Search Results

Subject:

Caja, Jerome D.  Search this

Type:

Photographs

Date:

circa 1980-1995

Citation:

Photograph of Michael Blue and Jerome Caja in drag, circa 1980-1995. Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24252

See more items in:

Jerome Caja papers, circa 1920-1995

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24252

Subject:

Caja, Jerome D.  Search this

Type:

Albums

Date:

circa 1990-circa 1993

Citation:

Photograph album featuring Jerome Caja in drag, circa 1990-circa 1993. Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24253

See more items in:

Jerome Caja papers, circa 1920-1995

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24253

Subject:

Caja, Jerome D.  Search this

Type:

Photographs

Date:

circa 1980-1995

Citation:

Photograph of Jerome Caja in drag, circa 1980-1995. Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24255

See more items in:

Jerome Caja papers, circa 1920-1995

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24255

Subject:

Caja, Jerome D.  Search this

Type:

Photographs

Date:

circa 1980-1995

Citation:

Photograph of Jerome Caja in drag, circa 1980-1995. Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24256

See more items in:

Jerome Caja papers, circa 1920-1995

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24256

Subject:

Caja, Jerome D.  Search this

Type:

Photographs

Date:

1990

Citation:

Photograph of Jerome Caja in drag at opening of Compact exhibition, 1990. Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24257

See more items in:

Jerome Caja papers, circa 1920-1995

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24257

Subject:

Caja, Jerome D.  Search this

Type:

Albums

Date:

1988

Citation:

Photograph album of Jerome Caja in the Haite with Rick Waven, 1988. Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24259

See more items in:

Jerome Caja papers, circa 1920-1995

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24259

Physical Description:

paper (overall material)

Measurements:

overall: 36 in x 18 in; 91.44 cm x 45.72 cm

Object Name:

poster, summer olympics

poster, olympics

poster

Date made:

1984

Subject:

Sports  Search this

Baseball  Search this

Olympics  Search this

Related event:

Olympic Summer Games: Los Angeles, 1984  Search this

Credit Line:

Los Angeles Olympic Organizing Committee (through Carol Daniels)

ID Number:

1985.0297.19.06

Accession number:

1985.0297

Catalog number:

1985.0297.19.06

See more items in:

Culture and the Arts: Sport and Leisure

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b2-82f7-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1764586

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

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:

15 Boxes

The materials in the subseries consists of black and white silver gelatin negatives.

Type:

Collection descriptions

Archival materials

Matrices, color separation

Color separation negatives

Photographs

Studio portraits

Dye transfer process

Place:

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Washington (D.C.) -- Small business -- 20th century

Date:

1923-1940

Summary:

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). Subseries 4.12 materials primarily document clients of the Scurlock Studio that were organizations and the images depict those groups' and organizations' activities. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

The materials primarily document clients of the Scurlock Studio that were organizations and the images depict those groups' and organizations' activities.

Arrangement note:

There is not a clear system of arrangement within the subseries.

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 4.12 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 entertainers -- 20th century  Search this

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

African American photographers  Search this

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

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

Segregation  Search this

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

Genre/Form:

Matrices, color separation

Color separation negatives

Photographs -- 20th century

Studio portraits

Dye transfer process

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.12

See more items in:

Scurlock Studio Records, Subseries 4.12: Banquet Negatives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84f8e7a2b-c123-4c06-a220-467ee787240e

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-12

Creator:

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

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

Type:

Collection descriptions

Archival materials

Photographs

Matrices, color separation

Dye transfer process

Studio portraits

Color separation negatives

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC 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). Subseries 4.1 includes black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents:

Subseries 4.1 includes black and white silver gelatin negatives. The majority of the negatives, not all, have been scanned.

Arrangement note:

The negatives are not arranged in a clear order, and the negatives document clients and subjects. Researchers will need to look in two different box sizes for negatives of different sizes that were originally housed together in freezer boxes but are now housed separately according to size. A number of freezer boxes are missing, this is the reason for box number gaps, and contain varying numbers of negatives. The physical number of boxes was condensed during rehousing but the original freezer box numbers were retained in combination on the new boxes. The beginning and end of a freezer box are indicated inside the new box by blue dividers.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. 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 4.1 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:

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

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

Segregation  Search this

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

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

African American photographers  Search this

African American entertainers -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Matrices, color separation

Dye transfer process

Studio portraits

Color separation negatives

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.01

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ec458f4e-274d-4d12-859d-aaea7f7fc0ed

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-01

Author:

Buatta, Mario Works Selections  Search this

Distributor:

Kinney Wallcoverings  Search this

Physical description:

110 pages [leaves] all color illustrations 45 cm

Type:

Catalogs

Specimens

Trade catalogs

Sample books

Date:

1989

Topic:

Wallpaper  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1112617

Published by:

Johnson Publishing Company, American, 1942 - 2019  Search this

Subject of:

Black Stars, American, 1971 - 1981  Search this

Tina Turner, American, 1939 - 2023  Search this

Medium:

ink on paper

Dimensions:

H x W: 11 1/8 x 8 1/2 in. (28.3 x 21.6 cm)

