This collection consists of the records of the Society for American Archaeology (SAA) and documents the activities of the officers of SAA and the editors of the journal American Antiquity. Materials include minutes, correspondence, reports, newsletters, financial records, memorandums, contracts and journals.
Scope and Contents:
This collection consists of the records of the Society for American Archaeology (SAA) and documents the activities of the officers of SAA and the editors of the journal American Antiquity. Materials include minutes, correspondence, reports, newsletters, financial records, memorandums, contracts and journals.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
Portions of this collection are unprocessed. Please contact the repository for further information.
Earlier accessions, containing records dating from 1935-1985, have been arranged in the following proposed series: (1) Records of the secretary-treasurer, 1935-1947; (2) treasurer's records, 1935-1950; (3) executive committee meeting minutes, 1961-1978; (4) records concerning annual meetings, 1935-1978; (5) records concerning nominations and elections, 1971-1978; (6) secretary's general correspondence, 1968-1978; (7) secretary's correspondence with SAA presidents, 1970-1978; (8) correspondence with affiliated organizations, 1968-1976; (9) secretary's subject files, undated; (10) records relating to committees, undated; (11) records relating to constitutional revision, undated; (12) copies of legislation; resolutions, undated; (13) antiquities actions, 1970-1976; (14) financial statements and treasurer's correspondence with the secretary, 1968-1977: (15) membership records, 1970-1977; (16) records concerning publications, 1970-1977; (17) field school lists, 1968-1979; (18) indexes and other compilations regarding executive committee and annual meeting actions; (19) executive committee meeting minutes, 1945-1976; (20) records concerning publications, 1970-1977; (21) field school lists, 1968-1979; (22) indexes and other compilations regarding executive committee and annual meeting actions; (23) executive committee meeting minutes, 1945-1978, 1980; (24) material relating to executive committee and annual meetings, including some reports, 1978-1983; (25) secretary's subject file, ca.1967-1983; (26) procedural materials; (27) material relating to proposals from and contract with management firm, 1983; (28) printed and processed material; (29) chairperson's records of the Committee on the Status of Women in Archaeology; (30) Fred Wendorf's files, 1972-1981; (31) records of the Committee on Public Archaeology, 1969-1981; (32) videocasettes and photographs, 1985; (33) editor's files; (34) Don D. Fowlers files; and (35) materials relating to American Antiquity.
Historical note:
The Society for American Archaeology (SAA) is an international organization with over 7,000 members. Founded in 1934, the SAA is "dedicated to the research, interpretation, and protection of the archaeological heritage of the Americas."
Restrictions:
Some material may be restricted. Contact the repository for further information.
Access to the Society for American Archaeology records requires an appointment.
Scurlock, George H. (Hardison), 1919-2005 Search this
Scurlock, Robert S. (Saunders), 1917-1994 Search this
Extent:
2 Negatives (photographic) (silver gelatin)
Container:
Box 66
Type:
Archival materials
Negatives (photographic)
Scope and Contents note:
Job Number: 46229
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
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.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Eddie Faye Gates, Tulsa OK, author, historian, community activist
Object number:
2014.117.69
Restrictions & Rights:
Restrictions likely apply. Proper usage is the responsibility of the user.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Researchers must handle unprotected photographs with cotton gloves. Researchers may 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 and as resources allow.
Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Collection 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.
Collection Citation:
Civilian Conservation Corps Collection, Archives Center, National Museum of American History
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection 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.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
Scurlock, George H. (Hardison), 1919-2005 Search this
Scurlock, Robert S. (Saunders), 1917-1994 Search this
Container:
Box 208
Type:
Archival materials
Date:
1971 March 2
Scope and Contents note:
Job Number: 8400
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
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.
Scurlock, George H. (Hardison), 1919-2005 Search this
Scurlock, Robert S. (Saunders), 1917-1994 Search this
Container:
Box 232
Type:
Archival materials
Date:
1974 March 18
Scope and Contents note:
Job Number: 12422
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
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.
