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Underwood & Underwood Glass Stereograph Collection

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

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

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

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

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

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

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

Series 1, H. C. White glass plates

Series 2, American Stereoscpopic Co. glass plates

Series 3, Underwood & Underwood glass plates

Series 4, Broken glass plates

Series 5, Original company catalogs

Series 6, Paper stereographs

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

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

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

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

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

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

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

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

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

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

NOTES

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

2. Tbid., p. 62.

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

4. Points of View., p. 66.

5. Darrah, p. 47.

6. points of View, p. 66.

7. Ibid., p. 68.

8. Darrah, p. 47.

9. Points of View, p. 70.

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

12. Darrah, p. 48.

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

14. Darrah, p. 48.

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

Underwood & Underwood stereographs in this collection and the Smithsonian Underwood & Underwood Collection originally were components of the same company file.
Provenance:
Collection donated by June Stratton (Mrs. John M.) on December 19, 1966.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Traveling sales personnel  Search this
Travel photography -- 1890-1930  Search this
Genre/Form:
Stereographs -- 1890-1930
Photographs -- Interpositives -- Glass -- 1890-1930
Photographs -- Black-and-white negatives -- Glass -- 1890-1930
Photographs -- 1900-1950
Stereoscopic photographs -- Glass -- 1890-1930
Lantern slides
Photographs -- 1890-1900
Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0143
See more items in:
Underwood & Underwood Glass Stereograph Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0143
Online Media:

Acres of oyster-beds at Cancale, and outlook N.E. over bay. [Active no. 9610 : stereo interpositive.]

Topic:
FRANCE TOUR
Publisher:
Underwood & Underwood  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (5" x 8".)
Type:
Archival materials
Photographs
Stereoscopic photographs
Place:
Cancale (France)
France
Scope and Contents:
Cancale, France. Woman in foreground extends arms, holding baskets. Apparently a copy, not printed from the original negative, but from same negative as RSN 14637, a copy negative.
Arrangement:
Formerly stored in box 3.2.31 [207].
Local Numbers:
RSN 23422

AC0143-0023422.tif (AC Scan No.)
General:
Company acc. no. 96976. Box containing RSN 14637 has cards with dates 1905 to 1910.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Bays -- France  Search this
Boats -- France  Search this
Fishing industry -- France  Search this
Islands -- France  Search this
Oceans -- France  Search this
Oysters -- France  Search this
Genre/Form:
Photographs -- 1900-1910 -- Interpositives -- Glass
Stereoscopic photographs
Collection Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
See more items in:
Underwood & Underwood Glass Stereograph Collection
Underwood & Underwood Glass Stereograph Collection / Series 3: Underwood & Underwood glass plates / 3.2: Underwood and Underwood Positives / RSN Numbers 23360-23461
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref21189

Film Negatives

Collection Creator:
Archipenko, Alexander, 1887-1964  Search this
Type:
Archival materials
Scope and Contents note:
Film negatives of Mexico are mainly of San Migeul de Allende and Escuela de Bellas Artes; art and architecture, landscapes, and people; and copy negatives of many items in photograph album, vol. 5.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Lantern slides and glass plate negatives are housed separately and closed to researchers.
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:
Alexander Archipenko papers, 1904-1986, bulk 1930-1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.archalex, Subseries 10.9.1
See more items in:
Alexander Archipenko papers
Alexander Archipenko papers / Series 10: Photographic Material / 10.9: Negatives
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-archalex-ref414

Henry S. Bukowski Big Band Collection, [primarily photoprints]

