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[Group portrait, Needlework Guild of America. Active no. 1775 : black-and-white photonegative,]

Publisher:
Underwood & Underwood  Search this
Names:
Needlework Guild of America  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (4" x 5")
Type:
Archival materials
Photographs
Place:
Boston (Mass.) -- 1920-1930
Massachusetts
Date:
1926
Scope and Contents:
Nine standing women, all wearing hats. Caption: BOSTON, Mass.--Picture shows (L to R): Miss Eliza R. Ridgway, National Recording Secretary; Mrs. Alfred W. Tozzer of Cambridge, in charge of the New England-Labrador Guild Exhibit; Miss Marion S. Bettle, East Orange, N.J., National Vice Preesident; Miss Rosamond K. Bender, National Executive Secretary, Philadelphia, Pa.; Mrs. Thomas J. Preston, Jr., of Princeton, N.J., National President; Mrs. James M. Newell, President of the Boston Branch; Mrs. Truman H. Newberry, President for Fifteen Years; Mrs. Wadsworth Baylor, Santa Barbara, Calif.; and Mrs. George H. Flint Boston Secretary. These ladies met yesterday morning in the Swiss Room of the Copley-Plaza Hotel to consider the question of whether the Needlework Guild of America shall have an exhibit at the sesqui-centennial in Philadelphia. 5/8/26.
Local Numbers:
RSN 18227
General:
Currently stored in box 3.1.70 [227A]. Orig. no. A-204.
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:
Clothing and dress -- Massachusetts  Search this
Dress -- Massachusetts  Search this
Fashions -- Massachusetts  Search this
Portraits -- Massachusetts  Search this
Genre/Form:
Photographs -- 1920-1930 -- Black-and-white negatives -- Glass.
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 / 3.1: Underwood and Underwood Negatives / RSN Numbers 18165-18288
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8fa8aca42-ff36-4cb6-b1b9-d8982fd8b31c
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref14660

Boston, Mass.: Rare lobster exhibited at hotel exposition. Ann Donnelly, an attendant at the exposition in the Mechanics Building, holds a blue lobster, one of the very few which has been taken out of New England waters in many years. 5/20/26. 1875 pho...

Publisher:
Underwood & Underwood  Search this
Names:
Donnelly, Ann  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (4" x 5")
Type:
Archival materials
Photographs
Place:
Boston (Mass.) -- 1920-1930
Massachusetts
Date:
1926
Local Numbers:
RSN 18350
General:
Currently stored in box 3.1.70 [227A].
Copy and Version Identification Note:
A-204
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:
Exhibitions -- Massachusetts  Search this
Food -- Massachusetts  Search this
Lobsters -- Massachusetts  Search this
Portraits -- Massachusetts  Search this
Genre/Form:
Photographs -- 1920-1930 -- Black-and-white negatives -- Glass.
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 / 3.1: Underwood and Underwood Negatives / RSN Numbers 18289-18412
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85c9be74e-e7d0-481c-a085-7d1e9b3507c1
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref14777

[Duke Ellington portrait : photoprint]

Photographer:
Butler, Opisc (photographer)  Search this
Names:
Ellington, Duke, 1899-1974  Search this
Collection Creator:
Fitzgerald, Ella, 1917-1996  Search this
Extent:
1 Item (photoprint, Silver gelatin on paper, unmounted, 10 x 8".)
Container:
Box 14, Folder 10
Type:
Archival materials
Portraits
Photographs
Date:
[1923.]
Scope and Contents:
The young Ellington, wearing a hat, suit and tie. Inscribed in ink: "To my darling Mother- / in-Law who always / says, 'Ellington's / right' / Your Son / Duke". "Opisc [?] -Butler / New York" in negative, at lower right Date in pencil on verso, as well as "Washington-- [illegible letter] James."
Local Numbers:
03041502.tif (AC Scan No.)
General:
Another copy of this print, trimmed flush and in worse condition, is in the folder.
Exhibitions Note:
Scan file sold to Historical Society of Washington, D.C. (Laura Schiavo, contact), warm-toned print for exhibition use, 2003/03/13.
Forms part of:
Ruth Ellington Collection Photographs (Series 9).
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American composers  Search this
Genre/Form:
Portraits -- African American men
Photographs -- 1920-1930 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Ella Fitzgerald Papers, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Ella Fitzgerald Papers
Ella Fitzgerald Papers / Series 2: Photographs / 2.4: Ella Fitzgerald with Family, Colleagues, and Friends / Duke Ellington various shots, various dates
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep81e867d68-531e-4872-a0a0-8ec1b84676d7
EDAN-URL:
ead_component:sova-nmah-ac-0584-ref2774

Murray Bro[thers] Printing #103 [cellulose acetate photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Murray Bros. Printing  Search this
Washington Tribune  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 87
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
[ca. 1925]
Scope and Contents:
Job Number: 20635
Ink on negative: Murray Bros. 14 men (employees?) standing on sidewalk outside "The Washington Tribune / Printing" door and window. On a small elliptical sign at the right: "F. Morris Murray / Atty at Law". "EASTMAN-KODAK-SAFETY 51" 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; reprinted in exhibit's companion book.
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:
Printing  Search this
Genre/Form:
Photographs -- 1930-1940 -- 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
GUID:
https://n2t.net/ark:/65665/ep8f7e93b33-e06d-454f-b977-74afe7b67e72
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref2797

Addison N. Scurlock [acetate film photonegative,]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Scurlock, Addison N., 1883-1964  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
Portraits
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
1920
Scope and Contents:
Job Number: 12946
Exhibitions Note:
Photograph reprinted in companion book to following exhibit: "The Scurlock Studio and Black Washington: Picturing the Promise" held in NMAAHC Gallery, NMAH, January 30-November 15, 2009.
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 photographers  Search this
Genre/Form:
Portraits -- African American men
Photographs -- 1920-1930 -- 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
GUID:
https://n2t.net/ark:/65665/ep819b258e3-52ac-4c39-bc6b-e6e39cb6f149
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref993