Type:

magazines (periodicals)

Date:

February 1979

Topic:

African American  Search this

Actors  Search this

Black Press  Search this

Entertainers  Search this

Mass media  Search this

Musicians  Search this

Singers (Musicians)  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

2011.166.16.3

Restrictions & Rights:

© Black Stars

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Exhibition:

Musical Crossroads

On View:

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd53b2b4fd8-279b-413f-984a-f41d164a0b04

EDAN-URL:

edanmdm:nmaahc_2011.166.16.3

Creator:

Scurlock, Addison N., 1883-1964  Search this

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

Custom Craft  Search this

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

Scurlock, George H. (Hardison), 1919-2005  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:

72 Boxes

Type:

Collection descriptions

Archival materials

Dye transfer process

Photographs

Color separation negatives

Studio portraits

Matrices, color separation

Place:

Washington (D.C.) -- Small business -- 20th century

Shaw (Washington, D.C.)

Washington (D.C.) -- African Americans

Date:

1964-1994, undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC 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). Series 5 primarily consists of color negatives, but occasionally includes order forms, envelopes, and other photographic materials associated with the order. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents:

Materials primarily consist of color negatives, but also include order forms and envelopes. Photographs associated with the order were move to series two color photographs. The materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. The subjects represented are individual portrait sittings, organizations, events, businesses, commercial ventures of the Studio, and Washington, DC. The series is arranged into two subseries: Subseries 5.1: Clients, and Subseries 5.2: Subjects.

Arrangement:

Arranged in 2 subseries.

5.1: Color negatives arranged by client

5.2: Color negatives arranged by subject

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:

This series forms part of 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:

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

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

Segregation  Search this

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

African American entertainers -- 20th century  Search this

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

African American photographers  Search this

Genre/Form:

Dye transfer process

Photographs -- 20th century

Color separation negatives

Studio portraits

Matrices, color separation

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S05

See more items in:

Scurlock Studio Records, Series 5: Color Negatives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep80833a56c-f5cc-4478-a9a9-039af8b1f63f

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s05

Creator:

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

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

Names:

Howard University -- 20th century  Search this

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

Washington, Booker T., 1856-1915  Search this

Extent:

7 Boxes

Type:

Collection descriptions

Archival materials

Dye transfer process

Color separation negatives

Photographs

Matrices, color separation

Studio portraits

Place:

Washington (D.C.) -- Small business -- 20th century

Shaw (Washington, D.C.)

Washington (D.C.) -- African Americans

Date:

1955-1957, undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. 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). Series 7 consists of black-and-white color separation negatives and instructions for processing kodak matrix film. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

Materials include black-and-white color separation negatives and instructions for processing kodak matrix film. These materials document orders placed at the studio by individuals and organizations that could be identified but not connected to a specific order. In addition, there are negatives categorized by subjects because there was no known client, identifiable individual or organization. The series is arranged into three subseries: Series 7.1: Clients, Series 7.2: Subjects, and Series 7.3: Related literature.

Arrangement note:

Arranged in 3 subseries.

7.1: Clients Black-and-White Color Separation Negatives

7.2: Subjects Black-and-White Color Separation Negatives

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC 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:

This series forms part of 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:

Segregation  Search this

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

African American photographers  Search this

African American entertainers -- 20th century  Search this

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

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

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

Genre/Form:

Dye transfer process

Color separation negatives

Photographs -- 20th century

Matrices, color separation

Studio portraits

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S07

See more items in:

Scurlock Studio Records, Series 7: Black-and-White Color Separation Negatives and Matrices

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86b247076-eeba-4503-bb12-6f528150b9c7

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s07

Creator:

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

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

Names:

Howard University -- 20th century  Search this

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

Washington, Booker T., 1856-1915  Search this

Extent:

57 Boxes

Type:

Collection descriptions

Archival materials

Dye transfer process

Photographs

Color separation negatives

Studio portraits

Matrices, color separation

Place:

Shaw (Washington, D.C.)

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Date:

1951-1994, undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1907 to 1996, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 9 includes the administrative, financial, sales, personnel, and office files of Custom Craft. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents:

Materials document the administrative, financial, sale, and employee activities of Custom Craft, the color division of the Scurlock Studio business. Documents that list both the Scurlock Studio and Custom Craft but relate to color photography, are found among these materials. A number of these documents suggest that there was not always a clear differentiation between the two studios. The series is divided into five subseries: Subseries 9.1: Administrative; Subseries 9.2: Financial; Subseries 9.3: Sales; Subseries 9.4: Employee and personnel; and 9.5: Office files.

Arrangement:

Arranged in 5 subseries.

