Washington (D.C.) -- Small business -- 20th century
Date:
1900-1949
Summary:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.10 consists of orders placed at the Scurlock Studio. The negatives depict individual portrait sittings and formal group portraits. An overview to the entire Scurlock collection is available here: Scurlock Studio Records
Scope and Contents note:
The materials document orders placed at the Scurlock Studio. The negatives depict individual portrait sittings and formal group portraits.
Arrangement note:
The system of arrangement of the subseries is unclear.
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...
Forms Part Of:
Subseries 4.10 forms part of Series 4, within the Scurlock Studio Records group.
Scurlock Studio Records
Series 1: Black and White Photographs
Series 2: Color Photographs
Series 3: Framed Prints
Series 4: Black-and-White Silver Gelatin Negatives
Series 5: Color Negatives
Series 6: Color Transparencies, Slides, and Other Formats
Series 7: Black-and-White Color Separation Negatives and Matrices
Series 8: Scurlock Studio Business Records
Series 9: Custom Craft Business Records
Series 10: Capitol School of Photography
Series 11: Washington Stock
Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African Americans -- History -- 20th century Search this
African American entertainers -- 20th century Search this
Photography -- 20th century -- Washington (D.C.) Search this
Genre/Form:
Color separation negatives
Photographs -- 20th century
Dye transfer process
Studio portraits
Matrices, color separation
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1964-1994, undated
Summary:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 5 primarily consists of color negatives, but occasionally includes order forms, envelopes, and other photographic materials associated with the order. An overview to the entire Scurlock collection is available here: Scurlock Studio Records
Scope and Contents:
Materials primarily consist of color negatives, but also include order forms and envelopes. Photographs associated with the order were move to series two color photographs. The materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. The subjects represented are individual portrait sittings, organizations, events, businesses, commercial ventures of the Studio, and Washington, DC. The series is arranged into two subseries: Subseries 5.1: Clients, and Subseries 5.2: Subjects.
Arrangement:
Arranged in 2 subseries.
5.1: Color negatives arranged by client
5.2: Color negatives arranged by subject
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...
Forms Part Of:
This series forms part of the Scurlock Studio Records group.
Scurlock Studio Records
Series 1: Black and White Photographs
Series 2: Color Photographs
Series 3: Framed Prints
Series 4: Black-and-White Silver Gelatin Negatives
Series 5: Color Negatives
Series 6: Color Transparencies, Slides, and Other Formats
Series 7: Black-and-White Color Separation Negatives and Matrices
Series 8: Scurlock Studio Business Records
Series 9: Custom Craft Business Records
Series 10: Capitol School of Photography
Series 11: Washington Stock
Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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.
Biographical material includes appointment and address books; education and personal identification certificates and documents; awards, certificates, curriculum vitae, and chronologies; biographical material related to other individuals, including identification documents and memorial programs; and transcripts of interviews with Jacob Lawrence and Gwendolyn Knight.
The correspondence series includes extensive personal and professional correspondence with family, friends, artists, admirers (including students in a number of elementary and middle schools), university students, government agencies, art schools, galleries, museums, publishing houses, and others. Included in this series are condolence letters received by Gwendolyn Knight after Jacob Lawrence's death in 2000.
Writings include published and unpublished writings by and about Jacob Lawrence, as well as writings by others. These writings include speeches, notes, essays, articles, lists, and short stories. Also included is a visitor comment book from the Los Angeles County Museum exhibition of Jacob Lawrence's Harriet Tubman and Frederick Douglass series.
Printed material includes books; brochures; business cards; clippings; exhibition and event announcements, invitations, catalogs, and programs; magazines; newsletters; posters; post cards; and press releases. Books in this collection may include illustrations by Jacob Lawrence or have personal inscriptions from the author to Jacob Lawrence and Gwendolyn Knight.
Photographs include photographs of Jacob Lawrence artwork, photographs and reproductions of Gwendolyn Knight artwork, and photographs of Jacob Lawrence, Gwendolyn Knight, and other individuals. Also included in this series are photographs and reproductions of work by others.
Personal business records include a ledger; consignment, financial, and shipping records related to the Terry Dintenfass Gallery; contracts and agreements; and estate documents.
Artwork includes sketches by Jacob Lawrence, a blank sketchbook inscribed by Jacob Lawrence to Gwendolyn Knight, and artwork by other artists.
