, and did graduate work at Middlebury College and the Sorbonne in French literature and language. Upon his return to the United States, he played mandolin for four years with the Greenbriar Boys, at times touring with singer Joan Baez. During the 1960s, he also studied, recorded, and worked with performers of traditional music, such as Doc Watson and Bill Monroe, both of whom gained international recognition in part through his efforts. In 1964, Rinzler accepted the position of Director of Field Programs at the Newport Folk Foundation, which involved the planning and programming of the Newport Folk Festival.

Rinzler came to the Smithsonian in 1967 as co-founder of the Festival of American Folklife (now the Smithsonian Folklife Festival) with James Morris in what was then the Smithsonian's Division of Performing Arts. After the 1976 Bicentennial Festival, Rinzler became the founding director of the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage) to establish a center for research, publication, and presentation of programs in American culture and tradition. As Director, he initiated Smithsonian Folklife Studies, a publication series, and did research for the Celebration exhibit, which opened at the Renwick Gallery in 1982. Rinzler was appointed Assistant Secretary for Public Service in 1983 and Assistant Secretary Emeritus in 1990. Ralph Rinzler died on July 2, 1994.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Provenance:
The materials in this collection were deposited into the archives of the Center for Folklife and Cultural Heritage over a number of years by Ralph Rinzler, Kate Rinzler, and Jeff Place in honor of the aforementioned. From the 1980s until Ralph Rinzler's passing in 1994, the Center received the majority of the audio tapes and photographs in this collection directly from Rinzler. With Rinzler's death in 1994, Jeff Place reviewed and deposited the majority of Rinzler's papers at the Center.

Until her passing in 2011, Kate Rinzler donated materials to this collection, with more continuing to arrive via her estate (as of May 2021). Many of these items were rehoused in the Kate Rinzler Papers.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk festivals  Search this
Folk music -- Southern States  Search this
Folk music -- United States  Search this
Genre/Form:
Photographs
Field recordings
Correspondence
Phonograph records
Notes
Business records
Audiocassettes
Photographic prints
Black-and-white negatives
Audiotapes
Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ
See more items in:
Ralph Rinzler papers and audio recordings
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk51af02b1d-29bd-42f2-a8e7-d35c9bab6da0
EDAN-URL:
ead_collection:sova-cfch-rinz
Online Media:

[Newsboys, at least three girls, and men in front of Howard Theater, with Cab Calloway's name on signs : acetate film photonegative,]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Creator:
Defender (film manufacturer)  Search this
Names:
Howard Theatre (Washington, D.C.)  Search this
Allen, Shep  Search this
Calloway, Cab, 1907-1994  Search this
Millinder, Lucky.  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 13, Folder 35
Type:
Archival materials
Photographs
Banquet camera photographs
Date:
1936
Scope and Contents:
Scan Number: 618ns0177494jp.tif
Also shows signs for Lucky Millinder's Stage Revue. The tall man standing directly under the "B" of "Blue Rhythm Band" at the right is Shep Allen, manager of the Howard Theater. Note: print from negative also in collection: Corcoran exhibit series, #119.
No ink on negative. Defender Safety Base.
General:
From original negative Box 5895526E.
Exhibitions Note:
Reproduction photograph of this image exhibited in "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30 - November 15, 2009; image also reproduced in exhibit's companion book.
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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:
Children -- 1930-1940  Search this
Theaters -- 1930-1940 -- Washington (D.C.)  Search this
Newspaper carriers -- 1930-1940 -- Washington (D.C.)  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Banquet camera photographs -- 1930-1940
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8d9aeed41-b24a-4006-ad15-0629081ab619
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref617

Scurlock Studio Records, Subseries 4.2: Black and white negatives in freezers arranged by job number