9.1: Administrative

9.2: Financial

9.3: Sales

9.4: Employee and Personnel

9.5: Office Files

Biographical / Historical:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1907 to 19964, 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:

This series forms part of 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

Politicians -- 20th century  Search this

African American entertainers -- 20th century  Search this

Portraits -- 20th century  Search this

African American photographers  Search this

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

Segregation  Search this

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

Genre/Form:

Dye transfer process

Photographs -- 20th century

Color separation negatives

Studio portraits

Matrices, color separation

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S09

See more items in:

Scurlock Studio Records, Series 9: Custom Craft Business Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ecbfe8d6-efaf-4c7f-a7e5-7fd7be4eff30

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s09

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

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.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

Creator:

Tatti, Benedict, 1917-1993  Search this

Names:

American Medallic Sculpture Association  Search this

American Numismatic Association  Search this

Anthology Film Archives  Search this

Audubon Artists (New York, N.Y.)  Search this

Galerie Claude Bernard  Search this

Mercer Arts Center (Organization: New York, N.Y.)  Search this

Roko Gallery (New York, N.Y.)  Search this

Canfield, Jane  Search this

Goodrich, Lloyd, 1897-1987  Search this

Noguchi, Isamu, 1904-1988  Search this

Slobodkin, Louis, 1903-  Search this

Zorach, William, 1887-1966  Search this

Extent:

1.8 Linear feet

Type:

Collection descriptions

Archival materials

Notes

Awards

Lists

Christmas cards

Photographs

Designs

Sketches

Date:

1936-2011

bulk 1945-1993

Summary:

The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.

Scope and Contents note:

The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.

Biographical materials include curriculum vitae, Who's Who in American Art, memberships, and awards. Correspondence is primarily from colleagues, dealers, collectors, and representatives of museums, galleries, and arts organizations. There are a few outgoing letters from Benedict Tatti, including a handmade holiday card. Among the notable correspondents are Jane Canfield, Lloyd Goodrich, Louis Slobodkin, and William Zorach. Also found is a small portion of Adele Tatti's correspondence relating to her late husband's artwork.

Project files contain Tatti's commissions for Eutectic-Castolin Institute, Staten Island Community College, Statue of Liberty Restoration, and the Usdan Center for the Creative and Performing Arts; application proposals to Creative Artists Public Service program (CAPS); and the artist's invention of the rewind reel adapter. Subject files include Tatti's memberships and activities in professional associations, e.g., American Medallic Sculpture Association, American Numismatic Society, and Audubon Artists; Tatti's Artist-in-Residence proposals for the Television Lab, WNET 13; and his involvement in educational video presentations. Exhibition files consist of scattered materials on Tatti's shows at the Anthology Film Archives; Burr Galleries; Galerie Claude Bernard; The Kitchen, Mercer Arts Gallery; Northeast Harbor Gallery; and Roko Gallery.

Writings, notes, and lists include writings by Benedict Tatti; writings about Benedict Tatti, including a statement on the artist by Isamu Noguchi; and lists compiled by Adele Tatti relating to her late husband's work. Artwork contains Tatti's sketch of a sculpture for the Northeast Harbor Museum and sketches of medal designs. Printed material consists of announcements, brochures, invitations, exhibition catalogues and checklists, clippings, periodicals, newsletters, reproductions, other printed matter, and monographs. Photographs include black and white prints of portrait shots of Benedict Tatti, Tatti in his studio and with others, video equipment and Tatti's video art; also found are color photographs of Tatti's sculptures and design maquettes.

Arrangement note:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Material, 1936-1993 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1945-2008 (Box 1; 0.1 linear feet)

Series 3: Project Files, 1966-2005 (Box 1; 0.1 linear feet)

Series 4: Subject Files, circa 1950s-2008 (Box 1; 0.1 linear feet)

Series 5: Exhibition Files, 1945-1992 (Box 1; 0.1 linear feet)

Series 6: Writings, Notes, and Lists, circa 1940s-2009 (Box 1; 4 folders)

Series 7: Artwork, 1970-circa 1990s (Box 1; 3 folders)

Series 8: Printed Material, 1937-1976 (Boxes 1-2; 0.8 linear feet)

Series 9: Photographs (circa 1936-1970s), circa 1964-2010 (Box 3; 0.4 linear feet)

Biographical/Historical note:

Benedict Tatti (1917-1993) worked in New York as a sculptor, painter, educator, and video artist.

Born in New York in 1917, Tatti began his art education at Haaren High School. He continued his studies at the Roerich Museum with Louis Slobodkin, the Art Students League with William Zorach and Ossip Zadkine, and the Leonardo da Vinci School of Art under Attillio Piccirelli. Later in his career, he attended the Hans Hofmann School of Fine Arts. During World War II, Tatti served in the United States Army Air Force, where he spent three years assigned to variety of projects. In 1948, Benedict Tatti married Adele Rosenberg in New York City.

Throughout his career, Tatti continuously experimented with various media. From 1952-1963, Tatti executed sculptural models of architectural and consumer products for the industrial designers, Raymond Loewy Associates; later he became a color consultant for the firm. In the 1960s, influenced by the Abstract Expressionists, Tatti turned from carving directly in wood and stone to creating assemblage sculptures, using bronze metal and other industrial materials. During this period, Tatti spent summers on Monhegan Island in Maine, where he developed his water coloring techniques. In 1963, Tatti was hired to teach sculpture at the High School of Art and Design in New York, a position that he held for fifteen years.

