United States of America -- District of Columbia -- Washington
Scope and Contents:
The folders include worksheets; garden plans; photocopies of articles about the garden; photocopies of Wheeler notes, plant lists, and correspondence relating to the garden; and additional information.
General:
Situated in the Georgetown section of Washington, D.C., this garden was originally established in the 1930s or 1940s with design work by Rose Greely. In 1958, the property's new owners commissioned a design from Perry H. Wheeler. Structurally the garden has changed little in the past 50 years and still includes many of Wheeler's details: a "thimble" rotating fountain jet, a ram's head mask, a marble "reclining" figure, and four boxwood circles in beds. Wheeler installed hardscapes of different kinds throughout the site's terraces and designed the gardens with the idea of entertaining and low maintenance during the summer months. Boxwood, liriope, mondo grass, bulbs, and other all-season plants were used. The lower, formal terrace features boxwood-edged beds, a fountain and a lawn. The upper terrace includes a swimming pool, greenhouse, garden house, vegetable garden, walkways, and cutting beds. The one-acre size of the garden is unusual in this urban setting and its continuity over the years makes it a site of special interest.
Persons associated with the garden include Perry H. Wheeler (landscape architect, 1958-1980) and Rose Greely (landscape architect, 1930s-1940s).
Related Materials:
Gray Garden related holdings consist of 2 folders (61 35 mm. slides (photographs); 4 photographic prints; 5 safety film negatives)
See others in:
American Gardens Collection, ca. 1920-[ongoing]
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Washington (D.C.) -- Georgetown Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
Exhibition Collectors Historical Organization Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.) Search this
Extent:
130 Cubic feet (417 boxes, 25 map-folders)
Type:
Collection descriptions
Archival materials
Souvenirs
Photographs
Pamphlets
Guidebooks
Exhibition posters--1930-1940
Diaries
Ephemera
Film transparencies
Motion picture film
Posters
Place:
Flushing Meadows Park (New York, N.Y.)
New York (N.Y.)
Date:
1835-2000, undated
Summary:
Collection documents the 1939 New York World's Fair in Flushing Meadows, New York. Also includes material relating to other fairs, the Exhibition Collectors Historical Organization (ECHO), New York City tourism and The Walt Disney Company.
Scope and Contents:
Collection primarily documents the conception, planning, construction, management, and operations of the 1939 New York World's Fair located in Flushing Meadows, New York. Materials provide historical context and cultural significance as recorded in publications, artwork, photographs, ephemera, postcards, maps, plans, exhibitor's literature, souvenirs, and motion picture film. Most of the materials were primarily created for people who attended the fair. Some of the materials include scrapbooks created by fair visitors to document their experiences. There is a significant amount of material relating to other fairs, New York tourism, the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society. Other forms of entertainment such as festivals, the Olympic games, and Disney World are also found among these materials. There is little information relating to Edward Orth's personal and professional life as a city planner. The collection is arranged into eleven series.
Arrangement:
The collection is arranged into eleven series.
Series 1, Edward J. Orth Personal Papers, 1915-1989, undated
Subseries 1.1, Correspondence, 1939-1989
Subseries 1.2, Other Materials, 1915-1989, undated
Series 2, Exhibition Collectors Historical Organization (ECHO) and World's Fair Collector's Society, Incorporated Records, 1942-1990, undated
Subseries 2.1, General Information, 1960-1988, undated
Subseries 2.2, Correspondence, 1942-1990, undated
Subseries 2.3, Classified and Wanted Advertisements, 1956-1988, undated
Edward Joseph Orth grew up with a strong interest in history, particularly the history of the 1939 New York World's Fair. Orth's visit to the fair as a twelve-year-old boy led to a life-long passion of collecting. At the time of his death, he had amassed enough materials to fill two homes in California. Orth also collected materials from several other fairs. In addition, he saved some of the records of the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society.