Creator:
Bukowski, Henry S., 1922-  Search this
National Museum of American History (U.S.). Division of Community Life  Search this
Extent:
1 Cubic foot (3 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Date:
ca. 1930s-1940s
Summary:
Publicity photographs and postcards of entertainers, mostly jazz musicians and leaders of dance bands, etc., and related memorabilia.
Scope and Contents note:
The collection contains primarily publicity photographs: a mixture of prints from original negatives, prints from copy negatives, etc. Most are 8" x 10" or 5" x 7", some smaller, and some are postcard size or smaller (these include Areal photo@ postcards, i.e., original photographic images printed on special silver gelatin paper). A few photomechanical images are included, as well as a few letters from celebrities to Mr. Bukowski, 1938-1939. The earliest item noted in the collection is a 1933 Christmas card. Several examples of Gene Krupa=s novelty pin, consisting of crossed drumsticks and a miniature phonograph record, are included. The actual number of items in each folder is shown in the Container List; items are conventional silver gelatin photoprints unless otherwise identified. There is also a scrapbook containing news clippings, photographs, and other memorabilia, with a list, affixed to the back cover, of bands which Mr. Bukowski heard in person. Although some of the photographs bear autographs with generic, somewhat impersonal messages, many are addressed personally to the collector and are fine examples of the interaction between celebrity and fan. The notation Asigned@ in the Container List identifies items autographed by performers.

Most of the subjects are musicians and entertainers associated with big jazz and popular music bands of the period; however, most of the images are studio publicity portraits of individual bandleaders and stars, rather than pictures of entire bands. Photographers represented include Bruno of Hollywood and Maurice Seymour, although many others are not identified.

Publicity photographs often were not archivally processed, and many photoprints in the collection show evidence of fading and yellowing from inadequate fixation or washing. Prints which are in exceptionally good condition are noted in the Container List.

Mr. Bukowski formed this collection in the 1930s and 1940s, but he added a few related items in the 1980s and 1990s.
Arrangement:
Collection is arranged into one series.
Biographical/Historical note:
Henry S. Bukowski collected these pictures and other memorabilia during the 1930s and 1940s as a fan of big band music. He began his collection while in grammar school through library research, by locating bands active in New York City, then sending them penny postcards to request autographed publicity pictures. He also listened to late-night radio broadcasts and copied the addresses of bands based in other parts of the country. AOut went my penny postcards,@ he notes. After hearing trombonist Tommy Dorsey=s band at a local ballroom at age fourteen, he became interested in the instrument, and his older brothers Bernie and Ted bought him his first trombone from a pawnshop for ten dollars. When he was old enough, he frequented the New Haven Arena and the State Theatre in Hartford, Connecticut to hear bands in person. These bands and the admission prices he paid (25 to 99 cents) are listed in his scrapbook. Mr. Bukowski maintained an avid interest in popular Abig band@ jazz and swing music as both a fan and a player, and eventually served with a U.S. Army band for three and a half years after being drafted.

Mr. Bukowski was born on April 11, 1922 in Wallingford, Connecticut, the youngest of nine children. He was married to Mildred Moss for forty-eight years until her death October 15, 2000; they had no children. In a letter of September 1, 2001, he reported that he had one surviving sibling, a brother in Wallingford.

Source

Letter, 2 pp., in Archives Center collection control file. The Archives Center is grateful to Mr. Bukowski for his generous gift as well as his thoughtfulness in providing the above information.
Provenance:
Collection donated by Henry S. Bukowski, 1984.
Restrictions:
Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Most of the photographs presumably are under copyright, but they were made and widely distributed for free publication.
Topic:
Publicity  Search this
Popular music -- 20th century -- United States  Search this
Portraits  Search this
Musicians -- 1900-1950  Search this
Big bands  Search this
Music -- 20th century -- United States  Search this
Jazz -- 20th century -- United States  Search this
Genre/Form:
Photographs -- 1900-1950
Citation:
Henry S. Bukowski Big Band Collection, ca. 1930s-1940s, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0678
See more items in:
Henry S. Bukowski Big Band Collection, [primarily photoprints]
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0678
Online Media:

[Chatham]: containers, ivy and dog on front porch.