Creator:
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Custom Craft  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:
320 Boxes
The materials in the subseries are black and white silver gelatin negatives.
Type:
Collection descriptions
Archival materials
Studio portraits
Photographs
Dye transfer process
Color separation negatives
Matrices, color separation
Place:
Washington (D.C.) -- African Americans
Shaw (Washington, D.C.)
Washington (D.C.) -- Small business -- 20th century
Date:
1931-1971
Scope and Contents note:
The vast majority of the negatives are individual portrait sittings but there are some family and group portraits. The box numbers in the finding aid are the old freezer box numbers and are not reflective of the physical number of boxes; when the negatives were rehoused, the physical number of boxes were reduced and the old freezer box numbers were retained in combination on boxes. The beginning and end of a freezer box is demarcated by blue dividers inside the new boxes.
Arrangement note:
The negatives are arranged by job number and document the orders placed by clients at the Scurlock Studio.
Biographical/Historical note:
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). More...
Forms Part Of:
Subseries 4.2 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
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:
Commercial photography -- 20th century -- Washington (D.C)  Search this
African Americans -- History -- 20th century  Search this
African American photographers  Search this
Segregation  Search this
Portraits -- 20th century  Search this
Politicians -- 20th century  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
African American entertainers -- 20th century  Search this
Genre/Form:
Studio portraits
Photographs -- 20th century
Dye transfer process
Color separation negatives
Matrices, color separation
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618.S04.02
See more items in:
Scurlock Studio Records, Subseries 4.2: Black and white negatives in freezers arranged by job number
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a91c5fe2-afe2-4cde-9e04-a9229ecd41cc
EDAN-URL:
ead_collection:sova-nmah-ac-0618-s04-02
Online Media:

Scurlock Studio Records, Subseries 4.4: Black and white negatives in freezer storage arranged by subject

Creator:
Scurlock, Addison N., 1883-1964  Search this
Custom Craft  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  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:
320 Boxes
The subseries consists of black and white silver gelatin negatives..
Note:
Freezer storage
Type:
Collection descriptions
Archival materials
Matrices, color separation
Dye transfer process
Color separation negatives
Studio portraits
Photographs
Place:
Washington (D.C.) -- African Americans
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Date:
1900-1994
Scope and Contents note:
The materials document negatives that could not be connected to a specific client. The subjects include art, buildings, and unidentified individuals.
Arrangement note:
The negatives are arranged by subject but are not in alphabetical order.
Biographical/Historical note:
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). More...
Forms Part Of:
Subseries 4.4 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.

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:
African Americans -- History -- 20th century  Search this
African American photographers  Search this
African American entertainers -- 20th century  Search this
Segregation  Search this
Portraits -- 20th century  Search this
Politicians -- 20th century  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
Genre/Form:
Matrices, color separation
Dye transfer process
Color separation negatives
Studio portraits
Photographs -- 20th century
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618.S04.04
See more items in:
Scurlock Studio Records, Subseries 4.4: Black and white negatives in freezer storage arranged by subject
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep844f2a090-c834-49b3-9900-31e4b6d97e0b
EDAN-URL:
ead_collection:sova-nmah-ac-0618-s04-04
Online Media:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  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:
320 Boxes
Note:
Cold Storage
Type:
Collection descriptions
Archival materials
Matrices, color separation
Photographs
Dye transfer process
Color separation negatives
Studio portraits
Place:
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1928-1994
Scope and Contents:
The materials document the orders placed by the clients of the Scurlock Studio. The photographs primarily depict individual portrait sittings but there are also portraits of children, groups, and other subjects.
Arrangement note:
The negatives are arranged by job number.
Biographical/Historical note:
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). More...
Forms Part Of:
Subseries 4.5 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.