The Jacob and Gwendolyn Knight Lawrence Foundation and Related Material series includes founding documents and foundation bylaws, correspondence, financial documents, reports, and proposals. Found within this series are materials related to the Lawrence Center for the Visual Arts, a subsidiary foundation of the Jacob and Gwendolyn Knight Lawrence Foundation.
Professional files include material related to projects and exhibitions, teaching files and inclusion in curricula, files regarding possible fake Jacob Lawrence works, and gallery files.
The honors series is divided into two subseries: awards and certificates, and government honors. Awards and certificates includes honorary degrees, arts prizes, and any other honors awarded to Jacob Lawrence or Gwendolyn Knight. Government honors include resolutions, proclamations, and keys to cities. Also included in this series are correspondence related to awards and honorary degrees, commencement programs, plaques, and medals.
Arrangement:
The collection is arranged in 11 series.
Missing Title
Series 1: Biographical Material, 1914-2005 (Boxes 1, 11, 26, OV 10; 0.5 linear feet)
Series 2: Correspondence, 1943, 1952-2005 (Boxes 1-5, 12-14, 26; 7.7 linear feet)
Series 3: Writings, 1954-1959, 1973-2005, undated (Boxes 5-6, 14-15; 0.5 linear feet)
Series 4: Printed Material, 1816, 1926, 1937, 1945-2008 (Boxes 6-9, 15-17, 26, OV 30, OV 31; 6.8 linear feet)
Series 5: Photographs, circa 1970-1997, undated (Boxes 9, 17, OV 10; 0.4 linear feet)
Series 6: Personal Business Records, 1962-2005 (Boxes 9, 17; 0.3 linear feet)
Series 7: Artwork, 1984, 1990-1994, undated (Boxes 9, 18, 26; 0.3 linear feet)
Series 8: Jacob Lawrence Catalogue Raisonne Project Records, 1982-2002 (Boxes 18-23, Box 26; 5.1 linear feet, ER01; 0.001 GB)
Series 9: Jacob and Gwendolyn Knight Lawrence Foundation and Related Material, 1997-2005 (Box 23; 0.6 linear feet)
Series 10: Professional Files, 1964-2004 (Boxes 23-24; 1.2 linear feet)
Series 11: Honors, 1948, 1966-2005 (Boxes 24-25, 27-29, OV 30; 2.3 linear feet)
Biographical Note:
Modernist painter and educator Jacob Lawrence (1917-2000) was born in 1917 as Jacob Armstead Lawrence in Atlantic City, New Jersey. He began his art studies at the Utopia Children's Center in New York City's Harlem district where he studied under the painter Charles Alston. Lawrence dropped out of high school at the age of sixteen to continue his art instruction with Alston, this time at the Harlem Art Workshop, where he met several artists associated with the Harlem Renaissance including the sculptor Augusta Savage.
Gwendolyn Knight (1913-2005) was born in Barbados and moved to New York City with her adoptive parents when she was seven. She attended New York's Wadleigh High School and later Howard University in Washington, D.C. where she studied fine arts with Lois Mailou Jones and James Porter. Forced to leave her studies at Howard because of the Depression, Knight returned to Harlem and continued her artistic pursuits in Augusta Savage's workshop. In 1935, Knight joined the Harlem Mural Project of the Works Progress Administration (WPA) working under Selma Day and Charles Alston. Lawrence and Knight met in Savage's workshop and married in the summer of 1941.
During the Depression, Lawrence also joined the WPA Federal Arts Project in Harlem. Finding WPA murals overwhelming, Lawrence concentrated on traditional painting instead. He produced his first major works in the late 1930s, most notably the Toussaint L'Ouverture series, images that document the life of the revolutionary hero and Haiti's struggle for independence. Other significant works include visual narratives of the lives of abolitionists Harriet Tubman and Frederick Douglass. In 1940, Lawrence received the prestigious Julius Rosenwald Fellowship, which made it possible for him to purchase his first art studio on 125th Street in the heart of Harlem. He soon portrayed Harlem street life in paintings that became commentaries on the role of African Americans in United States society with highly developed themes of resistance and social opposition. That same year, Lawrence began his most celebrated series, The Migration of the American Negro, multiple tempera panels depicting the exodus of African American sharecroppers in the south to northern industrial cities in search of better employment and social opportunities. Edith Halpert exhibited the works in their entirety at her Downtown Gallery in 1941, establishing Lawrence as the first African American artist to exhibit in a top New York gallery. The following year, New York's Museum of Modern Art and the Phillips Collection in Washington, DC each bought half of the sixty panels in the series, helping to further Lawrence's career within the larger world of American art.