Landscape architect:
Shipman, Ellen  Search this
Photographer:
Johnston, Frances Benjamin, 1864-1952  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Chatham (Fredericksburg, Virginia)
United States of America -- Virginia -- City of Fredericksburg -- Fredericksburg
Date:
[between 1914 and 1949?]
General:
Mount reads: "Edward Van Altena."
Historic plate number: "57."
Historic plate caption: "Chatham."
Related Materials:
Black and white film copy negative is located at the Library of Congress Prints and Photographs Division, Carnegie Survey of the Architecture of the South. See LC-USZ62-137842.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Spring  Search this
Dogs  Search this
Containers  Search this
Stairs  Search this
Ivy  Search this
Box  Search this
Bells  Search this
Gardens -- Virginia -- Fredericksburg  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item VA037003
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Virginia / VA037: Fredericksburg -- Chatham
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref19261

[Games : stereograph]

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
1 Item
Container:
Box 2
Type:
Archival materials
Photographs
Albumen prints
Photographs
Stereographs
Date:
[ca. 1860.]
Scope and Contents:
First item in group: two men playing chess with four onlookers. Albumen print, probably from copy negative. Flat yellow mount, from "Miscellaneous Groups" series with caption imprint, "No. 416---Chess Playing."
Restrictions:
Unrestricted research use on site. Photographs must be handled with white cotton gloves, unless protected by plastic sleeves.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Chess  Search this
Games  Search this
Board games  Search this
Genre/Form:
Albumen prints -- 1860-1880
Photographs -- 1850-1900
Stereographs -- 1860-1880.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.6: Stereographs / Games
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s02-ref2841

Newspapers : stereographs

Collector:
Warshaw, Isadore, 1900-1969  Search this
Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
1 Stereograph (Silver albumen on paper, mounted.)
Container:
Box 4
Type:
Archival materials
Photographs
Stereographs
Photographs
Place:
Philadelphia (Pa.) -- 1870-1880
Pennsylvania
Date:
ca. 1875-1885
Scope and Contents:
One image: "Ledger Building, Chestnut Street, Phila., Pa." from the American Scenery series, showing 6-story building and street with horse-drawn vehicles. Albumen prints, hand-colored, on flat yellow mount. Images appear to be from copy negatives.
Restrictions:
Unrestricted research use on site. Photographs must be handled with white cotton gloves, unless protected by plastic sleeves.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Newspapers  Search this
Streets -- Pennsylvania -- Philadelphia.  Search this
Buildings -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Photographs -- 1870-1900 -- Black-and-white photoprints -- Stereographs
Photographs -- 1850-1900 -- Black-and-white photoprints -- Silver albumen -- Stereographs
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.6: Stereographs / Newspapers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s02-ref2846

Copy Negatives

Collection Creator:
Leo Castelli Gallery  Search this
Container:
Box 179, Folder 30-31
Type:
Archival materials
Date:
circa 1960-1979
Scope and Contents:
Includes works by Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Robert Rauschenberg, Richard Serra, Keith Sonnier, and Frank Stella.
Collection Restrictions:
Use of original records 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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 10: Photographs / 10.1: Photographs / Artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-leocast-ref14557
Online Media:

Hildreth Meière papers

Creator:
Meiere, M. Hildreth, d. 1961  Search this
Names:
Exposition internationale (1937 : Paris, France)  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Peter A. Juley & Son  Search this
United States. Navy  Search this
Abbott, Berenice, 1898-1991  Search this
Dunn, Louise Meière  Search this
Extent:
27.3 Linear feet
0.068 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Slides (photographs)
Transcripts
Video recordings
Photographs
Poetry
Diaries
Sketchbooks
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1901-2011
bulk 1911-1960
Summary:
The papers of Hildreth Meière measure 27.3 linear feet and 0.068 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.
Scope and Contents:
The papers of Hildreth Meière measure 27.3 linear feet and 0.068 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.

Biographical material includes an autobiographical narrative written by Meière, her many awards and certificates, membership information, passports, her U.S. Navy service records from World War I, documentation of her brief marriage and family genealogy, obituaries, and memorial service documentation. Also found are extensive writings and research conducted by Meière's daughter, Louise Meière Dunn, which include a complete list of Meière's commissions, detailed biographical narratives, and records of Meière's works held elsewhere.