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:
African American photographers  Search this
Politicians -- 20th century  Search this
Portraits -- 20th century  Search this
African Americans -- History -- 20th century  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
African American entertainers -- 20th century  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
Segregation  Search this
Genre/Form:
Matrices, color separation
Photographs -- 20th century
Dye transfer process
Color separation negatives
Studio portraits
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618.S04.05
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c0c764e4-3c14-483e-b091-7fb65c6649da
EDAN-URL:
ead_collection:sova-nmah-ac-0618-s04-05
Online Media:

Burnell, Cordella, (Miss)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
3 Negatives (photographic) (silver gelatin)
Container:
Box 39
Type:
Archival materials
Negatives (photographic)
Date:
1938 March 30
Scope and Contents note:
Job Number: 40358
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8fb1b62fc-9e0a-4ce4-8a98-25c56beffa0c
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10026

Burns, Minnie

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
3 Negatives (photographic) (silver gelatin)
Container:
Box 147
Type:
Archival materials
Negatives (photographic)
Date:
1959 February 11
Scope and Contents note:
Job Number: 60499
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep84b8c0c11-0c79-4584-a63b-8081c50f1cbc
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10078

Burns, Opiana, (Miss)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 160
Type:
Archival materials
Negatives (photographic)
Date:
1962 September
Scope and Contents note:
Job Number: 62522
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep852442521-0049-4b43-9736-409d0192f0ff
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10082

Allen, Isabel, (Miss)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 64
Type:
Archival materials
Negatives (photographic)
Scope and Contents note:
Job Number: 45833
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: A - Azzarone
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c88ccd63-56fa-49d9-ac61-804aa860a53a
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref1009

Burr-Washington

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
6 Negatives (photographic) (silver gelatin)
Container:
Box 9
Type:
Archival materials
Negatives (photographic)
Date:
1952 April 12
Scope and Contents note:
Job Number: 56553
Subject/Sitter: Wedding
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86c1bef74-2b9b-42f0-84f4-c1bff398fc16
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10105

Burrell, Mattie, (Mrs.)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 93
Type:
Archival materials
Negatives (photographic)
Scope and Contents note:
Job Number: 49499
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep839e4ecbd-e944-4eab-8bfc-b9c0daf6ab2a
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10124

Burris, Daisey, (Miss)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 164
Type:
Archival materials
Negatives (photographic)
Date:
1963 August 12
Scope and Contents note:
Job Number: 63004
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8695b5660-2855-4dfb-98ba-2cf05b91d65a
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10150

Burriss, (Mrs.)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
4 Negatives (photographic) (silver gelatin)
Container:
Box 56
Type:
Archival materials
Negatives (photographic)
Scope and Contents note:
Job Number: 44289
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8222a60c9-326f-4393-bf3b-2eb3b9bddb9e
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10152

Burrows, Eileen

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 146
Type:
Archival materials
Negatives (photographic)
Date:
1958 October 2
Scope and Contents note:
Job Number: 60331
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f2b8f06e-d94d-493a-b735-aab43417790e
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10164

Allen, Jean, (Miss)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 153
Type:
Archival materials
Negatives (photographic)
Date:
1960 September 17
Scope and Contents note:
Job Number: 61436
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: A - Azzarone
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep84615f5fc-4dfb-47ee-9074-654810cd0ea8
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref1017

Burton, Chas, (Mrs.)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 116
Type:
Archival materials
Negatives (photographic)
Date:
1954 December 11
Scope and Contents note:
Job Number: 58249
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8344e4ccf-f507-449b-842a-720358ab2c4c
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10176

Burton, Novella, (Mrs.)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
3 Negatives (photographic) (silver gelatin)
Container:
Box 312
Type:
Archival materials
Negatives (photographic)
Date:
1945 April 20
Scope and Contents note:
Job Number: 49979
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8447c4718-58aa-4c41-9321-37387ea5c490
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref10213

Allen, Juanita G., (Mrs.)

Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 134
Type:
Archival materials
Negatives (photographic)
Date:
1963 October 26
Scope and Contents note:
Job Number: 63102
Subject/Sitter: Children
Subseries Restrictions:
Collection is open for research.

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.
Subseries 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.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: A - Azzarone
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8ea5b85f1-3983-4211-a522-91ec3e66e8d8
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref1025

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