Vose Galleries of Boston records

Creator:
Vose Galleries of Boston  Search this
Names:
Arthur U. Newton Galleries  Search this
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Ehrich Galleries (New York, N.Y.)  Search this
Howard Young Galleries (New York, N.Y.)  Search this
Jill Newhouse (Gallery)  Search this
M. Knoedler & Co.  Search this
Macbeth Gallery  Search this
Milch Galleries  Search this
Norton Gallery and School of Art  Search this
R.C. & N.M. Vose (Firm)  Search this
Robert C. Vose Galleries  Search this
Hassam, Childe, 1859-1935  Search this
Hoffman, Malvina, 1887-1966  Search this
Jonniaux, Alfred, b. 1882  Search this
Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this
Norton, William E., 1843-1916  Search this
Sargent, John Singer, 1856-1925  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Vose, Robert C. (Robert Churchill), 1911-1998  Search this
Vose, Robert Churchill, 1873-  Search this
Extent:
26.6 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Manuscript
Date:
circa 1876-1996
bulk 1920-1940
Summary:
The records of Vose Galleries of Boston measure 26.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.
Scope and Contents note:
The records of Vose Galleries of Boston measure 26.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.

Correspondence of note is with artists Childe Hassam, Malvina Hoffman, Alfred Jonniaux, and John Singer Sargent; galleries Ehrich Galleries, Clapp & Graham Co., M. Knoedler & Co., Macbeth Galleries, Milch Galleries, Newhouse Galleries, Arthur U. Newton Galleries, Norton Galleries, and Howard Young Galleries; the estates of Anna Coleman Ladd and William E. Norton; and the family of Abbott H. Thayer.

Researchers should note that the records do not comprehensively span the gallery's history or operations. The bulk of the collection is correspondence from Robert C. Vose's era running the Robert C. Vose Galleries in the 1920s-1930s and, lesser so, under Robert C. Vose, Jr.'s direction in the 1970s. There is little material in the collection which dates before the 1910s or the 1950s-1960s, other than correspondence regarding Alfred Jonniaux and some financial records. There is a handful of correspondence which covers the period of R.C. & N.M. Vose Gallery. Records loaned for microfilming should be consulted for materials outside of the bulk dates of this collection, especially for materials from the late 1800s-early 1900s.
Arrangement note:
The collection is arranged as 5 series:

Missing Title

Series 1: Correspondence, 1895-1996 (Boxes 1-23, 28; 22.6 linear feet)

Series 2: Customer Files, 1912-1946 (Boxes 23-24; 0.8 linear feet)

Series 3: Art-Related Files, circa 1876, 1890s-1947 (Box 24, 28; 1 linear feet)

Series 4: Financial Records, 1911-1962, 1991 (Boxes 24-25; 1.8 linear feet)

Series 5: Printed Materials, circa 1904-1990 (Boxes 25-27; 0.4 linear feet)
Biographical/Historical note:
Vose Galleries is a long time family run art gallery based in the Boston, Mass. area.

In 1841, Joseph Vose purchased Westminster Art Gallery, a small Providence, Rhode Island art gallery founded by Ransom Hicks. At the age of 19 in 1850, Joseph's son Seth Morton Vose joined the gallery and five years later became director. The gallery's primary business until the late 1860s was frame making, gilding and art supplies. Seth Morton Vose had a passion for art, especially the French painters of the Barbizon School and he slowly began buying and exhibiting artwork. By 1882, the gallery regularly exhibited in Boston.

Seth's son Robert C. Vose joined the business in 1896, and managed the gallery's Boston office from 1897. Robert broadened the gallery's horizons by showing his fine stock of Barbizon, Dutch, English and American artists throughout America, while his younger brother, Nathaniel, and his cousin, Charles Thompson, handled the Boston gallery. During the next sixty-seven years, Robert C. Vose moved the gallery into a position of national prominence.

In 1924, Nathaniel left the gallery and established his own gallery in Providence. The Boston gallery's name changed to Robert C. Vose Galleries, and around the same time, took over the Carrig-Rohane framing company. In 1931-1932, Robert's three sons, Robert C. Vose, Jr., Seth Morton Vose II, and Herbert Vose, joined the firm. The gallery continued to show exhibitions in Boston, and the sons took turns joining their father on the road. The gallery's name was changed to Vose Galleries of Boston, Inc. in 1952. In 1963, Vose Galleries moved to their current location at 238 Newbury Street in Boston. Robert C. Vose passed away in 1964.

Robert C. Vose, Jr.'s sons, Abbot W. Vose and Robert C. Vose III, joined the gallery in 1968 and 1970, respectively. Robert C. Vose, Jr. passed away in 1998. The Vose Galleries of Boston continues to operate at Newbury Street under the direction of the sixth generation of the Vose family.
Related Archival Materials note:
The Archives of American Art holds several separately cataloged collections related to Vose Galleries of Boston, including the Carrig-Rohane Shop records (1903-1962); oral history interviews with Seth Morton Vose (July 24, 1986 - April 28, 1987) and Robert C. Vose, Jr. (June 27 - July 23, 1986); a sound recording and videotape of a Robert C. Vose, Jr. lecture at the Somerset Club (May 14, 1987); a sound recording of an interview with Robert C. Vose (March 1961); the Miscellaneous Art Exhibition Catalog collection containing Vose Galleries exhibition catalogs, circa 1900-1941; and, Robert C. Vose, Jr. typescripts and clippings, 1961, on microfilm reels 3480 and 4314.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming.

Reel B1 contains a scrapbook compiled by Seth Vose and annotated by Robert Vose that contains clippings, 1886-1900, and an 1889 letter from author and critic Alfred Trumble; and a scrapbook compiled and annotated by Robert C. Vose spanning the years 1920-1940, 1897, and 1905, containing clippings and handwritten lists.

Reel 2380 includes numerous photographs, circa 1890-1964, of Seth Morton Vose, Robert C. Vose, Sr., artists, collectors, and dealers associated with Vose Galleries; a Macbeth Gallery "smoker" in honor of Emil Carlsen; a drawing of Charles Emil Heil by George F. Wing, and a charcoal drawing after Monticelli by Albion Harris Bicknell. Many of the photographs are annotated by Robert C. Vose.