The papers contain Meière's personal and family correspondence, travel correspondence, and business correspondence regarding professional activities. Much of the correspondence with family and friends was written during Meière's extensive travels over the world. Both family and travel correspondence have extensive indexes, summaries, and in some cases, transcripts prepared by Meière's daughter, Louise Meière Dunn. Some of the indexes, summaries and transcripts are digital. Writings include poetry and diaries kept during childhood and school years, travel diaries, essays and talks written about Meière's work, writings Meière prepared for committees of the National Mural Painters Association, and detailed travelogues of her trips to Constantinople and the Balkans in 1933, to Russia in 1936, her "Grand Tour" to Australia, Southeast Asia, India, Africa, and Europe in 1952-1953, and her "Holy Land" tour of the Middle East in 1954.

Civilian War Service Records document Meière's efforts at war relief organization during and after the Spanish Civil War and during World War II. The Spanish Civil War files include extensive photographs provided by the Spanish government as well as three motion picture films documenting refugees and damaged architecture and public artwork shot by Meière during a trip sponsored by Franco's government. World War II activities concern Meière's efforts to organize artists in the United States to design and execute murals and other works of public art at military facilities around the U.S.

Travel records include maps, ephemera, slides, and 83 motion picture films taken on trips abroad between 1933 and 1958. Trips include Eastern and Western Europe, the Mediterranean Region and the Middle East, South America, Mexico and Guatemala, India, Sub-Saharan Africa, Southeast Asia, Australia, New Zealand, Scandinavia, and the UK. The motion picture films are mostly shot in Kodachrome color and many contain intertitles prepared by Meière to identify locations for travel lectures.

Printed materials consist primarily of clippings and publications that reference Meière's work, contain profiles of her, or contain published writings by her. A single published educational film is also found, given to her by an Australian filmmaker friend. Additional photographs, digital photographs and moving images include personal photographs of Meière, with portraits by Peter A. Juley and Sons and Berenice Abbott, photographs of many of her commissioned works, and a few photographs of artwork by others. Home movies show Meière with friends in 1926 and 1940. Among the photographic documentation of artworks by Meière and others are motion picture films of the 1939 New York World's Fair, the D.C. Municipal Building Frieze, and the 1937 Paris Fair; also found are 311 lantern slides and 201 glass copy negatives of her own completed works as well as murals she documented while traveling, notably murals in Norway and Oberammergau, Bavaria, taken in the 1930s.

Eight sketchbooks date to her early years as an art student and artist and include many figure studies, landscapes, and theatrical sketches made at home and abroad.
Arrangement:
This collection is arranged in 8 series. Indexes, summaries, and transcripts prepared by Louise Meière Dunn that relate directly to archival materials in the collection are found throughout the collection with the material they describe. These indices are particularly rich in Series 2, Correspondence.

Series 1: Biographical Material, 1915-2003 (0.6 linear feet; Boxes 1, 14, OV18)

Series 2: Correspondence, 1901-2011 (3 linear feet; Boxes 1-4, RD19, 0.038 GB; ER01-ER03)

Series 3: Writings, 1904-1960 (1.3 linear feet; Boxes 4-5)

Series 4: Civilian War Service Records, 1938-2006 (1.3 linear feet; Boxes 5-6, 15, FC 28-30)

Series 5: Travel Records, 1933-1958 (12.8 linear feet; Boxes 6-10, 15, OV18, FC 31-111)

Series 6: Printed Material, 1913-1998 (2.1 linear feet; Boxes 10-12, 15, FC 112)

Series 7: Photographs and Moving Images, 1915-1966 (5.8 linear feet; Boxes 12-13, 16, 20-27, FC 17, 113-127, 0.029 GB; ER04)

Series 8: Sketchbooks, 1911-1922 (0.4 linear feet; Box 13)
Biographical / Historical:
Hildreth Meière (1892-1961) was born in Flushing, New York, and had a prolific career from 1921-1961 as an architectural muralist working primarily in an Art Deco style. Meière painted murals and designed for various mediums including mosaic, metal, and stained glass. In 1956 the American Institute of Architects awarded Meière their Fine Arts Medal.