In the 1970s, Tatti, with no previous background in video work developed technology for video imaging. He became an associate member of the Kitchen at the Mercer Arts Center exhibiting his video sculptures along with other early innovators of this new art form. In 1975, he invented a rewind reel adapter device. Despite health problems, Tatti continued to work and exhibit into the 1980s. He assisted his brother, Alexander Tatti and his nephew, Steven Tatti on the restoration of the Statue of Liberty on Ellis Island, which was completed in 1985.

Benedict Tatti received solo and group exhibitions at museums and galleries in the United States and abroad, including the Burr Gallery, Claude Bernard Galleries, Metropolitan Museum of Art, under the Artists for Victory Program, Museum of Modern Art, National Gallery of Art, Northeast Gallery, Pennsylvania Academy of the Fine Arts, and the Roko Gallery. Also, Tatti's work was regularly featured in annual exhibitions of several arts organizations: American Society of Contemporary Artists, Annual Avant Garde Festival, Audubon Artists, Brooklyn Society of Artists, and Painters and Sculptors Society of New Jersey. His awards included the National Soldier Art Competition at the National Gallery of Art (1945); Artist-in-Residence, National Center of Experiments TV, San Francisco, California, (1969); and the Creative Artists Public Service (CAPS), (1972). Tatti's artwork is in the permanent collections of the American Numismatic Society, Art Students League, Dumbarton Oaks, Monhegan Museum, Smithsonian Institution, and the Usdan Center for the Creative and Performing Arts.

Benedict Tatti died on July 30, 1993.

Provenance:

The Benedict Tatti papers were donated by Adele Tatti, widow of Benedict Tatti, in 2010.

Restrictions:

Use of original papers 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.

Occupation:

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

Topic:

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

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

Genre/Form:

Notes

Awards

Lists

Christmas cards

Photographs

Designs

Sketches

Citation:

Benedict Tatti, 1936-2011, bulk 1945-1993. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.tattbene

See more items in:

Benedict Tatti papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b58b3ec4-c37d-49b9-8159-5cff7c512cf1

EDAN-URL:

ead_collection:sova-aaa-tattbene

Creator:

Scurlock, Addison N., 1883-1964  Search this

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

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

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

Custom Craft  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:

115 Boxes

Type:

Collection descriptions

Archival materials

Photographs

Color separation negatives

Matrices, color separation

Dye transfer process

Studio portraits

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

1930-1995, undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC 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). Series 2 primarily consists of color and hand-colored photographs but also includes job envelopes, order forms, correspondence, notes, and other photographic materials such as negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents:

Materials are almost entirely color and hand-colored photographs, but also include job envelopes, order forms, correspondence, notes, and other photographic material types that were included in the overall order. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photographs by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. The series is arranged into four subseries: Subseries 2.1: Clients, Subseries 2.2: Subjects, Subseries 2.3: Weddings, and Subseries 2.4: Hand-colored photographs.

Arrangement:

Arranged in 4 subseries.

2.1: Clients Color photographs

2.2: Subjects Color photographs

2.3: Weddings

2.4: Hand-colored photographs

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. 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:

This series forms part of 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

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

African American photographers  Search this

African American entertainers -- 20th century  Search this

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

Segregation  Search this

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Color separation negatives

Matrices, color separation

Dye transfer process

Studio portraits

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S02

See more items in:

Scurlock Studio Records, Series 2: Color Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8119261bc-4466-4748-b662-9aeef8c02674

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s02

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

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:

3 Boxes

Type:

Collection descriptions

Archival materials

Dye transfer process

Photographs

Matrices, color separation

Color separation negatives

Studio portraits

Place:

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Washington (D.C.) -- Small business -- 20th century

Date:

1979, undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC 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). Series 3 is oversize framed photographic prints of political figures. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

Materials include oversize framed photographic prints of Washington, DC Mayor Marion Barry, and Senator Edward Brooke. The materials are arranged in alphabetical order.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. 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:

This series forms part of 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:

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

African American entertainers -- 20th century  Search this

African American photographers  Search this

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

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

Segregation  Search this

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

Genre/Form:

Dye transfer process

Photographs -- 20th century

Matrices, color separation

Color separation negatives

Studio portraits

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S03

See more items in:

Scurlock Studio Records, Series 3: Framed Prints

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84b25ebcb-58fe-4fa1-a662-f40c683aae82

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s03

Creator:

De Laguna, Frederica, 1906-2004  Search this

McClellan, Catharine  Search this

Swanton, John Reed, 1873-1958  Search this

Guédon, Marie Françoise  Search this

Emmons, George Thornton  Search this

Correspondent:

Stearns, Mary Lee  Search this

Aberle, David F. (David Friend), 1918-2004  Search this

Arensberg, Conrad M. (Conrad Maynadier), 1910-1997  Search this

Baird, Melissa  Search this

Balzer, Marjorie  Search this

Bersch, Gretchen  Search this

Birket-Smith, Kaj  Search this

Black, Lydia  Search this

Boas, Franz, 1858-1942  Search this

Chowning, Ann  Search this

Clark, J. Desmond (John Desmond), 1916-2002  Search this

Codere, Helen F., 1917-2009  Search this

Collins, Henry B. (Henry Bascom), 1899-1987  Search this

Colton, Harold Sellers, 1881-1970  Search this

Conklin, Harold C., 1926-2016  Search this

Corbett, John M.  Search this

Darnell, Regna  Search this

Dauenhauer, Nora  Search this

Dauenhauer, Richard  Search this

Davenport, William  Search this

Dockstader, Frederick J.  Search this

Drucker, Philip, 1911-1982  Search this

Du Bois, Cora Alice, 1903-1991  Search this

Duff, Wilson, 1925-  Search this

Fair, Susan  Search this

Fitzhugh, William W., 1943-  Search this

Foster, George McClelland, 1913-  Search this

Garfield, Viola Edmundson, 1899-1983  Search this

Giddings, James Louis  Search this

Gjessing, Gutorm, 1906  Search this

Grinev, Andrei V.  Search this

Hanable, William S.  Search this

Hara, Hiroko, 1934-  Search this

Haury, Emil W. (Emil Walter), 1904-1992  Search this

Heizer, Robert F. (Robert Fleming), 1915-1979  Search this

Helm, June, 1924-  Search this

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Holtved, Erik  Search this

Jenness, Diamond, 1886-1969  Search this

Kahn, Mimi  Search this

Kan, Sergei  Search this

Krauss, Michael E., 1934-  Search this

Kroeber, A. L. (Alfred Louis), 1876-1960  Search this

Larsen, Helge, 1905-1984  Search this

Leer, Jeff  Search this

Lindgren, E. J. (Ethel John), 1904-1988  Search this

Lomax, Alan, 1915-2002  Search this

Low, Jean  Search this

Mathiassen, Therkel, 1892-1967  Search this

Mead, Margaret, 1901-1978  Search this

Olson, Wallace  Search this

Rainey, Froelich G. (Froelich Gladstone), 1907-1992  Search this

Riddell, Francis A. (Francis Allen), 1921-2002  Search this

Ritchie, William A. (William Augustus), 1903-1995  Search this

Schneider, William  Search this

Schumacher, Paul J. F.  Search this

Shinkwin, Anne D.  Search this

Spier, Leslie, 1893-1961  Search this

Spiro, Melford E., 1920-2014  Search this

Underhill, Ruth, 1883-1984  Search this

VanStone, James W.  Search this

Weiner, Annette B., 1933-  Search this

Weitzner, Bella, 1891?-1988  Search this

White, Leslie A., 1900-1975  Search this

Woodbury, Natalie Ferris Sampson  Search this

Woodbury, Richard B. (Richard Benjamin), 1917-2009  Search this

Workman, Karen Wood  Search this

Workman, William B.  Search this

Names:

American Anthropological Association  Search this

Bryn Mawr College  Search this

Photographer:

Smith, Harlan Ingersoll, 1872-1940  Search this

Extent:

2 Map drawers

38 Linear feet (71 document boxes, 1 half document box, 2 manuscript folders, 4 card file boxes, 1 flat box, and 1 oversize box)

Culture:

Yakutat Tlingit  Search this

Tutchone  Search this

Tsimshian  Search this

Indians of North America -- Subarctic  Search this

Tlingit  Search this

Tanana  Search this

Kawchodinne (Hare)  Search this

Ahtna (Ahtena)  Search this

Athapascan Indians  Search this

Northern Athabascan  Search this

Chugach  Search this

Kalaallit (Greenland Eskimo)  Search this

Indians of North America -- California  Search this

Eyak  Search this

Indians of North America -- Northwest Coast of North America  Search this

Degexit'an (Ingalik)  Search this

Arctic peoples  Search this

Type:

Collection descriptions

Archival materials

Map drawers

Manuscripts

Maps

Field notes

Correspondence

Photographs

Sound recordings

Place:

Alaska -- Archaeology

Aishihik (Yukon)

Angoon (Alaska)

Alaska -- Ethnology

Chistochina (Alaska)

Greenland

Copper River (Alaska)

Klukshu (Yukon)

Hoonah (Alaska)

Kodiak Island (Alaska)

Klukwan (Alaska)

Saint Lawrence River Valley

New Brunswick -- Archaeology

Yukon Island (Alaska)

Date:

1890-2004

bulk 1923-2004

Summary:

These papers reflect the professional and personal life of Frederica de Laguna. The collection contains correspondence, field notes, writings, newspaper clippings, writings by others, subject files, sound recordings, photographs, and maps. A significant portion of the collection consists of de Laguna's correspondence with family, friends, colleagues, and students, as well as her informants from the field. Her correspondence covers a wide range of subjects such as family, health, preparations for field work, her publications and projects, the Northwest Coast, her opinions on the state of anthropology, and politics. The field notes in the collection mainly represent de Laguna and her assistants' work in the Northern Tlingit region of Alaska from 1949 to 1954. In addition, the collection contains materials related to her work in the St. Lawrence River Valley in Ontario in 1947 and Catherine McClellan's field journal for her research in Aishihik, Yukon Territory in 1968. Most of the audio reels in the collection are field recordings made by de Laguna, McClellan, and Marie-Françoise Guédon of vocabulary and songs and speeches at potlatches and other ceremonies from 1952 to 1969. Tlingit and several Athabaskan languages including Atna, Tutchone, Upper Tanana, and Tanacross are represented in the recordings. Also in the collection are copies of John R. Swanton's Tlingit recordings and Hiroko Hara Sue's recordings among the Hare Indians. Additional materials related to de Laguna's research on the Northwest Coast include her notes on clans and tribes in Series VI: Subject Files and her notes on Tlingit vocabulary and Yakutat names specimens in Series X: Card Files. Drafts and notes for Voyage to Greenland, Travels Among the Dena, and The Tlingit Indians can be found in the collection as well as her drawings for her dissertation and materials related to her work for the Handbook of North American Indians and other publications. There is little material related to Under Mount Saint Elias except for correspondence, photocopies and negatives of plates, and grant applications for the monograph. Of special interest among de Laguna's writings is a photocopy of her historical fiction novel, The Thousand March. Other materials of special interest are copies of her talks, including her AAA presidential address, and the dissertation of Regna Darnell, a former student of de Laguna's. In addition, materials on the history of anthropology are in the collection, most of which can found with her teaching materials. Although the bulk of the collection documents de Laguna's professional years, the collection also contains newspaper articles and letters regarding her exceptional performance as a student at Bryn Mawr College and her undergraduate and graduate report cards. Only a few photographs of de Laguna can be found in the collection along with photographs of her 1929 and 1979 trips to Greenland.

Scope and Contents:

These papers reflect the professional and personal life of Frederica de Laguna. The collection contains correspondence, field notes, writings, newspaper clippings, writings by others, subject files, sound recordings, photographs, and maps.

A significant portion of the collection consists of de Laguna's correspondence with family, friends, colleagues, and students, as well as her informants from the field. Her correspondence covers a wide range of subjects such as family, health, preparations for field work, her publications and projects, the Northwest Coast, her opinions on the state of anthropology, and politics. Among her notable correspondents are Kaj Birket-Smith, J. Desmond Clark, Henry Collins, George Foster, Viola Garfield, Marie-Françoise Guédon, Diamond Jenness, Michael Krauss, Therkel Mathiassen, Catharine McClellan, and Wallace Olson. She also corresponded with several eminent anthropologists including Franz Boas, William Fitzhugh, J. Louis Giddings, Emil Haury, June Helm, Melville Herskovitz, Alfred Kroeber, Helge Larsen, Alan Lomax, Margaret Mead, Froelich Rainey, Leslie Spier, Ruth Underhill, James VanStone, Annette Weiner, and Leslie White.

The field notes in the collection mainly represent de Laguna and her assistants' work in the Northern Tlingit region of Alaska from 1949 to 1954. In addition, the collection contains materials related to her work in the St. Lawrence River Valley in Ontario in 1947 and Catharine McClellan's field journal for her research in Aishihik, Yukon Territory in 1968. Most of the audio reels in the collection are field recordings made by de Laguna, McClellan, and Marie-Françoise Guédon of vocabulary and songs and speeches at potlatches and other ceremonies from 1952 to 1969. Tlingit and several Athapaskan languages including Atna, Tutochone, Upper Tanana, and Tanacross are represented in the recordings. Also in the collection are copies of John R. Swanton's Tlingit recordings and Hiroko Hara's recordings among the Hare Indians. Additional materials related to de Laguna's research on the Northwest Coast include her notes on clans and tribes in Series VI: Subject Files and her notes on Tlingit vocabulary and Yakutat names specimens in Series 10: Card Files.

Drafts and notes for Voyage to Greenland, Travels Among the Dena, and The Tlingit Indians can be found in the collection as well as her drawings for her dissertation and materials related to her work for the Handbook of North American Indians and other publications. There is little material related to Under Mount Saint Elias except for correspondence, photocopies and negatives of plates, and grant applications for the monograph. Of special interest among de Laguna's writings is a photocopy of her historical fiction novel, The Thousand March.

Other materials of special interest are copies of her talks, including her AAA presidential address, and the dissertation of Regna Darnell, a former student of de Laguna's. In addition, materials on the history of anthropology are in the collection, most of which can found with her teaching materials. The collection also contains copies of photographs from the Harriman Alaska Expedition of 1899. Although the bulk of the collection documents de Laguna's professional years, the collection also contains newspaper articles and letters regarding her exceptional performance as a student at Bryn Mawr College and her undergraduate and graduate report cards. Only a few photographs of de Laguna can be found in the collection along with photographs of her 1929 and 1979 trips to Greenland.