Reels 3936-3940 are comprised of account books, 1871-1887; a journal, 1889-1903, a ledger, 1889-1901; invoice books, 1896-circa 1954, inventories of paintings and drawings in stock, 1884, 1892 and 1906; exhibition records, 1911-1982?; traveling exhibition records, 1915-1949; and a record of paintings sold, 1876-1894. Written permission is required to access these reels.

Reels 4593-4594 contain clippings, undated and 1891-1989, chiefly about purchases, sales and exhibitions, but also pertaining to art dealers, museums, artists, and art events.

Reel 4909 contains a scrapbook of clippings, announcements, programs, and other printed materials, 1882-1993.

Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
From 1965-1994, Vose Galleries of Boston loaned materials to the Archives of American Art for microfilming. Robert C. Vose, Jr. also donated records in several installments from 1974 to 1997.
Restrictions:
Use of original papers requires an appointment.
Rights:
Reels 3936-3940: Authorization to publish, quote or reproduce requires written permission from an officer of the Vose Galleries. Contact Reference Services for more information.
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.
Topic:
Artists -- United States -- Photographs  Search this
Picture frame industry -- Massachusetts -- Boston  Search this
Picture frames and framing  Search this
Art, Modern -- 20th century -- Massachusetts -- Boston  Search this
Art, Modern -- 19th century -- Massachusetts -- Boston  Search this
Function:
Art galleries, Commercial -- Massachusetts
Art galleries, Commercial -- Rhode Island
Genre/Form:
Video recordings
Manuscript
Citation:
Vose Galleries of Boston records, circa 1876-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vosegall
See more items in:
Vose Galleries of Boston records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b560897e-b32f-45cc-9f36-548879006396
EDAN-URL:
ead_collection:sova-aaa-vosegall
Online Media:

Correspondence

Collection Creator:
Vose Galleries of Boston  Search this
Extent:
22.6 Linear feet (Boxes 1-23, 28)
Type:
Archival materials
Date:
1895-1996
Scope and Contents note:
Correspondence contains incoming and outgoing business correspondence with artists, clients, galleries and museums, regarding consignments, sales, purchases, and exhibitions. The bulk of the correspondence dates from the 1920s-1930s and the 1970s, and was originally grouped by date ranges spanning a few years. Considerable correspondence with portrait artist Alfred Jonniaux and with clients regarding commissioned portraits dates from the 1950s to mid-1960s. Scattered exhibition catalogs, price lists and printed materials are also found throughout the series.
Arrangement note:
Folders are arranged alphabetically by name, geographical location, or subject; then chronologically. Generally, dates of "1947" and those from the 1980s-1990s indicate the inclusion of a handwritten note presumably by Robert C. Vose, Jr. regarding the date in which the file's contents were reviewed.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
Reels 3936-3940: Authorization to publish, quote or reproduce requires written permission from an officer of the Vose Galleries. Contact Reference Services for more information.
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:
Vose Galleries of Boston records, circa 1876-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vosegall, Series 1
See more items in:
Vose Galleries of Boston records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw956b752a9-1cbc-46e8-be03-d4d46604d639
EDAN-URL:
ead_component:sova-aaa-vosegall-ref14

Charles Rivers Photographs

Creator:
Rivers, Charles, 1904-1993  Search this
Names:
Chrysler Building (New York, N.Y.) -- Pictorial works  Search this
Empire State Building -- Construction--1929-1930  Search this
Pathe News  Search this
Bates, Ruby  Search this
Extent:
0.5 Cubic feet (4 boxes )
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Albums
Place:
New York (N.Y.) -- 1920-1930
Washington (D.C.) -- 1960-1970
Date:
1929-1963
bulk 1929-1930
Scope and Contents:
The collection contains: twenty-nine silver gelatin photoprints mounted on Fome-Core, Masonite, and cardboard, ranging in size from 5-1/2" x 9-1/4" to 10-11/16" x 13-13/16"; three 5" x 7" unmounted silver gelatin photoprints; a scrapbook which originally contained 56 silver gelatin photoprints, ranging in size from 2" x 3" to 7-1/2" x 9-1/2"; and silver gelatin film negatives (presumably acetate) for the prints. The scrapbook includes a New York Daily News clipping about Rivers: "Builds a Bridge to Students" by Anthony Burton (dated May 12, 1970 by Rivers) with a photograph showing him speaking to a crowd, Most of the photographs depict the construction of the Chrysler and Empire State Buildings--iron workers on the job and relaxing during breaks, and pictures of the buildings at various stages of completion. Other subjects are: a demonstration to prevent World War II (1935), a color photoprint of the Civil Rights March and Demonstration in Washington, D.C. (1963), and two magazine clippings from a Soviet publication, New Times, in which Rivers's prize-winning "Self Portrait" (1930) was reproduced.

Most of these prints were made by Charles Rivers many years after the creation of the original negatives, probably ca.1970s 1980s. The collection is in generally good condition, except that many of the print surfaces are scratched.
Biographical / Historical:
Charles Rivers created a certain amount of confusion about his origins, whether accidentally or intentionally. Born Constantinos Kapornaros[1] (or Kostandinos Kapernaros)[2] in the small town of Vahos in Mani, an isolated area in the southern Peloponnesian region of Greece, on May 20, 1904, he emigrated to the United States as a child of five or six with his parents. His school record showed that he was enrolled in 1911 at the age of seven.[3] The family lived in Maine or New Hampshire, then Massachusetts, and later other locations in New York state. It is believed that his new name was derived from the Charles River in Boston.[4] The change may have been occasioned by a need to conceal his deep involvement in left-wing political and union activities.[5] Mr. Rivers settled in New York City in 1950 and resided there until 1993.[6] He sometimes identified his birthplace as Denver, Colorado,[7] but this may have been a fabrication or simplification, based on the fact that Greek church baptismal records were kept in Denver.[8] His sons James and Ronald believe that he never became an official American citizen. Late in life, in order to visit his birthplace, he was issued a passport, based on his school records, which stated that he was born in Denver. Rivers photographed the construction of the Chrysler Building (1929) and the Empire State Building (1930) in New York City. He was inspired to take up photography by seeing the work of the influential documentary photographer Lewis Hine, whose famous images of working children helped win passage of protective child labor laws. Rivers and Hine both photographed the Empire State Building and the men building it, yet Rivers apparently was unaware until years later that his idol had been present. Employed as an iron worker, Rivers traded his pail of tools for a Zeiss Ikon[9] camera during his lunch hour or when photographic opportunities arose. While the workers depicted in some of the photographs clearly are aware of the photographer's presence, Rivers's project presumably was conducted more or less surreptitiously. It is not known for certain if the paths of Rivers and Hine ever crossed, but his son Ron considers it unlikely: Hine photographed only the Empire State Building in connection with his "Men at Work" project,[10] not the earlier Chrysler Building, and Rivers did not work on the Empire State Building for a very long period. His self-portrait on the Empire State Building, "The Bolter-Up," may have been intended as a memento during one of his last days on that job.[11]