In the summer of 1946, the artist Joseph Albers invited Lawrence to teach at North Carolina's Black Mountain College. It was the first in a series of teaching positions in prestigious art schools including Pratt Institute (1956-1971), Brandeis University (1965), The New School (1966), the Art Students League (1967), and others. During the 1950s and 1960s, Lawrence's work continued to focus on racism and political activism but in the late 1960s shifted to themes of racial harmony.
Both Lawrence and Knight continued independent careers in art. Knight pursued her art studies at the New School in New York and the Skowhegan School of Painting and Sculpture in Maine. In the mid-1960s, she collaborated with other female artists to form the Studio Gallery in New York City. Knight's main body of work consists of portraits and still-lifes that incorporate expressions of African sculpture, Impressionism, dance, and theater. Focusing on gesture, her art is described as light and airy with a minimum of lines allowing empty space to define the work. In 1970, Lawrence traveled to Seattle to teach as a visiting artist at the University of Washington. He was hired on a permanent basis the following year and remained on staff until his retirement in 1986.
Jacob Lawrence died June 9, 2000, in Seattle, Washington at the age of 83. Gwendolyn Knight continued to paint and exhibit her work around the country until her death on February 18, 2005 in Seattle, Washington at the age of 92.
Related Material:
Also found at the Archives of American Art are an oral history interview with Jacob Lawrence conducted by Carroll Greene (1968 October 26), interviews conducted by Avis Berman (1982 July 20-August 4), and an oral history interview with Jacob Lawrence and Gwendolyn Knight conducted by Paul Karlstrom (1998 November 18). The Archives of American Art also holds a collection of Jacob Lawrence papers, available on microfilm only, reels D286 and 4571-4573. Originals reside at Syracuse University Library, Special Collections.
Provenance:
The Jacob Lawrence and Gwendolyn Knight papers were donated to the Archives of American Art in five accretions between 1979 and 1997. Additional papers were donated in 2012 by the Jacob and Gwendolyn Knight Lawrence Foundation via Barbara Earl Thomas, representative.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Washington (State) -- Seattle Search this
Painters -- New York (State) -- New York Search this
Educators -- Washington (State) -- Seattle Search this
Topic:
Painting, Modern -- 20th century -- United States Search this
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2007 processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the 2018 processing of this collection was provided by the Henry Luce Foundation.
Periodical articles, news clippings, concert programs, radio transcripts, personal correspondence, broadsides, photographs, and pencil sketches collected by Dr. Shell. The material documents part of Duke Ellington's music career, especially ca. 1940-1974.
Scope and Contents:
The Dr. Theodore Shell Collection of Duke Ellington Ephemera contains autographs, concert programs, publicity booklets, conference materials, correspondence, periodicals, news clippings, photographs, play lists, transcripts of radio broadcasts and a variety of other ephemeral materials that document the life, career, and legacy of Duke Ellington, as well as the early history of Jazz. The collection is arranged alphabetically. Oversized materials are located at the end of the collection but are listed alphabetically within the container list.
Items of particular interest include: a collection of programs, napkins, and menus autographed by Duke Ellington and other members of his orchestra including Johnny Hodges; concert programs spanning forty years of Ellington's career (1933-1973); a pencil-sketched portrait of Duke Ellington; and photographs of Duke Ellington, Cab Calloway, "Peg leg" Bates, Cat Anderson, Harry Carney, Paul Gonsalves, Harold Ashby, Russell Procope and many other Ellington band members taken or collected by Dr. Shell. There are radio broadcast transcripts that contain the scripts, play lists, and promotional spots from various Ellington radio performances between 1943 and 1946. Biographical notes document the life of one of Ellington's public relations agents, Jerome O. Rhea, and there are also some photographs that might possibly be of Rhea's family. Also of interest are a transcript of a meeting related to the organization of a Negro Baseball League and several hand-illustrated poems by African American poets, both of which are found in the Miscellaneous folder.
Biographical / Historical:
Dr. Theodore Shell (1915- ), dentist, "amateur" photographer and Ellington enthusiast, was born in Rahweh, New Jersey. He graduated from Shaw University in 1937 with a degree in science and chemistry, and he served five years in the U.S. Army's chemical warfare service during World War II in the European Theatre. In 1950 he received his dentistry degree from Howard University and began a practice in Washington D.C. Dr. Shell also held the position of Clinical Professor of Dentistry for 43 years at Howard. He retired in 1993.
