Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item
Container:
Box 75
Type:
Archival materials
Photographs
Place:
Gum Springs (Va.)
Alexandria (Va.)
Virginia -- 20th century
Date:
March 1955
Scope and Contents:
No ink on negative. Church in Gum Springs, Virginia; sleeve reads "Rev. Chapmans [?] Church". "Kodak -- Safety -- Film" edge imprint. Ident. as Bethlehem Baptist Church, "near 7836 Fordson Road, Alexandria, Virginia 22306 at the intersection of Fordson Road and Sherwood Hall Lane in Gum Springs" by Jay Bruder, 19 May 2016.
Biographical / Historical:
"Gum Springs is the oldest African American Community in Fairfax County, formally established in 1833. West Ford, a former slave, founded the community after being freed by George Washington. Located close to the Mount Vernon Estate,the community was a sanctuary for freedmen and runaways. Samuel Taylor, a runnaway slave established the first institution in Gum Springs, The Bethlehem Baptist church. Assisted by Quakers, the first school was established at Bethlehem...this historic black community. Today, Gum Springs has more than 2,500 residents, up to 500 descended from the original families." (Wikipedia, http://www.virginia.org/listings/culturalheritage/gumspringshistoricalsocietyandmuseum/ )
Subseries 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.
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.
Photographs -- 1950-1960 -- Black-and-white negatives -- Acetate film
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
Extent:
1 Item
Container:
Box 75
Type:
Archival materials
Photographs
Place:
Virginia -- 20th century
Alexandria (Va.)
Gum Springs (Va.)
Date:
March 1955
Scope and Contents:
No ink on negative. A front-on view of a church in Gum Springs; sleeve reads "Rev. Chapmans [sic] Church." "Kodak -- Safety -- Film" edge imprint. Ident. as Bethlehem Baptist Church, "near 7836 Fordson Road, Alexandria, Virginia 22306 at the intersection of Fordson Road and Sherwood Hall Lane in Gum Springs" by Jay Bruder, 19 May 2016.
Biographical / Historical:
"Gum Springs is the oldest African American Community in Fairfax County, formally established in 1833. West Ford, a former slave, founded the community after being freed by George Washington. Located close to the Mount Vernon Estate,the community was a sanctuary for freedmen and runaways. Samuel Taylor, a runnaway slave established the first institution in Gum Springs, The Bethlehem Baptist church. Assisted by Quakers, the first school was established at Bethlehem. ...celebrate the triumph of this historic black community. Today, Gum Springs has more than 2,500 residents, up to 500 descended from the original families." (Wikipedia, http://www.virginia.org/listings/culturalheritage/gumspringshistoricalsocietyandmuseum/ )
Subseries 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.
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.
Photographs -- 1950-1960 -- Black-and-white negatives -- Acetate film
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.
This series include portraits from various communities. There are portraits of Wanda Henderson of Wanda's on Seventh Hair Salon near Howard University in Washington, DC. Her hair salon has been a fixture in the Shaw neighborhood for over thirty years. Other portraits include parishioners at the Shrine of the Sacred Heart Catholic Church on Easter Sunday. Also included, are portraits of worshippers at Masjid Muhammad mosque in DC. In addition, there are photographs of Walter Pierce Cemetery Commemoration, a recognition of a historic African American and Quaker burial ground located underneath Walter Pierce Park in the Adams Morgan neighborhood of Washington, DC.
Additionally, this series contains demolition shots of old homes on Martin Luther King, Jr. Ave., SE, and houses along Maple View Place SE. A housing protest organized by the National Alliance of Human and Urban Development Tenants, EmpowerDC, National Coalition for the Homeless, We Are Family DC, Positive Force DC, People's Budget Campaign, and the Coalition for Human Needs are present in this group, as well as various public spaces documented for the museum's "A Right to the City" exhibition. Also documented also is an annual Good Friday procession hosted by Sacred Heart Catholic Church.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 26, Folder 6
Type:
Archival materials
Date:
2003 February 27-March 1
Scope and Contents:
Conference held Thursday, February 27, through Saturday, March 1, 2003, National Museum of American History, Behring Center, Smithsonian Institution. Program celebrated the twenty-second annual national observance of African American History Month. Program created as a conference, community tribute, and cultural fair, in collaboration with the National Underground Railroad Network to Freedom Program of the United States National Park Service. It included performances, films, presentations hands-on activities, lectures, and panel discussions.