Arrangement:

Arranged in 12 series: (1) Correspondence, 1923-2004; (2) Field Research, 1947-1968; (3) Writings, 1926-2001; (4) Teaching, 1922-1988; (5) Professional Activities, 1939-2001; (6) Subject Files, 1890-2002; (7) Writings by Others, 1962-2000; (8) Personal, 1923-2000; (9) Photographs, 1929-1986; (10) Card Files; (11) Maps, 1928-1973; (12) Sound Recordings, 1904-1973

Biographical / Historical:

Frederica Annis Lopez de Leo de Laguna was a pioneering archaeologist and ethnographer of northwestern North America. Known as Freddy by her friends, she was one of the last students of Franz Boas. She served as first vice-president of the Society for American Archaeology (SAA) from 1949 to 1950 and as president of the American Anthropological Association (AAA) from 1966-1967. She also founded the anthropology department at Bryn Mawr College where she taught from 1938 to 1972. In 1975, she and Margaret Mead, a former classmate, were the first women to be elected to the National Academy of Sciences.

Born on October 3, 1906 in Ann Arbor, Michigan, de Laguna was the daughter of Theodore Lopez de Leo de Laguna and Grace Mead Andrus, both philosophy professors at Bryn Mawr College. Often sick as a child, de Laguna was home-schooled by her parents until she was 9. She excelled as a student at Bryn Mawr College, graduating summa cum laude with a degree in politics and economics in 1927. She was awarded the college's prestigious European fellowship, which upon the suggestion of her parents, she deferred for a year to study anthropology at Columbia University under Boas. Her parents had recently attended a lecture given by Boas and felt that anthropology would unite her interests in the social sciences and her love for the outdoors.

After a year studying at Columbia with Boas, Gladys Reichard, and Ruth Benedict, de Laguna was still uncertain whether anthropology was the field for her. Nevertheless, she followed Boas's advice to spend her year abroad studying the connection between Eskimo and Paleolithic art, which would later became the topic of her dissertation. In the summer of 1928, she gained fieldwork experience under George Grant MacCurdy visiting prehistoric sites in England, France, and Spain. In Paris, she attended lectures on prehistoric art by Abbe Breuil and received guidance from Paul Rivet and Marcelin Boule. Engaged to an Englishman she had met at Columbia University, de Laguna decided to also enroll at the London School of Economics in case she needed to earn her degree there. She took a seminar with Bronislaw Malinowski, an experience she found unpleasant and disappointing.

It was de Laguna's visit to the National Museum in Copenhagen to examine the archaeological collections from Central Eskimo that became the turning point in her life. During her visit, she met Therkel Mathiassen who invited her to be his assistant on what would be the first scientific archaeological excavation in Greenland. She sailed off with him in June 1929, intending to return early in August. Instead, she decided to stay until October to finish the excavation with Mathiassen, now convinced that her future lay in anthropology. When she returned from Greenland she broke off her engagement with her fiancé, deciding that she would not able to both fully pursue a career in anthropology and be the sort of wife she felt he deserved. Her experiences in Greenland became the subject of her 1977 memoir, Voyage to Greenland: A Personal Initiation into Anthropology.

The following year, Kaj Birket-Smith, whom de Laguna had also met in Copenhagen, agreed to let her accompany him as his research assistant on his summer expedition to Prince William Sound and Cook Inlet. When Birket-Smith fell ill and was unable to go, de Laguna was determined to continue on with the trip. She convinced the University of Pennsylvania Museum to fund her trip to Alaska to survey potential excavation sites and took as her assistant her 20 year old brother, Wallace, who became a geologist. A close family, de Laguna's brother and mother would later accompany her on other research trips.

In 1931, the University of Pennsylvania Museum hired de Laguna to catalogue Eskimo collections. They again financed her work in Cook Inlet that year as well as the following year. In 1933, she earned her PhD from Columbia and led an archaeological and ethnological expedition of the Prince William Sound with Birket-Smith. They coauthored "The Eyak Indians of the Copper River Delta, Alaska," published in 1938. In 1935, de Laguna led an archaeological and geological reconnaissance of middle and lower Yukon Valley, traveling down the Tanana River. Several decades later, the 1935 trip contributed to two of her books: Travels Among the Dena, published in 1994, and Tales From the Dena, published in 1997.

In 1935 and 1936, de Laguna worked briefly as an Associate Soil Conservationist, surveying economic and social conditions on the Pima Indian Reservation in Arizona. She later returned to Arizona during the summers to conduct research and in 1941, led a summer archaeological field school under the sponsorship of Bryn Mawr College and the Museum of Northern Arizona.

By this time, de Laguna had already published several academic articles and was also the author of three fiction books. Published in 1930, The Thousand March: Adventures of an American Boy with the Garibaldi was her historical fiction book for juveniles. She also wrote two detective novels: The Arrow Points to Murder (1937) and Fog on the Mountain (1938). The Arrow Points to Murder is set in a museum based on her experiences at the University of Pennsylvania Museum and the American Museum of National History. Fog on the Mountain is set in Cook Inlet and draws upon de Laguna's experiences in Alaska. Both detective novels helped to finance her research.