Meière was educated at New York's Convent of the Sacred Heart, Manhattanville, the Art Students League in New York, the California School of Fine Arts (now San Francisco Art Institute), and the School of the Art Institute of Chicago, in addition to pursuing studies in Italy. Her major commissions include the Nebraska State Capitol at Lincoln, the National Academy of Sciences, the Resurrection Chapel of the National Cathedral in Washington, D.C. In New York, she designed the Art Deco plaques on the exterior wall of Radio City Music Hall; created mosaic interiors for the Irving Trust Building at 1 Wall Street; and provided ecclesiastical decorations for St. Patrick's Cathedral, St. Bartholomew's Episcopal Church, Temple Emanu-El, and elsewhere. She also created murals for the Chicago 1933 Century of Progress Fair, and the 1939 New York World's Fair.

She was also an active officer in the Art Students League and the National Society of Mural Painters. Some of her most inspired collaborations were with the architect Bertram Goodhue in the 1920s, and only his sudden death in 1924 put an end to them, although some projects were finished with the successor firm.

Meière died in 1961 at the age of 68. Her work is remembered in several major publications, including The Art Deco Murals of Hildreth Meière by Catherine Coleman Brawer and Kathleen Murphy Skolnik, with photographs by Meière's granddaughter, Hildreth Meière Dunn, published in 2014; and the catalog of the 2009 exhibition at St. Bonaventure University, curated by Brawer and photographed by Dunn, entitled Walls Speak: the Narrative Art of Hildreth Meière.
Provenance:
A majority of the collection placed on deposit 2001 by Louise Meière Dunn, daughter of Hildreth Meière. The collection was donated incrementally by Dunn through 2012. Donations occurred 2001-2007, and again in 2010-2012.
Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Mosaicists -- New York (State) -- New York  Search this
Topic:
War relief  Search this
Travel  Search this
World War, 1939-1945  Search this
World War I, 1914-1918  Search this
Women artists  Search this
Art commissions  Search this
Motion pictures (visual works)  Search this
Genre/Form:
Slides (photographs)
Transcripts
Video recordings
Photographs
Poetry
Diaries
Sketchbooks
Citation:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meiemari
See more items in:
Hildreth Meière papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-meiemari
Online Media:

Glass Copy Negatives from Box 13, Folder 13

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Container:
Box 27
Type:
Archival materials
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Hildreth Meière papers
Hildreth Meière papers / Series 7: Photographs and Moving Images
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-meiemari-ref1316

Photographs and Moving Images

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Extent:
5.8 Linear feet (Boxes 12-13, 16, 20-27, FC 17, FC 114-127)
0.029 Gigabytes (ER04)
Type:
Archival materials
Gigabytes
Date:
circa 1915-1966
Scope and Contents:
Photographs and digital photographs and moving images include personal photographs and home movies of Meière, family, and associates, and photographs and motion picture film of artworks by Meière and others. In addition to printed and digital photographs, negatives, slides, and transparencies, this series contains 311 lantern slides, 201 glass negatives, 8 original film reels, and duplicates of those film reels on 8 film reels and 2 videocassettes (HDCAM).

Personal photographs include numerous portraits of Meière throughout her life, from her time in school to her time in the U. S. Navy during WWI, and later portraits taken by Peter A. Juley and Sons and Berenice Abbott. Other personal photographs are found with childhood friend Katherine Harvey in costume, as well as autographed theatrical photographs of actresses Marjorie Patterson and Margaret Anglin by Sarony and Charles Frohman. A motion picture film contains home movies shot in 1926 and 1940 in New York City on one film reel. Family slides of homes and family members are also found, along with photographs of Meière with personal and professional associates, including formal group photos of annual New York City Arts Commission dinners, Meière accepting her honorary doctorate at Manhattanville College, and Meière riding camels in Egypt.