Orth was born April 19, 1927, to Andrew Joseph Orth and Florence Minnie Gordon Orth in Glendale, New York. In the 1930s, the Orth family lived in several locations in New York including Ridgewood, Brooklyn, Glendale, and Queens. The home that made the most impact in young Orth's life came in 1935 when the family moved to St. Albans, Queens seven miles from Flushing Meadow Park, the future site of the 1939 fair. Sadly in 1939 there were several deaths in the family including three grandparents. The severe loss of life limited family social activities but a drive by the future site of the fair provided Orth a glimpse of the Trylon and Perisphere. He would later remark that the sight appeared to be magic. In the summer of 1939, he went to the fair with his classmates from Public School 136. The next summer Orth and his father purchased a 10-admission ticket from an elementary school in Hollis, Queens, New York. He saved every souvenir and any information he could find about the fair. He filled scrapbooks with images from newspapers and postcards from the Curt Teich and Manhattan Postcard companies. When his family moved from an apartment to a house, he acquired a fair bench which was kept in the backyard.
In 1941, Orth attended Newton High School in Elmhurst, and Queens, New York. The high school offered a college preparatory program with heavy emphasis on mathematics, science, mechanical drawing, and workshop courses. Orth's education and training combined with the knowledge he gained from motion picture films viewed at the fair, including Thomas Edison's "The City of Light," Ford Motor Company's "Road of Tomorrow," "Democracy," and General Motors' "Futurama" provided the foundation and inspiration for a career in architecture and landscaping. He ultimately became a city planner for the state of California. By 1943, Orth was exploring used magazine and bookstores in New York City to acquire more fair materials before enlisting in the United States Army in 1945. Upon his discharge he resumed buying and trading fair postcards. From 1948-1953, Orth attended the University of California and the University of Connecticut where he studied architecture and landscape design. During these years he posted advertisements in various publications in his continued pursue for fair materials.
In March 1953, Mr. Orth moved to Los Angeles, California. There he formed lasting friendships with other collectors. By 1967, Orth and several of his closest friends including Peter Warner, Oscar Hengstler, David Oats, Larry Zim, and Ernest Weidhaas conceived the idea of a fair collector's organization. By the summer of 1968, the group had formally created the Exhibition Collectors Historical Organization (ECHO).
As time passed Orth became increasing concerned about the welfare of his collection. He wanted it to go to a museum rather than be sold in parts. In his will he stipulated that the collection would be given to the Smithsonian Institution upon his death. Jon Zackman, former Smithsonian employee, interviewed Orth's brother George and fair collector Peter Warner. Orth and Warner corresponded and traded objects over many years. Mr. Orth primarily covered the west coast area while Peter Warner was his east coast counterpart. Edward Orth died on September 6,1989 in Los Angeles, California at the age of sixty-two.
Related Materials:
Materials in the Archives Center
New York World's Fair Collection, NMAH.AC.0134
Landor Design Collection, NMAH.AC.0500
Warshaw Collection of Business Americana, Subject Category, World Expos, NMAH.AC.0060
Larry Zim World's Fair Collection, NMAH.AC.0519
Alice R. Hillis World's Fair Film, NMAH.AC.0531
Borden Company 1939 New York World's Fair Collection, NMAH.AC.1063
Memories of the New York World's Fair, NMAH.AC.0592
Archives Center World Expositions Collection, NMAH.AC.0825
Daniel H. Meyerson World's Fair Collection, NMAH.AC.0745
Division of Community Life World's Fairs Collection, NMAH.AC.1132
Princeton University Posters Collection, NMAH.AC.0433
Smithsonian Speech Synthesis History Project, NMAH.AC.0417
Messmore and Damon Company Records, NMAH.AC.0846
Thomas Norrell Railroad Collection, NMAH.AC.1174
William L. Bird Holidays on Display Collection, NMAH.AC.1288
Wurlitzer Company Records, NMAH.AC.0469
Victor A. Blenkle Postcard Collection, NMAH.AC.0200
Materials at Other Organizations
New York Public Library The New York World's Fair 1939 and 1940 Incorporated Records, 1935-1945, MssCol 2233.
New York City 1939 World's Fair architectural drawings, circa 1935. Museum of the City of New York. Museum of the City of New York.
New York City 1939 World's Fair Collection, 1939-1940. Museum of the City of New York. New York World's Fair 1939/40 Collection. Queens Museum.