De Laguna began her long career at Bryn Mawr College in 1938 when she was hired as a lecturer in the sociology department to teach the first ever anthropology course at the college. By 1950, she was chairman of the joint department of Sociology and Anthropology, and in 1967, the chairman of the newly independent Anthropology Department. She was also a visiting professor at the University of Pennsylvania (1947-1949; 1972-1976) and at the University of California, Berkeley (1959-1960; 1972-1973.)

During World War II, de Laguna took a leave of absence from Bryn Mawr College to serve in the naval reserve from 1942 to 1945. As a member of WAVES (Women Accepted for Voluntary Emergency Service), she taught naval history and codes and ciphers to women midshipmen at Smith College. She took great pride in her naval service and in her later years joined the local chapter of WAVES National, an organization for former and current members of WAVES.

In 1950, de Laguna returned to Alaska to work in the Northern Tlingit region. Her ethnological and archaeological study of the Tlingit Indians brought her back several more times throughout the 1950s and led to the publication of Under Mount Saint Elias in 1972. Her comprehensive three-volume monograph is still considered the authoritative work on the Yakutat Tlingit. In 1954, de Laguna turned her focus to the Atna Indians of Copper River, returning to the area in 1958, 1960, and 1968.

De Laguna retired from Bryn Mawr College in 1972 under the college's mandatory retirement policy. Although she suffered from many ailments in her later years including macular degeneration, she remained professionally active. Five decades after her first visit to Greenland, de Laguna returned to Upernavik in 1979 to conduct ethnographic investigations. In 1985, she finished editing George Thornton Emmons' unpublished manuscript The Tlingit Indians. A project she had begun in 1955, the book was finally published in 1991. In 1986, she served as a volunteer consultant archaeologist and ethnologist for the U. S. Forest Service in Alaska. In 1994, she took part in "More than Words . . ." Laura Bliss Spann's documentary on the last Eyak speaker, Maggie Smith Jones. By 2001, de Laguna was legally blind. Nevertheless, she continued working on several projects and established the Frederica de Laguna Northern Books Press to reprint out-of-print literature and publish new scholarly works on Arctic cultures.

Over her lifetime, de Laguna received several honors including her election into the National Academy Sciences in 1976, the Distinguished Service Award from AAA in 1986, and the Lucy Wharton Drexel Medal from the University of Pennsylvania in 1999. De Laguna's work, however, was respected by not only her colleagues but also by the people she studied. In 1996, the people of Yakutat honored de Laguna with a potlatch. Her return to Yakutat was filmed by Laura Bliss Spann in her documentary Reunion at Mt St. Elias: The Return of Frederica de Laguna to Yakutat.

At the age of 98, Frederica de Laguna passed away on October 6, 2004.

Sources Consulted

Darnell, Regna. "Frederica de Laguna (1906-2004)." American Anthropologist 107.3 (2005): 554-556.

de Laguna, Frederica. Voyage to Greenland: A Personal Initiation into Anthropology. New York: W.W. Norton Co, 1977.

McClellan, Catharine. "Frederica de Laguna and the Pleasures of Anthropology." American Ethnologist 16.4 (1989): 766-785.

Olson, Wallace M. "Obituary: Frederica de Laguna (1906-2004)." Arctic 58.1 (2005): 89-90.

Related Materials:

Although this collection contains a great deal of correspondence associated with her service as president of AAA, most of her presidential records can be found in American Anthropological Association Records 1917-1972. Also at the National Anthropological Archives are her transcripts of songs sung by Yakutat Tlingit recorded in 1952 and 1954 located in MS 7056 and her notes and drawings of Dorset culture materials in the National Museum of Canada located in MS 7265. The Human Studies Film Archive has a video oral history of de Laguna conducted by Norman Markel (SC-89.10.4).

Related collections can also be found in other repositories. The University Museum of the University of Pennsylvania holds materials related to work that de Laguna carried out for the museum from the 1930s to the 1960s. Materials relating to her fieldwork in Angoon and Yakutat can be found in the Rasmuson Library of the University of Alaska, Fairbanks in the papers of Francis A. Riddell, a field assistant to de Laguna in the early 1950s. Original photographs taken in the field in Alaska were deposited in the Alaska State Library, Juneau. Both the Archive of Folk Culture at the Library of Congress and the American Philosophical Library have copies of her field recordings and notes. The American Museum of Natural History has materials related to her work editing George T. Emmons' manuscript. De Laguna's papers can also be found at the Bryn Mawr College Archives.

Provenance:

These papers were donated to the National Anthropological Archives by Frederica de Laguna.

Restrictions:

Some of the original field notes are restricted due to Frederica de Laguna's request to protect the privacy of those accused of witchcraft. The originals are restricted until 2030. Photocopies may be made with the names of the accused redacted.

Rights:

Contact repository for terms of use.

Topic:

Language and languages -- Documentation  Search this

Anthropology -- History  Search this

Genre/Form:

Manuscripts

Maps

Field notes

Correspondence

Photographs

Sound recordings

Citation:

Frederica de Laguna papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1998-89

See more items in:

Frederica de Laguna papers

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3363424fd-e665-498b-a37c-9f4a81302a35

EDAN-URL:

ead_collection:sova-naa-1998-89

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

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.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