Dr. Shell first became interested in Ellington's music in 1952. He and Maurice Lawrence, a fellow member of the Omega Psi Phi National Fraternity, founded a Duke Ellington Club in 1956, and it eventually became Chapter 90 of the Ellington Society by 1962. Other founding members of this chapter include Grant Wright, Terrell Allen, and Juanita Jackson. Over the course of his activities with the Ellington Society, Dr. Shell had the privilege of meeting with Duke Ellington on numerous occasions, the first time being in 1964, and in 1971 he hosted Ellington's 72nd birthday party in his own home. Currently, Dr. Shell is serving as president of the organization.
Provenance:
Dr. Theodore Shell donated his collection of Duke Ellington ephemera to the National Museum of American History on November 17, 1993.
Restrictions:
Collection is open for research.
Rights:
Copyright restrictions. Contact the Archives Center.
Topic:
Jazz musicians -- 1940-1980 -- United States Search this
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Dr. Patricia Bath was born in 1942 in New York. She conceived of the Laserphaco Probe in 1981 and patented it in 1988 (US Patent # 4,744,360 for an "Apparatus for ablating and removing cataract lenses"). The collection contains original and reference video footage of Dr. Bath's Innovative Lives Presentation documenting her work in the field of ophthalmology and her work creating and patenting the LaserPhaco Probe, an instrument to remove cataracts. Also included is an interview with Dr. Bath at her home in Los Angeles and an interview with her daughter, Eraka Bath and supplemental documentation assembled by Dr. Bath. The documentation includes photocopies of articles, patents, biographical sketch material, and selected publications and references to related to lasers and surgery of Dr. Bath
Scope and Contents:
This collection consists of 8.5 hours of original (BetaCam SP) video recordings and reference (viewing) copies (VHS) documenting the life and career of Dr. Patricia Bath. The recordings include a presentation by Dr. Bath for the Lemelson Center's Innovative Lives Program and interviews at her home and laboratory in Los Angeles. The collection also includes an interview with Dr. Bath's daughter, Eraka Bath, and copies of footage from other sources about Dr. Bath's work. Additionally, there is supplemental documentation assembled by Dr. Bath. The documentation includes photocopies of articles, patents, biographical sketch material, and selected publications and references to related to lasers and surgery of Dr. Bath.
Arrangement:
This collection is arranged into three series.
Series 1, Original Videos, 2000
Series 2, Reference Videos, 2000
Series 3, Supplemental Documentation
Biographical / Historical:
Dr. Patricia Bath (1942-) was born in New York. She attended Charles Evans Hughes High School, Hunter College (B.A. 1964), and Howard University College of Medicine (M.D. 1968). Bath held a fellowship in ophthalmology at Columbia University (1969-1970) and an internship at New York University (1970-1973) where she was the first African American resident in ophthalmology. Dr. Bath later joined the faculty of UCLA and Charles R. Drew University in surgery and ophthalmology and later the Department of Ophthalmology at UCLA's Jules Stein Eye Institute. In 1976, Dr. Bath and other colleagues formed the American Institute for the Prevention of Blindness (AIPB). Dr. Bath conceived of the Laserphaco, an instrument to remove cataracts in 1981. She received US patent #4,744,360 for an "Apparatus for ablating and removing cataract lenses" on May 17, 1988. Later patents include a method and apparatus for ablating and removing cataract lenses; laser apparatus for surgery of cataractous lenses; and pulsed ultrasound method for fragmenting/emulsifying and removing cataractous lenses. Dr. Bath retired from the UCLA Medical Center in 1993 to work in telemedicine, the use of electronic communication to provide medical services to remote areas where healthcare is limited.
The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation was founded in 1995 at the Smithsonian Institution's National Museum of American History through a generous gift from the Lemelson Foundation. The Center's mission is: to document, interpret, and disseminate information about invention and innovation; to encourage inventive creativity in young people; and to foster an appreciation for the central role invention and innovation play in the history of the United States. The Innovative Lives series brings together Museum visitors and especially, school age children, and American inventors to discuss inventions and the creative process and to experiment and play with hands-on activities related to each inventor's product. This collection was recorded by the Innovative Lives Program of the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.
Related Materials:
An anatomical eye (accession # 2000.0038.01) was donated to the Division of Medicine and Science in 2000 by Dr. Patricia Bath.