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, his studio, and artwork. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.
Scope and Content Note:
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, artworks, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, and his studio. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.
Biographical material includes miscellaneous accounts of Woodward's life, cards and certificates of membership in various organizations including the Massachusetts Society of the Sons of the American Revolution, the Salmagundi Club, and the Academic Artist Association, military records of his service in both World Wars, and scattered artwork. A file concerning Woodward's portrait of Abraham Lincoln contains letters primarily discussing a reproduction of the portrait in The Boston Globe and the painting's eventual sale, in addition to notes, clippings, an ink drawing, and a photographic negative of the drawing.
Correspondence is between various family members, but also includes letters to Woodward from colleagues including Harrison Cady, Eleanor Parke Custis, Ralph Fabri, Chauncey F. Ryder, and Howard E. Smith. There are also scattered letters from other artists including Gifford Beal, Mary Butler, Gordon Grant, Norman Kent, Hobart Nichols, Thornton Oakley, Edmund Tarbell, and Anthony Thieme. Correspondence primarily concern his painting career, and includes lists of art work and financial material.
Artwork consists of a sketchbook and three sketches.
Files concerning actresses reflect Woodward's life-long friendship with former teenaged neighbor Bette Davis, who later introduced Woodward and his art work to her show business friends. The files contain letters, clippings, and photographs of actresses Janis Carter, Linda Darnell, Bette Davis, Laraine Day, Madaline Lee, Ida Lupino, Eleanor Powell, and Alexis Smith.
Seventeen diaries contain relatively detailed daily entries describing Woodward's art-related activities, experiences during World War II, and various travels, including a trip to Los Angeles to be a house guest of Bette Davis and visit her on the set of the motion picture Elizabeth and Essex. The 1905 diary contains photographs of Woodward's school friends.
Notes, notebooks, and writings include lists of art works, exhibition guest books, and miscellaneous writings by Woodward including drafts of his book Adventure in Marine Painting.
Business records include an auction catalog, account books for the sale of Woodward's book and art work, and miscellaneous receipts. Records of art classes taught by Woodward include lists of participants, accounts of fees paid, and printed advertisements.
A scrapbook containing clippings and exhibition announcements and catalogs illustrates Woodward's early interests and art-related activities.
Additional printed material consists of clippings, copies of the U. S. Air Corps Magazine The Rip Chord for which Woodward did the cover illustrations, prospectuses with annotations of titles and prices of art work, exhibition announcements and catalogs, reproductions of art work, a booklet, and brochures for books and for art schools. Miscellaneous printed material includes reproductions of a photograph of Woodward's father, Frank E. Woodward, and a program for an event honoring Dr. T. Tertius Noble.
Photographs are of Woodward, family members, friends connected with the U. S. Army Air Force including Jack Dempsey, Woodward's studio, and art work. Three albums contain photographs of art classes and Woodward painting outdoors at various locations including Laguna Beach and Palm Springs, California, St. Augustine, Florida, and Rockport, Massachusetts. A third album also contains photographs of notable friends including Janis Carter, Jeanne Craine, Bette Davis, Rita Hayworth, and Gary Merrill.
Arrangement:
The collection is arranged into 10 series. Each series is arranged chronologically.
Missing Title
Series 1: Biographical Material, 1918-1968 (Boxes 1, 8; 15 folders)
Series 2: Artwork, circa 1920s (Boxes 1; 2 folders)
Series 3: Correspondence, 1910-1969 (Boxes 1-3; 2.9 linear feet)
Series 4: Files Concerning Actresses, 1931-1970 (Boxes 4, 8; 0.75 linear feet)
Series 5: Diaries, 1905-1969 (Boxes 4-5; 10 folders)
Series 6: Notes, Notebooks, and Writings, 1915-1969 (Boxes 5, 8; 21 folders)
Series 7: Business Records, 1924-1969 (Boxes 5-6; 15 folders)
Series 8: Scrapbook, 1875-1919 (Box 6; 1 folder)
Series 9: Printed Material, 1916-1970 (Boxes 6-7; 0.75 linear feet)
Series 10: Photographs, 1920-1969 (Boxes 7-8, OV 9; 11 folders)
Biographical Note:
Stanley Wingate Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Sidney, who later became an art dealer and critic.