Photographed artworks by Meière include snapshots of sketches for some of her earliest commissions from 1924, lantern slides and copy negatives of later commissions, lantern slides and glass negatives of a series of drawings Meière made of the 1934 performance of the passion play in Oberammergau, Germany, as well as murals in Oberammergau, motion picture film of Meière's and other artists' murals and sculptures at the 1939 New York World's Fair on 3 film reels, and motion picture film of the Municipal Center Frieze in Washington, DC on 1 film reel. Triptychs created by Meière during WWII, mainly for the Citizen's committee for the Army and Navy, are documented in a film documentary, "The Making of a Triptych," on 2 film reels, and in 25 color lantern slides and color transparencies. Numerous photographs of various commissions by Meière are also found.

Photographed artworks by others include a bust of Meière by James Drummond Herbert, slides of the Brussels Fair of 1958, slides of cave paintings in Italy, France, and Lebanon; a set of slides of Flemish paintings, and a large set of glass copy negatives and lantern slides of murals in Norway, possibly taken during Meière's 1932 trip to Scandinavia. A reel of film shot at the Paris Fair of 1937 is also found.
Arrangement:
Glass plate copy negatives and lantern slides in this series are housed separately.

See also Series 5, Travel Records, for a very large series of slides and motion picture film, which includes images of mosaics, architecture, and international fairs. Additional photographs are also found in Series 1, Biographical Material, in the Dunns' research on Meière's Century of Progress Murals from the Chicago World's Fair of 1933-1934.
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meiemari, Series 7
See more items in:
Hildreth Meière papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-meiemari-ref7

Oberammagau Murals, Passion Play Sketches, and Source Material

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Extent:
16 glass copy negatives and 43 lantern slides
Container:
Box 12, Folder 34
Type:
Archival materials
Date:
1934
Scope and Contents:
Glass negatives and lantern slides housed in box 20
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Hildreth Meière papers
Hildreth Meière papers / Series 7: Photographs and Moving Images / Photographs and Moving Images of Artwork by Hildreth Meière
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-meiemari-ref709

Copy Negatives and Lantern Slides

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Extent:
97 Lantern slides
79 Negatives (photographic)
Container:
Box 13, Folder 4-5
Type:
Archival materials
Lantern slides
Negatives (photographic)
Date:
1936-1938
Scope and Contents:
Subjects include St. Mark's Church (Mt. Kisco), National Academy of Sciences, Nebraska State Capitol, St. Paul's Church (New Haven), 1 Wall Street, AT&T Long Distance Building, Century of Progress International Exposition, St. Michael's Monastery Church (Union City, NJ), Westport Room of Fred Harvey Restaurant (Kansas City, MO), St. Bartholemew's (New York), 1939 New York World's Fair, among others; lantern slides housed in boxes 22-23
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Hildreth Meière papers
Hildreth Meière papers / Series 7: Photographs and Moving Images / Photographs and Moving Images of Artwork by Hildreth Meière / Various Commissions
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-meiemari-ref718

Norwegian Murals

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Extent:
106 Glass negatives (copy negatives)
146 Lantern slides
Container:
Box 13, Folder 13
Type:
Archival materials
Glass negatives
Lantern slides
Date:
circa 1932
Scope and Contents:
Lantern slides housed in boxes 24 and 25; glass copy negatives housed in boxes 26 and 27
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Hildreth Meière papers
Hildreth Meière papers / Series 7: Photographs and Moving Images / Photographs and Moving Images of Artwork by Others
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-meiemari-ref733

Unidentified Artworks

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Extent:
60 Negatives (photographic) (Copy negatives)
Container:
Box 13, Folder 15
Type:
Archival materials
Negatives (photographic)
Date:
circa 1948
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Hildreth Meière papers
Hildreth Meière papers / Series 7: Photographs and Moving Images / Photographs and Moving Images of Artwork by Others
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-meiemari-ref737

Glass Copy Negatives from Box 13, Folder 13

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Container:
Box 26
Type:
Archival materials
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Hildreth Meière papers
Hildreth Meière papers / Series 7: Photographs and Moving Images
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-meiemari-ref778