1939 New York World's Fair Postcards, Identifier: 1972-320, Audiovisual Collections Repository, Hagley Museum & Library
Separated Materials:
Materials at the National Museum of American History
Artifacts from the collection include several thousand souvenirs and examples of memorabilia commemorating the fair to include buttons and badges, ceramics, glassware, clothing, costume jewelry, coins and medals, commemorative spoons and flatware, toys and games, and philatelic material which are all part of the Division of Home and Community Life's holdings (now Division of Cultural and Community Life).
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes.
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:
Exhibitions -- 1930-1940 -- New York (State) -- New York Search this
H. Edwin Jackson created this scrapbook of radio stars while living in Chicago, Illinois during the Great Depression.
Scope and Contents:
One homemade scrapbook created and compiled by H. Edwin Jackson. The book contains photographs, some autographed, news clippings, and commercially printed reproductions of photographs of numerous radio and entertainment personalities from 1933 forward. The arrangement of the book and its artwork was the creation of Jackson. Many pages have photographs and/or news items of additional personalities associated with the featured personality.
Subjects include: The Mills Brothers, Ruth Etting, Fred Allen with Portland Hoffa and Jack Smart, Lanny Ross, Phil Baker, Ireene [?] Wicker, The Pickens Sisters, Raymond, Knight, Clara (Louise Starkey), Lu (Isobel Carothers) n' Em (Helen King), Phil Harris and Leah Ray, Vera Van, George Burns and Gracie Allen, Gladys Swarthout, Jeanie Lang, Myrt and Marge, Helen Jepson, Jack Benny and Mary Livingston, Deanna Durbin, Helen Morgan, Jimmy Durante, Alexander Woolcott, The Boswell Sisters, Edwin C. Hill, Cornelia Otis Skinner, Paul Whiteman, Jessica Dragonette, Dave Rubinoff, Little Jackie Heller, Joe Penner, Mildred Bailey, Olga Albani, Vivienne Segal, Ed Wynn, Beatrice Lillie, Burgess Meredith, Dorothy Page, Bing Crosby, Rosa Ponselle, Stoopnagle and Budd, Grace Moore, Frank Crumit and Julia Sanderson, Frances Langford, Conrad Thibault, Ozzie Nelson and Harriet Hilliard, Bobby Breen, Jack Pearl, The Big Show, Olsen (Ole Olsen) and Johnson (Chick Johnson), Ramona, Rudy Vallee, The Easy Aces, Annette Hanshaw, Ben Bernie, Alice Faye, Charles Winninger, Ray Perkins, Eddie Cantor, Irene Rich, The Weiner Minstrels, Frank Parker, Jane Froman, Walter O'Keefe, James Melton, Al Jolson, Donald Novis, Morton Downey, The First Nighter (Charles P. Hughes), Lawrence Tibbett, Fred Astaire, Abe Lyman, Ethel Shutta, Fanny Brice, Joe Cook, Ken Murray, Jack Oakie, Tony Wans, Fred Waring's Pennsylvanians, Bob Burns, Don Ameche, Nelson Eddy, Ted Bergman, Edgar Bergen and Charlie McCarthy.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
H. Edwin Jackson (1907-1989) was born in Union City, Indiana, the youngest of three children. Jackson's interest in entertainment personalities began early. His father was engaged in real estate and through a land swap acquired The Star Theater in Union City, one of the town's three theaters. The Star was a mid-size theater with a screen and stage. The Jacksons ran The Star as a family business. Jackson was the assistant projectionist to his older sister Mary Elizabeth and he and his father were the janitors. The Star showed silent movies starring such personalities as William S. Hart, Douglas Fairbanks, Sr., Charlie Chaplin, and Wallace Reid. During the influenza epidemic of the teens the theater closed. The family eventually sold The Star, and Jackson went to work as an assistant projectionist at The Grand, Union City's largest and most modern movie house.