Rivers became unemployed in the Depression and consequently became involved in national efforts to create Social Security, unemployment insurance, and housing programs. These experiences apparently encouraged his active participation in politically leftist activities, as coverage about him in Soviet publications attests. A pacifist, in 1935 he was involved in demonstrations aimed at preventing World War II, and in the 1960s he took part in anti-Vietnam demonstrations and encouraged young people to continue such resistance.

In the 1950s Rivers worked in steel fabrication, in a chemistry lab as a technician, and briefly as a legislative aide for a New York state senator.

In 1986 Rivers submitted his 1930 self-portrait, posed on the Chrysler Building, to the International Year of Peace art contest sponsored by the New Times, published in Moscow: it was awarded a prize and diploma.

Mr. Rivers died in 1993, only two weeks after moving to Arlington, Texas to enter a nursing home near his sons' homes.

1. The page on Rivers in New York University=s Robert F. Wagner Labor Archives web site (http://laborarts.org/collections/item.cfm?itemid=82) --noted 5 June 2002), claims Rivers was born in 1905 and changed his name Ato resemble those of the Mohawk Indians working on the high steel of New York City=s skyscrapers and bridges".

2. This spelling is given in an e-mail from James Rivers to Helen Plummer, Aug. 19, 2002.

3. Ibid.

4. Telephone conversation between Ron Rivers and the author, 6 June 2002. Additional information was provided by Ron Rivers in electronic mail messages, 5 June and 12 June 2002.

5. James Rivers, op. cit.

6. Telephone conversation with Ron Rivers, 6 June 2002.

7. In a biographical statement for the Amon Carter Museum of Western Art (copy supplied by Helen Plummer), Charles Rivers called Denver his birthplace. The George Eastman House photographer database also included this apparently erroneous information, probably derived from the Amon Carter statement (telephone conversation with Helen Plummer, 3 June 2002).

8. Ron Rivers, telephone conversation, 6 June 2002.

9. Identified by Charles Rivers as the camera used in the skyscraper photographs: interview by Carol Sewell, "Photographer looked at U.S. from high view," Fort Worth Star-Telegram, Dec. 27, 1986. Rivers also used a Rolleiflex, according to Ron Rivers (see note above), but the folding Zeiss Ikon camera would have been a more convenient addition to a lunchbox than the bulkier Rolleiflex. The collection negatives are not in the Rolleiflex square format, moreover.

10. See Judith Mara Gutman, Lewis W. Hine and the American social conscience. New York: Walker, 1967.

11. Ron Rivers, telephone conversation, 6 June 2002.
Related Materials:
Materials at the Smithsonian Institution

Hirshhorn Museum and Sculpture Garden

Included Rivers's self-portrait, "The Bolter Up," in its summer 2002 exhibition, "Metropolis in the Machine Age," in the form of a new print made from a digital copy of the Archives Center's original negative. The author discussed the new print from the Rivers negative and other photographs in this exhibition in an invited gallery lecture, "The Skyscraper Photographs of Lewis Hine and Charles Rivers," Hirshhorn Museum and Sculpture Garden, June 6, 2002.

Materials at Other Organizations

Amon Carter Museum, Fort Worth, Texas

See Barbara McCandless and John Rohrbach, Singular moments: photographs from the Amon Carter Museum, with select entries by Helen Plummer. Reproduction of a Rivers photograph, with description and analysis, p. 30. Additional information has been generously supplied by Ms. Plummer, curatorial associate, and Barbara McCandless, curator of photography, Amon Carter Museum of Western Art, Fort Worth Texas.

Robert F. Wagner Labor Archives at New York University

Museum of the City of New York

Some of his photographs were included in the Amon Carter Museum of Western Art exhibition, "Looking at America: Documentary Photographs of the 1930s and 1940s," December 1986.
Provenance:
The collection is a gift from Mr. Charles Rivers, 1989.
Restrictions:
Collection is open for research.
Rights:
Archives Center claims copyright. Rights were conveyed to the Archives Center through a Deed of Gift signed by the donor.
Topic:
Self-portraits, American  Search this
Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Construction workers -- 1900-1950 -- New York (State) -- New York  Search this
Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Labor unions  Search this
Civil rights demonstrations -- 1960-1970  Search this
Skyscrapers -- 1920-1930 -- New York (State) -- New York  Search this
Civil rights  Search this
Peace movements -- 1960-1970  Search this
Peace movements -- 1930-1940  Search this
Scottsoro boys case  Search this
Fires  Search this
Scottsboro Trial, Scottsboro, Ala., 1931  Search this
Self-portraits  Search this
Genre/Form:
Photographs -- 1900-1950
Scrapbooks -- 20th century
Albums
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1970-1990
Citation:
Charles Rivers Photographs, 1929-1963, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0360
See more items in:
Charles Rivers Photographs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82c2fc0d6-34f9-422b-b6e3-c1d1072e975f
EDAN-URL:
ead_collection:sova-nmah-ac-0360
Online Media:

José de Creeft papers

Creator:
De Creeft, José, 1884-1982  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Black Mountain College (Black Mountain, N.C.) -- Faculty  Search this
New School for Social Research (New York, N.Y.) -- Faculty  Search this
Norton Gallery and School of Art  Search this
Skowhegan School of Painting and Sculpture -- Faculty  Search this
Albers, Josef -- Photographs  Search this
Calder, Alexander, 1898-1976  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Campos, Jules  Search this
De Creeft, William  Search this
De Diego, Julio, 1900- -- Photographs  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Diederich, William Hunt, 1884-1953  Search this
Dodd, Lamar  Search this
Escuder, Joseph  Search this
Gropius, Walter, 1883-1969 -- Photographs  Search this
Gross, Chaim, 1904-1991 -- Photographs  Search this
Gómez Gil, Alfredo, 1936-  Search this
Lawrence, Gertrude -- Photographs  Search this
Lipchitz, Jacques, 1891-1973  Search this
Lipchitz, Jacques, 1891-1973 -- Photographs  Search this
Neumann, J. B. (Jsrael Ber) -- Photographs  Search this
Nivola, Costantino, 1911-1988  Search this
Rattner, Abraham -- Photographs  Search this
Roszak, Theodore, 1907-1981 -- Photographs  Search this
Soyer, Raphael, 1899-1987 -- Photographs  Search this
Sweeney, James Johnson, 1900-  Search this
Zorach, William, 1887-1966 -- Photographs  Search this
Extent:
28.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Video recordings
Diaries
Interviews
Scrapbooks
Sketches
Date:
1871-2004, bulk 1910s-1980s
bulk 1910-1990
Summary:
The papers of Spanish-born sculptor and educator José de Creeft measure 28.1 linear feet and date from 1871 to 2004 with the bulk of the material dating from the 1910s to the 1980s. Found are biographical materials, correspondence, fifty diaries, writings, subject files, personal business records, printed materials, twenty-seven photo albums and other photographs, scrapbooks, and scattered sketches.
Scope and Contents:
The papers of Spanish-born sculptor and educator José de Creeft measure 28.1 linear feet and date from 1871 to 2004 with the bulk of the material dating from the 1910s to the 1980s. Found are biographical materials, correspondence, fifty diaries, writings, subject files, personal business records, printed materials, twenty-seven photo albums and other photographs, scrapbooks, and scattered sketches.

Biographical materials include address books, awards, recorded interviews with and about de Creeft, membership materials, naturalization records, resumes, and travel documents.

Correspondence is primarily professional in nature and concerns exhibitions, de Creeft's involvement in arts organizations, and awards. There are also scattered personal letters from family and friends. Correspondents include Alexander Calder, Nina, Alice, Barbara and William de Creeft, Hunt Diederich, Joseph Escudar, and Gil Gomez, Jacques Lipchitz, Edwin Dickinson, James Johnson Sweeney, Costantino Nivola, Abraham Rattner, and Lamar Dodd, among others.

De Creeft's fifty diaries are nearly complete for the period dating from 1926 to 1981. Some are bound volumes and others are loose pages. The bulk of the diaries are in Spanish and many include sketches. Additional writings, called "escritos varios" by José de Creeft, are mostly in Spanish and consist of typed manuscripts and essays, including "Roosty Was My Friend, 1957, notebooks, an artist's statement, and writings by others, including drafts for The Sculpture of de Creeft by Jules Campos, and a video recording entitled José de Creeft by Bob Hanson. There is one sound recording of Lorrie Goulet reading poetry.

Subject files are varied and include files on de Creeft's teaching positions at the New School for Social Research, Black Mountain College, Skowhegan School of Painting and Sculpture, and the Art Students League. There are files for some of his sculpture projects, inlcuding Alice in Wonderland, Poet, and a proposed model for the Stone Mountain Confederate Memorial in Georgia, as well as compiled information about various art related topics of interest.

De Creeft's business records include appraisals, contracts, leases, price lists, and scattered receipts. Also found are art inventories in the form of three sets of index cards, some of which include photographs.

Printed materials include books, clippings, exhibition announcements and catalogs, exhibition labels, postcards, and posters.

There are loose photographs and twenty-seven photograph albums depicting de Creeft, his family, friends, and works of art. There are photos of Alexander Calder; de Creeft and Goulet with Raphael Soyer, posing with Soyer's portrait of them; Gertrude Lawrence; art juries, which also include images of Chaim Gross, Jacques Lipchitz, Theodore Roszak, and William Zorach; students, friends, and faculties of Black Mountain College, the Art Students League, Skowhegan School of Painting and Sculpture, and the Norton School of Art, which also includes images of Joseph Albers, Alexander Calder, Julio De Diego, Walter Gropius, J. B. Neumann, and Abraham Rattner.

Seven mixed media scrapbooks document de Creeft's career from 1929 to 1982. Also found are scattered pen and pencil sketches and one sketchbook dating from the 1920s.
Arrangement:
The collection is arranged as 10 series:

Missing Title

Series 1: Biographical Material, 1914-1979 (Boxes 1, 27; 0.9 linear feet)

Series 2: Correspondence, 1910s-1980s (Boxes 1-6; 4.2 linear feet)

Series 3: Diaries, 1926-1981 (Boxes 6-11; 5.4 linear feet)

Series 4: Writings, 1871-1977 (Boxes 11-13, 28; 2.5 linear feet)

Series 5: Subject Files, 1924-1980 (Boxes 13-16, 27; 2.4 linear feet)

Series 6: Personal Business Records, 1909-1980s (Boxes 16-17, 27; 1.0 linear feet)

Series 7: Printed Material, 1921-1980s (Boxes 17-21, 27, 33; 4.7 linear feet)

Series 8: Photographs, 1900-2004 (Boxes 21-25, 29, 31; 5.1 linear feet)

Series 9: Scrapbooks, 1929-1982 (Box 26, 30, 32; 1.8 linear feet)

Series 10: Artwork, 1920s-1930s (Box 26; 2 folders)
Biographical / Historical:
José de Creeft (1908-1982) was a Spanish-born sculptor active in New York City, New York.