Provenance:
This collection was recorded by the Innovative Lives Program of The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation on March 1, 2000. The Innovative Lives series brings Museum visitors and American inventors together to discuss inventions and the creative process and to experiment and play with hands-on activities related to each inventor's product.
Restrictions:
Collection is open for research but the original videos are 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.
The Kendall Productions records date from 1952-2006 with the bulk of material dating from 1997-2004 and measure 4.42 cubic feet. The records consist of material documenting the Kendall Productions documentary Dance Party: The Teenarama Story which first aired on Howard University's PBS affiliate WHUT in 2006. The records are comprised of research and production notes, government records, newspaper articles, questionnaires, photographs, letters, and scripts, accompanied by a significant amount of original media in the following formats: VHS and Beta videocassettes, audiocassettes, and audio compact discs.
Scope and Contents:
The records of Kendall Productions measure 4.6 cubic feet and date from 1952 to 2006, with the bulk of material dating from 1997-2004. The records contain the administrative files, research, project files, photographs, and audiovisual material produced during the creation of the documentary Dance Party: The Teenarama Story.
Administrative records include committee records, project assessments, budget files, promotional material, correspondence, and material related to individuals working on the documentary. Material within the series directly relate to the production processes of Dance Party: The Teenarama Story. Restricted files within the series have been indicated at the folder level. The administrative records were previously scattered throughout the collection.
Research files include biographical information, the history of television broadcasting in Washington D.C., community history, background on Teenarama, and race relations from 1940 through the 1960s. The research file subjects were originally labeled by the creators, and their subject designations have been maintained where relevant. Material includes newsclippings, informational booklets, notes, pamphlets, unpublished essays or write-ups, and prints of website pages.
Project files include interview transcripts and copies of questions for interviewees, documentary scripts, event fliers, equipment request forms, and realia. Event material relates to the production of Dance Party: The Teenarama Story, and not events related to the release or showings of the finished documentary.
Photographs document people who were a part of the Teenarama show, cast reunion events, and the documentary filming or recording processes. Folder titles were given by the creators and have been maintained. They are organized alphabetically by folder title.
Audiovisual material contains 63 items, a majority of which are VHS tapes. Material includes clips and edits of Dance Party: The Teenarama Story. Objects are listed alphabetically by their labels. Playback equipment is available.
Arrangement:
Kendall Productions Records is arranged in five series:
Series 1: Administrative Records
Series 2: Research Files
Series 3: Project Files
Series 4: Photographs
Series 5: Audiovisual Material
Historical Note:
The documentary film Dance Party: The Teenarama Story first broadcast in 2006 on the Howard University public television station WHUT in Washington D.C. The film traced the history and development of the television show Teenarama that aired from March 7, 1963 to November 20, 1970.
Teenarama originated as the Teenarama Dance Party radio program broadcast on WOOK Radio in Washington D.C. and became a television program after WOOK Radio received a license to operate a television station. The program premiered as a teen dance show for Black teenagers in the Washington D.C. and surrounding metropolitan area, featuring popular songs. The show's programming was first created by Cal Hackett and Al Jefferson. Bob King hosted the show from 1963-1965. Following King's departure, the show rotated hosts such as Leon Isaac Kennedy, Moon Man, and Daniel "Hollywood Breeze" Clayton. Guest performers on the show included James Brown, Smokey Robinson and The Miracles, Major Lance, Mary Wells, Aretha Franklin, Lou Rawls, Billy Stewart, Martha and The Vandellas, the Supremes, and the Four Seasons, among others. The program broadcasted live six days a week, the first of its kind in the country catering specifically to a Black audience.
The documentary about Teenarama was created by Beverly Lindsay-Johnson, Herb Grimes, and the National Hand Dance Association, and was funded in part by grants through the Humanities Council of Washington D.C.,The DC Commission on the Arts and Humanities, The Dudley Foundation and private donations. The film uses Teenarama to tell the story of teen dance television shows, youth and pop culture, race, and television history. The documentary is narrated by Martha Reeves of Martha and The Vandellas.
Provenance:
Donated by Beverly Lindsey-Johnson in 2006.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Dance in motion pictures, television, etc. Search this
Genre/Form:
Photographic prints
Scripts (documents)
Notes
Audiocassettes
Compact discs
Research
Photographs
Questionnaires
Letters (correspondence) -- 20th century.