When Jackson graduated from high school, the family moved to Chicago, Illinois. The Jackson family's first radio was "The Freshman" and the family eventually owned an Atwater Kent. Jackson became an avid radio fan listening to local Chicago stations WKYW, WENR, and WBBM as well as the national radio networks. Some of Jackson's favorite shows were The Shadow, Amos n' Andy and the Lux Radio Theater. Jackson was laid off from his job in 1933 and spent a great deal of his time listening to radio. His mother gave him money to purchase materials to make a scrapbook of radio and entertainment personalities. He began his book in January 1933, entitling it "Ed Jackson's Book of Radio Personalities." Jackson wrote to many of the personalities he featured in his scrapbook asking for autographed photographs which he put into the book along with clipped photographs and other items of interest from magazines and newspapers, radio show ticket stubs, and programs. Jackson included comics, singers, commentators (both news and social), and stars of popular radio programs. He revised/repaired the book in January, 1982 but Jackson did not detail his revisions.
Jackson was employed by the Lindberg Steel Treating Co. in Melrose Park, Illinois, for thirty years. He married Louise LaJeunesse in 1935 and had two children. Louise died in 1947, and Jackson married Eugenia McDougald in 1951. At the time of his death in December 1989 he was living in Walden, New York.
Sources
Oral History by H. Edwin Jackson, Archives Center Control File
Memorial Obituary for Edwin Jackson, The Newburgh News, December 14, 1989.
Bello, Paul. "Local scrapbook to be displayed at the Smithsonian". Times Community Papers, May 17, 2006.
E-mail message from Annette Smith to Cathy Keen, June 2, 2009.
Related Materials:
Materials in the Archives Center
George H. Clark Collection Radioana Collection, 1880-1950 (NMAH.AC.0055)
Warshaw Collection of Business Americana: Radio, Motion Pictures, 1896-1963 (NMAH.AC.0060)
National Bureau of Standards Radio Collection, 1917-1933 (NMAH.AC.0217)
Jean Clairmook Radio Scrapbook, 1930-1932 (NMAH.AC.0674)
Provenance:
Donated to the National Museum of American History, Archives Center by Annette L. Smith (H. Edwin Jackson's daughter) in June, 2004.
Donated to the Archives Center by Edwin Jackson's daughter, Ms. Annette Smith.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. 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.
Cover Illustration: Photograph of actor Tex Ritter dressed as a cowboy with a second picture of him on a horse playing a guitar, both from the motion picture "Rollin' Plains" starring Tex Ritter. Printed in black and red.
Local Numbers:
AC0300-0000042.tif (AC Scan: cover)
Series Restrictions:
Collection is open for research.
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.
Misilagi, "Freddie" Letuli Olo, 1919-2003 Search this
Extent:
1.25 Cubic feet (3 boxes)
Type:
Collection descriptions
Archival materials
Ephemera
Photographs
Scrapbooks
Date:
1920-2011, undated
Summary:
Photographs and ephemera collected by the McIntire Family of Hawaiian musicians documenting their careers throughout the United States, and those of other performers.
Scope and Contents:
This collection consists of photographs and ephemera relating to and collected by the McIntire family of Hawaiian musicians as well as materials from fellow performers. Photographs of Lani McIntire and members of his orchestra as well as those of his brothers, and niece Lani Ellen McIntire are numerous. There are programs, newspaper articles, postcards, advertisements, sheet music, and one album cover. The collection dates from the early 20th century to the late 20th century and is a comprehensive collection documenting the extensive career of the McIntire family and those that worked with them, and performers they worked with in motion pictures, night clubs, and hotels.
The collection also, "documents Lani E. McIntire's craft and career as one of the most prolific professional practitioners of Pacific Islander dances in the mid-20th century. She traveled the United States and parts of the world with Native Hawaiian and Samoan troupes, and carefully documented their travel and work." The collection critically documents, "the Hollywood Pacific Islander community that established the "Polynesian Club" scene in Hollywood [California], as well as of the Pacific Islander communities that did the same work in New York City [New York}, New Orleans [Louisiana], and other metropolitan areas in the United States."
This collection includes "candid "on the road" photographs, photographs of members of these communities socializing together during their off-time, as well as publicity photographs that together document the work as well as the cultural expressions of Hawaiian and other Pacific Islander musical entertainers. The portion of the collection that originated with Jean Alice Mayo documents the early years of filmmaking in Silent Era Hollywood. These photographs consist of "on set" candids, publicity photographs, "head-shots" of various celebrities, glamour photographs, and documentation of early stuntwomen.