José de Creeft was born in Guadalajara, Spain and raised in Barcelona. In 1900, he apprenticed to sculptor Don Augustine Querol and studied drawing with Idalgo de Caviedas. De Creeft moved to Paris in 1905 and began formal art training at the Académie Julianand. He also took a studio in the Batteau Lavoir in Montmartre, where he interacted with Pablo Picasso, Juan Gris, Manolo, and Pablo Gargallo, all of whom also had studios there. During this period, de Creeft became friends with the artist Mateo Hernandez.

In 1915, de Creeft rejected the traditional technique of reproducing sculpture in stone from clay and plaster models and turned to direct carving in wood and stone. He was also one of the first sculptors who practiced assemblage and incorporated found objects into his work. His notable assemblage sculpture El Picador, a large figure on horseback, received worldwide press coverage and was exhibited at the Salon des Artistes Independents in 1926. Between 1919 and 1928, his work was exhibited in various Paris salons. In the late 1920s, he created 200 stone carvings for Roberto Ramonje's Forteleza (fortress) in Mallorca. It was around this time frame when de Creeft met Alexander Calder, who became his student in direct carving. De Creeft encouraged Calder to display his mechanical toys and Calder put his Circus together for the first time in de Creeft's studio.

De Creeft emigrated to the United States in 1929, right after marrying fellow sculptor Alice Robertson Carr. They divorced nine years later.

While in New York, de Creeft began sculpting with lead sheets beaten into three-dimensional forms and established a studio at 1 Washington Square. His first solo exhibition was at the Ferargil Galleries in New York City and included The Portrait of Cesar Vallejo in chased lead and The Silver Fox of found materials.

In 1932, de Creeft accepted a teaching position in sculpture at the New School for Social Research. He also taught courses at Black Mountain College, where he met his second wife, sculptor Lorrie Goulet, the Art Students League, Skowhegan School of Painting and Sculpture, and the Norton Gallery and School of Art. In 1946, de Creeft and Goulet purchased a hundred-acre farm in Hoosick Falls, NY where they established a studio and part-time residence.

Perhaps De Creeft's most well-known monumental scuplture is Alice in Wonderland in Central Park, New York City. The 12' x 16' bronze was dedicated during a public event in 1959 and gave de Creeft worldwide recognition. In 1995 a short film about the making of the sculpture was produced by J. D'Alba and narrated by Lorrie Goulet.

De Creeft was as founding member of the American Artist's Congress, the Sculptors Guild, and the Artist's Equity Association. De Creeft was represented by the Georgette Passedoit Gallery from 1936 to 1949. Later, he joined The Contemporaries (gallery) and exhibited there until 1966. Kennedy Galleries represented de Creeft from 1970 until his death in 1982.
Related Materials:
The Archives of American Art also holds an interview of José De Creeft conducted October 1-8, 1968 by Forrest Selvig and the papers of de Creeft's wife Lorrie Goulet.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels D150 and 375-378). While most of the items were included in subsequent gifts, material not donated to the Archives remain with the lender and are not described in the collection container inventory.
Provenance:
The José de Creeft papers were first lent for microfilming by the artist in 1963 and 1972. Lorrie Goulet, José de Creeft's widow, donated most of this material along with additional items in 1985 and 2009.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Topic:
Art -- Study and teaching  Search this
Educators -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Sculpture, Modern -- New York (State) -- New York  Search this
Stone Mountain Memorial (Ga.)  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Diaries
Interviews
Scrapbooks
Sketches
Citation:
José de Creeft papers, 1871-2004, bulk 1910s-1980s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.decrjose
See more items in:
José de Creeft papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bbb83529-c881-4ef2-b3f3-7919c41b1404
EDAN-URL:
ead_collection:sova-aaa-decrjose

[Radio Corrporation of America (RCA) booth at the Bamberger Radio Exhibition, black & white photoprint]

Photographer:
Knight, Thomas Coke  Search this
Names:
Radio Corporation of America.  Search this
Collection Creator:
Clark, George Howard, 1881-1956  Search this
Extent:
1 Item (Silver gelatin on paper., 7.5" x 9.5")
Container:
Box 313, Folder 1
Type:
Archival materials
Date:
Circa 1920-1930
Local Numbers:
AC0055-0000004.tif (AC Scan)
Restrictions:
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.
Topic:
Radio  Search this
Collection Citation:
George H. Clark Radioana Collection, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
George H. Clark Radioana Collection
George H. Clark Radioana Collection / Series 112: Radio Shows and Displays / Photos of displays
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep862727f05-90d9-40f4-b1b4-b33308af3295
EDAN-URL:
ead_component:sova-nmah-ac-0055-ref3652

[De Forest Exhibit at the St Louis Exposition, black-and-white photoprint.]

Collector:
Clark, George H.  Search this
Names:
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
Collection Creator:
Clark, George Howard, 1881-1956  Search this
Extent:
1 Item (8.7" x 7.1".)
Type:
Archival materials
Photographs
Date:
undated
Scope and Contents:
Wireless Auto No.1 sits in the center of the exhibit.
Arrangement:
In black copy print notebook 3
Local Numbers:
AC0055-0000103.tif (AC Scan)

90-10146 (SI neg number)
Restrictions:
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.
Topic:
Automobiles  Search this
Genre/Form:
Photographs -- 1920-1930 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
George H. Clark Radioana Collection, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
George H. Clark Radioana Collection
George H. Clark Radioana Collection / Series 112: Radio Shows and Displays / Photos of displays
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8157ed34e-03dd-4654-8d90-42d2f4a53aba
EDAN-URL:
ead_component:sova-nmah-ac-0055-ref3749

Prof[essor] K[elly] Miller [cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Names:
Howard University  Search this
Miller, Kelly, 1863-1939  Search this
Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet, [possibly nitrate] 10" x 8".)
Container:
Box 316
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
undated
1911-1922
Scope and Contents:
Job Number: 12948
Posed studio portrait of Miller in morning suit with his hand resting on the back of a chair. Ink on negative: "12948 Prof K. Miller - 1 - B & W - 8 x 10". Ink on envelope: "Kelly Miller standing". No edge imprint. Pencil retouching of face and hands.
Biographical / Historical:
Miller was Head, Dept. of Education, College of Liberal Arts, and Dean of the Graduate School, Howard University.
Exhibitions Note:
Reproduction print exhibited in "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30 - November 15, 2009; image 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.
Topic:
Portraits -- African American men -- 1910-1920  Search this
Portraits -- African American men -- 1920-1930  Search this
Genre/Form:
Photographs -- 1910-1930 -- 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 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: M - Mysich
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82422d036-1f41-488c-9b9a-f5326264edfe
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref48759