Participants included:
Allison Blakely, Ph.D., professor of European and Comparative History, Boston University
David W. Blight, Ph.D., scholarly advisor to the Passages to Freedom conference; professor of history, Yale University
Charles L. Blockson, curator and historian
Spencer R. Crew, Ph.D., executive director and chief executive officer, National Underground Railroad Freedom Center
Mary A. Edmond, chairperson of the Michigan Freedom Trail Commission; founder and president, Michigan Black History Network
Jerry Gore, historian, scholar and one of the founders of the National Underground Railroad Museum, Incorporated
Allen Grundy, founder, International Freedom Institute of the Southwest (IFIS); cofounder of Talking Back Living History Theatre (TBLH)
James Oliver Horton, Ph.D., scholarly advisor to the Passages to Freedom conference; Benjamin Banneker Professor of African Studies and History, George Washington University
Lois E. Horton, Ph.D., professor of history, George Mason University
Wilma King, Ph.D., Strickland Professor of American History and Culture, University of Missouri
Jane Landers, Ph.D., associate dean of the College of Arts and Science; associate professor of history and director, Center of Latin American and Iberian Studies, Vanderbilt University
Emma J. Lapsansky, Ph.D., curator, Quaker Collection and professor of history, Haverford College
Diane Miller, planning committee member, Passages to Freedom conference; and national coordinator, National Underground Railroad Network to Freedom Program,
National Park Service (NPS)
Orloff Miller, Ph.D., planning committee member, Passages to Freedom conference; director, Freedom Station Program; and interim director, Research Programs, National Underground Railroad Freedom Center, Cincinnati, Ohio
Kevin Mulroy, Ph.D., director of research collections and chair, Research Services, University of Southern California libraries
Cathy D. Nelson, founder and president emeritus, Friends of Freedom Society; and state coordinator, Ohio Underground Association
Freddie L. Parker, Ph.D., chair, Department of History, North Carolina Central University, Durham, North Carolina
Bryan Prince, Buxton National Historic Site and Museum, Ontario, Canada
Vivian Abdur-Rahim, founder and director, Harriet Tubman Historical Society; and founding member, Underground Railroad Coalition, Delaware
Bernice Johnson Reagon, Ph.D., scholar, composer, singer, and activist, Cosby Chair Professor of Fine Arts, Spelman College, Atlanta, Georgia
Jane Rhodes, Ph.D., associate professor, ethnic studies, University of California, San Diego
Hilary Russell, independent scholar and researcher
Milton C. Sernett, Ph.D., professor of African American Studies and history and adjunct professor of religion, Syracuse University
Barbara A. Tagger, historian and regional coordinator, National Underground Railroad Network to Freedom Program
Ron Tyler, Ph.D., is director of the Texas State Historical Society and professor of history at the University of Texas at Austin
John Michael Vlach, Ph.D., professor of American studies and anthropology and director of the Folklife Program, George Washington University
Judith Wellman, Ph.D., professor emerita, History Department, State University of New York, Oswego
Deborah Gray White, Ph.D., professor and chair, history department, Rutgers University
Carol Wilson, Ph.D., associate professor of history, Washington College, Chestertown, Maryland
Church Historians
Ambassador Horace G. Dawson Jr., Ph.D., historian, Metropolitan AME Church, Washington, DC
Janet Lee Ricks, member and vice chair, history committee, Mt. Zion United Methodist Church, Georgetown, Washington, DC
Lonise Fisher Robinson, church historian, Asbury United Methodist, Washington, DC
Performers and Artists included:
Nasar Abadey Trio
Drums - Nasar Abadey, drummer and composer, founder and leader of SUPERNOVA
Piano - Allyn Johnson, Washington, DC native, attended the University of the District of Columbia
Bass - James King, bassist, composer, and arranger
Michael E. Baytop, founder and president, Archie Edwards Blues Heritage Foundation, Washington, DC
Gwendolyn Briley – Strand
The Chancel Choir of Sargent Memorial Presbyterian Church
The Daughters of Dorcas and Sons
The Duke Ellington School of the Arts Show Choir
Samuel L. E. Bonds, director and voice teacher, Duke Ellington School of the Arts, Washington, DC
Irma Gardner-Hammond, professional storyteller who tells stories from the African oral tradition known as the Griot tradition
Bus Howard, actor and artist in residence, Kennedy Center for the Performing Arts, Washington, DC
In Process…, African American women's a cappella ensemble
Jo Ann James, avid collector of recipes, a student of African American history, and a craftsperson
Kimberly Kelly, member of planning committee for the Passages of Freedom conference
Magpie - Terry Leonino and Greg Artzner, musicians
Alice McGill, well known for her portrayal of Sojourner Truth
Gretchen McKinney, term member, Speech Choir and Drama Team, Asbury United Methodist Church
Dietra Montague, independent artist who has lived and studied the arts and crafts of North and West Africa, Central and South America, Mexico, and Europe
Fred Morsell, actor
Ayo Ngozi, collage, multimedia, and book artist based in Mt. Rainier, Maryland
Reverb, a cappella group of African American gospel, quartet, and doo-wop singing
Mary Kay Ricks, freelance writer, researcher, and history tour guide who specializes in the Underground Railroad, Washington, DC
Kath Robinson, Washington, DC resident interested in the study of Ethnobotany and the study of misaims
Charlie Sayles, blues harmonica player
Program number AC408.120.
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
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:
Olive Rush papers, 1879-1967. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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 commerical 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.
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 commerical 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.