Source
National Museum of American History, Acquisition Information Sheet, July 17, 2021, Archives Center Control File NMAH.AC.1511.
Arrangement:
This collection is arranged into two series.
Series 1: Photographs, 1920-1960, undated
Series 2: Scrapbook Pages, Personal Papers, and Ephemera, 1929-2011, undated
Biographical / Historical:
The McIntire family has a long history in performance of Hawaiian music, especially Hawaiian guitar, and dance. Lani McIntire (1904-1951) composer, vocalist, and guitarist, was born in Honolulu, Hawaii in 1904. Initially he entered his father's laundry business but then landed a position as ship's musician that led to a life-long career as a professional musician. Lani served in the United States Navy on the U.S.S. Birmingham as a bugler and musician in the Navy Band. After the war, Lani formed his own orchestra. In addition to leading his own orchestra, he wrote and recorded his own music the most popular song being, "The One Rose." As of 1941, he had recorded over 150 compositions and with Sam Koki recorded a version of "Sweet Leilani" that sold over two million copies. His orchestra played nationally, and it was reported that his favorite venue was the Lexington Hotel in New York City, New York.
The McIntire's, "played a critical role in creating a global Hawaiian music craze that by the 1930s had swept Japan, the Philippines, New Zealand, Austrailia, and the continental United States." Al McIntire (1906-1960) bass player and vocalist and his brothers Richard "Dick" McIntire (1902-1951) Hawaiian steel guitar player, and the aforementioned Lani McIntire became some of the best-known Hawaiian musicians in the world. They left Oahu in the 1920s and played in Polynesian-themed nightclubs while recording and working on feature films along with the extensive Pacific Islander community based in Hollywood, California. The McIntire brothers younger sister, Kahala McIntire (1925-2003) "stowed away on a ship at the age of 15 to work on the continent as a professional hula dancer." The McIntire's were well known performing in Hollywood, California, Chicago, Illinois, and at Radio City Music Hall in New York City, New York. The McIntire's recorded "hundreds of songs with fellow Hawaiian musicians and with populuar non-Hawaiian artists cush as Jimmie Rodgers and Bing Crosby."
The liner notes from Lani McIntire's "Aloha Hawaii" album read, "You'll hear Lani McIntire broadcasting twice a week, over a 190-station Mutual Broadcasting System network. You'll see him at the Hotel Lexington in New York City-or at another of American's famous night spots. (He's played at the Biltmore Bowl and the Ambassador Hotel in Los Angeles, the Book Cadillac Hotel, Detroit, the Congress Hotel, Chicago, and many others).
As you listen, you'll soon know why Lani is called, "King of Hawaiian Music". In a few minutes, the exotic, native rhythm . . . the soothing, haunting melodies . . . will create for you a vision of lush, tropical islands, of star-studded skies and warm, romantic nights.
Lani would have to be a native Hawaiian, born with that rhythm in his blood, to play the way he does-his mother was Hawaiian, his father Scotch, and he was born in Honolulu. But he didn't start his musical career until he joined the Navy, where he began playing the saxaphone. He soon switched to the guitar-which he now plays as he leads his orchestra.
'When I got my discharge from the Navy," McIntire explains, "I went to Hollywood and for eight years worked in movies. Mostly, my contributions could be heard but not seen-although finally I did appear with Bing Crosby in several pictures."
Composer, arranger, guitarist, singer-Lani McIntire has many unusual talents that stamp him as one of the most versatile of all orchestra leaders." ("Aloha Hawaii" album cover, undated)
Lani Ellen McIntire (1934-), daughter of Al McIntire and Jean Alice Mayo (1897-?) a white woman who acted in silent films and was an equestrian rider, dancer, and vocalist, continued the family performing tradition. Lani Ellen was raised in the Hawaiian community and performed hula during her family's entertainments from a young age. Lani Ellen performed dance professionally into the 1970s. She appeared on television and in Hollywood films such as, "Around the World in 80 Days" (1956). Lani Ellen was married to (1) "Freddie" Letuli Olo Misilagi (1919-2003) an American Samoan entertainer, who began dancing at the age of 15 and was described in his obituary as the "father" of the fire knife dance. Letuli later was elected village senator in 1977 and "was re-selected to the Samoan Senate in 1993."