Aerial view of Howard University [copy negative] : [acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Howard University  Search this
Subseries 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
Extent:
1 Item
Container:
Box 42
Type:
Archival materials
Photographs
Copy negatives
Topographical views
Aerial photographs
Date:
[ca. 1950s]
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.
Topic:
African American universities and colleges -- 1950-1960  Search this
Genre/Form:
Photographs -- 1950-1960 -- Black-and-white negatives -- Acetate film
Copy negatives
Topographical views
Aerial Photographs
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1010

Aerial view of Howard University [copy negative from a print : acetate film photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Names:
Howard University  Search this
Subseries 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
Extent:
1 Item
Container:
Box 42
Type:
Archival materials
Copy negatives
Photographs
Topographical views
Aerial photographs
Date:
[ca. 1950s]
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.
Topic:
African American universities and colleges -- 1950-1960  Search this
Genre/Form:
Copy negatives
Photographs -- 1950-1960 -- Black-and-white negatives -- Acetate film
Topographical views
Aerial Photographs
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1012

Dr. Ralph Bunche [acetate film photonegative]

Photographer:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Names:
Bunche, Ralph J. (Ralph Johnson), 1904-1971  Search this
Subseries 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
Extent:
1 Item
Container:
Box 47
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Portraits
Date:
[ca. 1946-1947]
Scope and Contents:
Job Number: 51917
Ralph Bunche, wearing a medium gray suit, is posed in front of a fireplace, with his left hand in his coat pocket. Collection contains a copy negative and two resin-coated prints from the negative (box 1.1.A3), probably 1970s or later.
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.
Topic:
Diplomats  Search this
African American diplomats -- 1940-1950  Search this
Genre/Form:
Photographs -- 1940-1950 -- Black-and-white negatives -- Acetate film
Portraits -- African American men -- 1940-1950
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1354

Father Divine "George" Baker [?] : [acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Divine, Father, or Rev. (George Baker), ca. 1882-1965  Search this
Subseries 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
Extent:
1 Item
Container:
Box 54
Culture:
African Americans  Search this
Type:
Archival materials
Portraits
Photographs
Date:
[undated]
Scope and Contents:
Fr. Divine standing behind his desk in the front of a row house living room. Signed in the negative, "Scurlock / Wash. D.C." Similar (but not identical) to 10" x 8" image, SIRIS bib. # 289384, Scan no. AC0618.00.0002500.tif. Signed in the (original) negative: "Scurlock / Wash. D.C."
Biographical / Historical:
African-American religious leader, founder of the Peace Mission movement, b. probably near Savannah, Ga. and named George Baker. After preaching in the South, he moved to Harlem (1915) in New York City, became one of the neighborhood's biggest landlords, acquired wealth through other businesses, including restaurants and grocery stores, and began styling himself Major M. J. Divine, later Father Divine. Although once dismissed as a cult leader, he built the largest religious movement in northern ghettos during the Great Depression. His role as an early civil rights activist&#x2014he led anti-lynching campaigns, instituted economic cooperatives, and organized political action against racial discrimination&#x2014has come to be more appreciated. The movement spread beyond New York City to other places in the United States and abroad, sometimes after the group sent whites to purchase property in segregated areas. During the 1940s, his health and influence declined, but his movement symbolized the progressive spirit in the black church and helped define the church's active role in the civil rights movement. See Sara Harris, Father Divine (rev. ed. 1971); Kenneth E. Burnham, God Comes to America (1979); Robert Weisbrot, Father Divine (1984); Jill Watts, God, Harlem U.S.A. (1992). The Columbia Encyclopedia, Fifth Edition Copyright ©1994, 1995 Columbia University Press.
Addison Scurlock probably photographed Father Divine in 1932, according to research by Professor Leonard Primiano, Cabrini College (e-mail Aug. 6, 2010).
General:
Probably a copy negative.
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.
Topic:
African American clergy  Search this
Cults and nonconventional religious groups  Search this
Genre/Form:
Portraits -- African American men
Photographs -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1685

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