In 1909, Woodward graduated from Malden High School and the family moved to Wellesley Hills. He studied at the Eric Pape School of Art, the School of the Boston Museum of Fine Arts, and the Pennsylvania Academy of the Fine Arts. He left school to serve in France as a Corporal in the Field Artillery 28th Division during World War I. After the war, he settled in Ogunquit, Maine, and became a free lance illustrator for Collier's and the Christian Science Monitor, where his brother Sidney was art editor.
In 1925, he held his first solo show of marine oils at Casson Galleries, Boston, where his twin brother Sidney was manager. He was encouraged to continue painting the ocean after the entire exhibition sold out.
Woodward married Ruth Brainerd in 1926 and they settled in Newton, Massachusetts, where they were neighbors to a young Bette Davis, who had recently graduated from high school. Woodward maintained contact with the actress for the rest of his life, and through Ms. Davis, he befriended other show business personalities.
During the 1930s, Woodward taught painting at the Woodward Outdoor Painting School of Rockport, Massachusetts, at the University of North Carolina at Chapel Hill, at the Ringling School of Art in Sarasota, Florida, and at the Laguna Beach School in California. In 1937, he established his residence and studio in Rockport, Massachusetts.
Woodward served as an Air Corps captain and director of camouflage training at McChord Field in Tacoma, Washington, during World War II. In 1947, he published a book on painting techniques entitled Adventure in Marine Painting. He was also the author of Marine Paintings in Oil and Water Color.
Woodward was a member of the Chicago Society of Etchers, the Concord Art Association, the Print Makers Society of California, the Boston Society of Water Color Painters, Allied Artists of America, the Guild of Boston Artists, the North Shore Art Association, the American Water Color Society, the Grand Central Galleries Association, and the Rockport Art Association. His work is in the collections of the Boston Museum of Fine Arts, Bowdoin College, Amherst College, Lehigh University, and the Prudential Life Insurance Collection.
Stanley Wingate Woodward died on March 21, 1970 in Gloucester, Massachusetts.
Provenance:
The Stanley Woodward papers were donated in two installments in 1973 by Stanley Woodward's daughter, Patricia Woodward Smith.
Restrictions:
The collection is open for research. Use requires an appointment.
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.
Behind the Apron oral history project documents the experiences of Black oyster and clam workers in Southern Maryland. The audio interviews were conducted by Shelia Montague Parker in 1997. The interviewees include: Doris Harris, Conroy Butler, Mary Hawkins, Christine Gray, Blondell Mason, Mary Washington, Ruth Smith, and Wiliam Bourne. The interviews explore issues such as: the connection between land and water, between farming and the fishing industry; the communal spirit and camaraderie amongst oyster workers; the experience of women oyster workers; and the changes in the oyster packing industry resulting in a diminshed African American workforce.
Biographical / Historical:
African Americans have been an integral part of Southern's Maryland's proud commerical fishing industry. Nowhere has their contribution been more prominent than in the seaford houses along the Patuxent River. Until most recentely, in Calvert and other neighboring counties, the function of shucking oysters and clams was almost exlusively performed by African Americans. Black oyster and clam workers have brought dignity, skill, and a strong sense of community to a job that industry outsiders often consider "dirty work."
Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Liz Larner don't put it back like it was exhibition curated by Mary Ceruti and Kyle Dancewicz ; essays by Connie Butler, Catherine Liu, and Ariana Reines ; photographs by Cathy Carver