Sources
National Museum of American History, Acquisition Information Sheet, July 17, 2021, Archives Center Control File #1511.
"Chief Letul Olo, 84, of Samoa; Father of the Fire Knife Dance", obituary, The New York Times, July 31, 2003, Section B, page 9.
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Lani Ellen McIntire, August 2021.
Restrictions:
The collection is open for research use. Researchers must handle unprotected photographs 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.
Occupation:
Photographers -- California -- Hollywood Search this
Topic:
American Polynesia -- Hawaiian Islands Search this
The male figure is in blackface, wearing a straw hat, and may be Eddie Hartman. However, in a March 30, 2012 interview with Dr. Harold Corwin, who played "Stumpy" from 1938, curator David Haberstich was told that the male was neither Hartman nor Corwin. Possibly the Stump or Stumpy shown here was part of a Washington act inspired by the Stump and Stumpy of New York. Corwin furrther stated that he had no knowledge of a Stello or Stella in this connection. Title in ink on base side at top edge: "Stumpy & Stello 4 - B&W". No maker's edge imprint. Numbers on original envelope, A206 and 156.
General note:
Notes: In nitrate box
General:
From negative box D.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- Black-and-white negatives -- Nitrate -- 19th-20th century
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Male is in blackface, possibly Eddie Hartman. However, in a March 30, 2012 interview with Dr. Harold Corwin, who played "Stumpy" from 1938, curator David Haberstich was told that the male was neither Hartman nor Corwin. Possibly the Stump or Stumpy shown here was part of a Washington act inspired by the Stump and Stumpy of New York. Corwin furrther stated that he had no knowledge of a Stello or Stella in this connection. Title in ink on base side at top edge. No maker's edge imprint. Numbers on original envelope, A206 and 155. Faces retouched. In a
General note:
Notes: In nitrate box
General:
See also framed print from negative in collection, 1998.0011.
From negative box D, now in Freezer Box 34.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- Black-and-white negatives -- Nitrate -- 19th-20th century
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item
Container:
Box 51
Type:
Archival materials
Portraits
Photographs
Nitrate negatives
General note:
Notes: In nitrate box
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- Black-and-white negatives -- Nitrate film.
Nitrate negatives -- 1930-1940
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
One folder of 74 black and white photoprints mostly of subjects and localities throughout Minnesota.
Scope and Contents:
The collection contains 74 unmounted silver gelatin photoprints. Sizes range from typical amateur rollfilm snapshots up to 5" x 7" enlargements. A typical range of snapshot subjects is included, such as a wedding group, informal portraits, including people with automobiles, landscapes and waterfalls (including the Temperance River and Gooseberry Falls), the Split Rock Lighthouse, and a costume party. Seven prints have been hand colored. Some prints are identified in pencil on the verso. The dates September 28, 1936 and September 21, 1937 are included, and several prints are identified as processed by Brown Photo Service, Minneapolis, Minn., and La Crosse Film Service ("Nature Tone Prints"), La Cross, Wis., so it is assumed that most of the subjects are in Minnesota and Wisconsin. One picture of an infant is marked "Michael Shaw Ohme 4 mo."
Arrangement:
The collection is arranged topically.
Historical:
As the donor did not supply identification with the photographs, nothing is known about them except for captions and marks on the backs of the prints.
Provenance:
Collection donated by Marshall Sylvia, 1988.
Restrictions:
Collection is open for research.
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.
Where guests enjoy a central beachfront location, fine food, friendly treatment, and a variety of entertainment. Restricted clientele.
Arrangement:
In Series ?, Box OS 120, Folder Chalfonte Haddon Hall 1938-42.
Local Numbers:
AC0059-0000246 (AC Scan)
Collection Restrictions:
The collection is open for research use.
Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Collection Rights:
Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Marx, Groucho (Julius Henry), 1890-1977 (comedian) Search this
Extent:
1 Item (Silver gelatin on paper., 9.9" x 7.8")
Container:
Box 26, Folder 16
Type:
Archival materials
Photographs
Date:
Circa 1940
Scope and Contents:
According to a note on the back, this hung in the den of the Marx home. Signed in red, lower right.
Local Numbers:
AC0269-0000003 (AC scan)
Restrictions:
Unrestricted research use by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
2 Items
Container:
Box 10, Folder 5
Type:
Archival materials
Panoramas
Banquet camera photographs
Photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
1931
[ca. 1931.]
Scope and Contents:
Scan Number: 618ns0177436-01pg.tif
"Classic Dancers of the Mabel Jones Studio -- Washington, D.C. / Scurlock, Photo" in ink on negative, right side. No manufacturer's mark on film edge. Print is much later than negative (ca. 160s-1970s?), probably made by Robert Scurlock.
General:
No labeled temporary storage box.
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits, Group -- 1930-1940 -- Washington (D.C.). Search this
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits, Group -- 1930-1940 -- Washington (D.C.). Search this
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Panoramas
Banquet camera photographs -- 1930-1940
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item
Container:
Box 13, Folder 22
Type:
Archival materials
Banquet camera photographs
Photographs
Place:
Washington (D.C.) -- Sports
Date:
1934
[ca. 1934.]
Scope and Contents:
Scan Number: 618ns0177523bp.tif
No ink on negative. Defender Safety Base. Advertisements include: Fussell's ice cream, Ruppert's beer, Elite Laundry, Orange Crush, Marlow Coal Co., Hotel Occidental Restaurant, Lifebuoy, Coca-Cola, Middishade Suits, Woodward & Lothrop, Quaker State, Orienta Coffee, Colonial Anthracite, wrestling, for Joe Turner's ticket office, Capital Awning, George A. Fuller Co., People's Drug Stores, WJSV, Eynon Printing Co., Gatch Supply Co., Florsheim Shoes, Capital Garage, Brodt's hats.
General:
From original negative Box 5893524A.
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
advertising -- 1930-1940 -- Washington (D.C.) Search this
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item
Container:
Box 13, Folder 65
Type:
Archival materials
Photographs
Banquet camera photographs
Date:
circa 1930
Scope and Contents:
Scan Number: 618ns0177513sc.tif
No ink on negative; no manufacturer's mark on film edge.
General:
From original negative Box 693513A.
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Banquet camera photographs -- 1930-1940
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet, 10" x 20".)
Container:
Box 14, Folder 41
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Portraits
Banquet camera photographs
Photographs
Place:
Washington (D.C.) -- African Americans
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
1932
Scope and Contents:
Scan Number: 618ns0177474.tif
No ink on negative. "Defender Safety Base" edge imprint.
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet, 12" x 20".)
Container:
Box 14, Folder 42
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Banquet camera photographs
Photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
undated
Scope and Contents:
Scan Number: 618ns0177474pg.tif
Ink on negative: "Scurlock Photo". "Defender Safety Base" edge imprint.
Exhibitions Note:
Reproduction photograph of this image exhibited in "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30 - November 15, 2009; image also reproduced in exhibit's companion book.
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item
Container:
Box 14, Folder 45
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Banquet camera photographs
Date:
1930s
Scope and Contents:
Scan Number: 618ns0177473pg.tif
Ink on negative: "Scurlock Photo". Defender Safety Base.
General:
No labeled temporary storage box.
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits, Group -- 1930-1940 -- Washington (D.C.). Search this
African American entertainers -- 1930-1950. Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Banquet camera photographs -- 1930-1940
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item
Container:
Box 14, Folder 46
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Banquet camera photographs
Photographs
Date:
undated
Scope and Contents:
Scan Number: 618ns0177470pg.tif
The man standing in the center holding a cigarette and holder is thought to be Elmer Calloway, leader of the Club Prudhom orchestra and brother of Cab Calloway. Ink on negative: "Scurlock Photo". No manufacturer's mark on film edge.
General:
No labeled temporary storage box.
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