Louis Armstrong

Artist:
Woodward's Studio, c. 1920 - 1930  Search this
Sitter:
Louis Armstrong, 4 Aug 1901 - 6 Jul 1971  Search this
Medium:
Halftone on paper
Dimensions:
Sheet: 25.5 x 20 cm (10 1/16 x 7 7/8")
Type:
Print
Date:
c. 1928
Topic:
Music\Musical instrument\Trumpet  Search this
Costume\Dress Accessory\Tie\Bowtie  Search this
Louis Armstrong: Male  Search this
Louis Armstrong: Performing Arts\Performer\Actor\Movie  Search this
Louis Armstrong: Performing Arts\Performer\Comedian  Search this
Louis Armstrong: Performing Arts\Performer\Musician\Singer\Jazz  Search this
Louis Armstrong: Performing Arts\Performer\Musician\Jazz  Search this
Louis Armstrong: Performing Arts\Performer\Musician\Horn player\Trumpeter  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.2009.54
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm40506ad45-b513-4a34-a642-f03fb33ff4a2
EDAN-URL:
edanmdm:npg_NPG.2009.54

Rudy Vallee

Artist:
Samuel Johnson Woolf, 12 Feb 1880 - 03 Dec 1948  Search this
Sitter:
Rudy Vallee, 28 Jul 1901 - 3 Jul 1986  Search this
Medium:
Charcoal and white chalk on paper
Dimensions:
Sheet: 49.5 × 43.8cm (19 1/2 × 17 1/4")
Type:
Drawing
Date:
c. 1930
Topic:
Costume\Dress Accessory\Tie\Necktie  Search this
Rudy Vallee: Male  Search this
Rudy Vallee: Performing Arts\Performer\Actor  Search this
Rudy Vallee: Performing Arts\Performer\Musician\Singer  Search this
Rudy Vallee: Performing Arts\Performer\Musician\Horn player\Saxophonist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Time magazine
Object number:
NPG.88.TC187
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm40559229c-8291-4350-8a13-bb6fe3f6a68c
EDAN-URL:
edanmdm:npg_NPG.88.TC187

Dean Lucy Slowe [cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Names:
Howard University  Search this
Slowe, Lucy Diggs, 1883-1937  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 (Silver gelatin on cellulose acetate film sheet, 7" x 5".)
Container:
Box 69
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
undated
Scope and Contents:
Job Number: 21046
Ink on negative: "21046 Dean Lucy Slowe (Reserve)" and "Do not print this negative." Portrait of Lucy Slowe, first Dean of Women at Howard University, wearing a long string of pearls. Slowe was also first president of Alpha Kappa Alpha sorority. EASTMAN--SAFETY--KODAK 46" edge imprint.
Exhibitions Note:
Reproduction print from this negative exhibited in "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30 - November 15, 2009; image reproduced in exhibit's companion book.
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:
Portraits -- African American women  Search this
Genre/Form:
Photographs -- 1920-1930 -- 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
GUID:
https://n2t.net/ark:/65665/ep850e85166-90bc-44b9-9be6-ddef1bf82efe
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref2178
Online Media:

[Western Union employees at "A Century of Progress", b&w photoprint]

Collector:
Western Union Telegraph Company  Search this
Names:
Century of Progress International Exposition (1933-1934 : Chicago, Ill.)  Search this
Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Extent:
1 Item (Silver gelatin on paper., 11.0" x 14.1")
Container:
Box 773, Folder 13
Type:
Archival materials
Photographs
Photographs
Date:
1933-1934
Scope and Contents:
Kaufmann-Fabry photographers.
Local Numbers:
AC0205-0000070 (AC Scan No.)
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.
Topic:
Telegraph, Wireless  Search this
Employees  Search this
World expositions  Search this
Exhibitions  Search this
Genre/Form:
Photographs -- 1920-1930 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
See more items in:
Western Union Telegraph Company Records
Western Union Telegraph Company Records / Series 23: Photographs / 23.13: Oversized Photographs / Western Union A Century of Progress, Chicago
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep810f7bb3d-ee71-4cf8-8355-e6db3ae984c8
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref11431

Headband

Culture/People:
Shuar  Search this
Collector:
Dr. Victor Wolfgang von Hagen (Wolfgang von Hagen), Non-Indian, 1908-1985  Search this
Previous owner:
Dr. Victor Wolfgang von Hagen (Wolfgang von Hagen), Non-Indian, 1908-1985  Search this
Seller:
Dr. Victor Wolfgang von Hagen (Wolfgang von Hagen), Non-Indian, 1908-1985  Search this
Seller agent:
W. Lee Trenholm (William Lee Trenholm), Non-Indian, 1899-1952  Search this
Object Name:
Headband
Media/Materials:
Toucan feather/feathers, cock-of-the-rock feather/feathers, cotton cord/cordage
Techniques:
Tied, knotted
Dimensions:
83.4 x 11 x 4.3 cm
Object Type:
Clothing/Garments: Headwear and Headdresses
Native Term:
twaspan
Place:
Upper Amazonia area; Ecuador
Date created:
circa 1925
Catalog Number:
18/8748
Barcode:
188748.000
See related items:
Shuar
Clothing/Garments: Headwear and Headdresses
On View:
NMAI, New York, NY: Infinity of Nations, Amazonia
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws618df76da-9b5b-4c3a-b674-e27f7e048f7a
EDAN-URL:
edanmdm:NMAI_201760
Online Media:

Madame Lachaise

Artist:
Gaston Lachaise, American, b. Paris, France, 1882–1935  Search this
Medium:
Pencil on paper
Dimensions:
17 7/8 x 11 13/16 in. (45.3 x 30 cm)
Type:
Drawing
Date:
(c. 1930)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966
Accession Number:
66.2870
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2d86196ff-ec68-4123-9fbe-66214937c595
EDAN-URL:
edanmdm:hmsg_66.2870

Exhibition Announcements, Catalogs, Wannamaker Gallery

Collection Creator:
Bouché, Louis, 1896-1969  Search this
Container:
Box 3, Folder 18
Type:
Archival materials
Date:
circa 1920-1930
Collection Restrictions:
Use of original papers requires an 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:
Louis Bouché papers, 1880-2007. Archives of American Art, Smithsonian Institution.
See more items in:
Louis Bouché papers
Louis Bouché papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fbb40332-b789-462a-b5d4-caff9efce6a0
EDAN-URL:
ead_component:sova-aaa-boucloui-ref108

Mail to the Chief

Publisher:
National Postal Museum  Search this
Language:
English
Object type:
Lesson Plan
Topic:
American History  Search this
Famous People  Search this
Leaders  Search this
Philately postage postal stamps president World War II  Search this
Great Depression  Search this
Presidents  Search this
Stamp Collecting  Search this
Roosevelt  Search this
Stamp Design  Search this
Free Franking  Search this
Typical age range 5-8  Search this
Typical age range 8-10  Search this
Typical age range 10-12  Search this
Typical age range 12-14  Search this
Typical age range 14-16  Search this
Typical age range 16-18  Search this
Educational alignment:
CCSS.ELA-Literacy.RL.K.7
CCSS.ELA-Literacy.RI.K.1
CCSS.ELA-Literacy.RF.K.4
CCSS.ELA-Literacy.W.K.8
CCSS.ELA-Literacy.SL.K.1a
CCSS.ELA-Literacy.SL.K.1b
CCSS.ELA-Literacy.RL.1.7
CCSS.ELA-Literacy.RI.1.10
CCSS.ELA-Literacy.RF.1.4a
CCSS.ELA-Literacy.W.1.8
CCSS.ELA-Literacy.SL.1.1a
CCSS.ELA-Literacy.SL.1.1b
CCSS.ELA-Literacy.RL.2.7
CCSS.ELA-Literacy.RI.2.1
CCSS.ELA-Literacy.RI.2.3
CCSS.ELA-Literacy.RI.2.5
CCSS.ELA-Literacy.RI.2.10
CCSS.ELA-Literacy.RF.2.4a
CCSS.ELA-Literacy.SL.2.1a
CCSS.ELA-Literacy.SL.2.1b
CCSS.ELA-Literacy.SL.2.1c
CCSS.ELA-Literacy.RL.3.7
CCSS.ELA-Literacy.RI.3.1
CCSS.ELA-Literacy.RI.3.3
CCSS.ELA-Literacy.RI.3.10
CCSS.ELA-Literacy.RF.3.4a
CCSS.ELA-Literacy.W.3.7
CCSS.ELA-Literacy.W.3.8
CCSS.ELA-Literacy.SL.3.1a
CCSS.ELA-Literacy.SL.3.1b
CCSS.ELA-Literacy.SL.3.1c
CCSS.ELA-Literacy.SL.3.1d
CCSS.ELA-Literacy.RI.4.3
CCSS.ELA-Literacy.RI.4.10
CCSS.ELA-Literacy.RF.4.4a
CCSS.ELA-Literacy.W.4.7
CCSS.ELA-Literacy.W.4.8
CCSS.ELA-Literacy.SL.4.1a
CCSS.ELA-Literacy.SL.4.1b
CCSS.ELA-Literacy.SL.4.1c
CCSS.ELA-Literacy.SL.4.6
CCSS.ELA-Literacy.L.4.3c
CCSS.ELA-Literacy.RL.5.7
CCSS.ELA-Literacy.RI.5.3
CCSS.ELA-Literacy.RI.5.7
CCSS.ELA-Literacy.RI.5.10
CCSS.ELA-Literacy.RF.5.4a
CCSS.ELA-Literacy.W.5.7
CCSS.ELA-Literacy.W.5.8
CCSS.ELA-Literacy.SL.5.1a
CCSS.ELA-Literacy.SL.5.1b
CCSS.ELA-Literacy.SL.5.1c
CCSS.ELA-Literacy.RI.6.7
CCSS.ELA-Literacy.W.6.7
CCSS.ELA-Literacy.W.6.8
CCSS.ELA-Literacy.SL.6.1a
CCSS.ELA-Literacy.SL.6.1b
CCSS.ELA-Literacy.SL.6.1c
CCSS.ELA-Literacy.SL.6.6
CCSS.ELA-Literacy.RI.7.3
CCSS.ELA-Literacy.W.7.7
CCSS.ELA-Literacy.W.7.8
CCSS.ELA-Literacy.SL.7.1a
CCSS.ELA-Literacy.SL.7.1b
CCSS.ELA-Literacy.SL.7.1c
CCSS.ELA-Literacy.SL.7.1d
CCSS.ELA-Literacy.W.8.7
CCSS.ELA-Literacy.W.8.8
CCSS.ELA-Literacy.SL.8.1a
CCSS.ELA-Literacy.SL.8.1b
CCSS.ELA-Literacy.SL.8.1c
CCSS.ELA-Literacy.SL.8.1d
CCSS.ELA-Literacy.RI.9-10.9
CCSS.ELA-Literacy.W.9-10.7
CCSS.ELA-Literacy.W.9-10.8
CCSS.ELA-Literacy.SL.9-10.1a
CCSS.ELA-Literacy.SL.9-10.1b
CCSS.ELA-Literacy.SL.9-10.1c
CCSS.ELA-Literacy.SL.9-10.1d
CCSS.ELA-Literacy.RI.11-12.7
CCSS.ELA-Literacy.W.11-12.7
CCSS.ELA-Literacy.W.11-12.8
CCSS.ELA-Literacy.SL.11-12.1a
CCSS.ELA-Literacy.SL.11-12.1b
CCSS.ELA-Literacy.SL.11-12.1c
Data source:
SI Center for Learning and Digital Access
EDAN-URL:
edanmdm:SCLDA_1682

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