Interviews
Federal government records
Clippings
Videocassettes
Citation:
Kendall Productions records, Anacostia Community Museum Archives, Smithsonian Institution, gift of Beverly Lindsey-Johnson.
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1928-1994
Scope and Contents:
The materials document the orders placed by the clients of the Scurlock Studio. The photographs primarily depict individual portrait sittings but there are also portraits of children, groups, and other subjects.
Arrangement note:
The negatives are arranged by job number.
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...
Forms Part Of:
Subseries 4.5 forms part of Series 4, within the Scurlock Studio Records group.
Scurlock Studio Records
Series 1: Black and White Photographs
Series 2: Color Photographs
Series 3: Framed Prints
Series 4: Black-and-White Silver Gelatin Negatives
Series 5: Color Negatives
Series 6: Color Transparencies, Slides, and Other Formats
Series 7: Black-and-White Color Separation Negatives and Matrices
Series 8: Scurlock Studio Business Records
Series 9: Custom Craft Business Records
Series 10: Capitol School of Photography
Series 11: Washington Stock
Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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.
Washington (D.C.) -- Small business -- 20th century
Washington (D.C.) -- African Americans
Date:
1888-1993
Summary:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 1 primarily consists of black and white photographs, but also includes job envelopes, order forms, correspondence, notes, and other photographic materials such as negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records.
Scope and Contents note:
Materials are almost entirely black and white photographs, but also include job envelopes, order forms, correspondence, notes, and other photographic material types that were included in the overall order. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photographs by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. The series is arranged into two subseries: Subseries 1.1: Clients, and Subseries 1.2: Subjects.
Arrangement note:
Arranged in 2 subseries.
1.1: Clients Black and white photographs
1.2: Subjects Black and white photographs
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...
Forms Part Of:
This series forms part of the Scurlock Studio Records group.
Scurlock Studio Records
Series 1: Black and White Photographs
Series 2: Color Photographs
Series 3: Framed Prints
Series 4: Black-and-White Silver Gelatin Negatives
Series 5: Color Negatives
Series 6: Color Transparencies, Slides, and Other Formats
Series 7: Black-and-White Color Separation Negatives and Matrices
Series 8: Scurlock Studio Business Records
Series 9: Custom Craft Business Records
Series 10: Capitol School of Photography
Series 11: Washington Stock
Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
African American entertainers -- 20th century Search this
African Americans -- History -- 20th century Search this
Genre/Form:
Matrices, color separation
Photographs -- 20th century
Dye transfer process
Color separation negatives
Studio portraits
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
The collection documents the customs and culture of black gospel song and its performance in 19th- and 20th-century America. Dr. Reagon collected photographs, sheet music, and other primary and secondary sources chronicling the development and legacy of this medium, from the Civil War to the Civil Rights movement, from blues to Gospel to classical to jazz.
Among the subjects included in this collection are trailblazers such as Charles Tindley, Thomas A. Dorsey, Rosetta Tharpe, Duke Ellington, and Nathaniel Dett. Noted performers are the Fisk Jubilee Singers, the Harmonizing Four, the Hampton University Choir, and the Chick Webb Orchestra.
Scope and Contents:
The Bernice Johnson Reagon Collection of the African American Sacred Music Tradition documents the music, and the society, history, and customs from which it emerged. The materials were collected by Dr. Reagon during her tenure as Director of the Program in Black American Culture, Curator, and Curator Emerita at the National Museum of American History, Smithsonian Institution (1977-1997). The records span the nineteenth century and greater part of the twentieth century. The collection is important because it allows an understanding of the interconnectivity of African American musical forms. Gospel, Jazz, and Protest Songs document the African experience in America through verse and melody. Dr. Reagon collected photographs, sheet music and other primary and secondary sources chronicling the development of African American sacred music tradition from its birth during the period of slavery through the creation of concert spiritual, gospel music, jazz and the performance of protest song in the century following Emancipation.
The records, which measure approximately six linear feet, contain photographs, sheet music, and what Dr. Reagon calls "cultural files" pertaining to figures in, types of, and history of African American music. The cultural file material formats include book, news and magazine articles, programs, bio-sketches, and music. Information about personalities such as Marian Anderson, La Verne Baker, Dorothy Love Coates, Nathaniel Dett, Thomas Dorsey, Frederick Douglass, Duke Ellington, and the Golden Gate Quartet are contained among the collection materials. Also, there are items on gospel trailblazers such as Charles Tindley, Thomas A. Dorsey, and Rosetta Tharpe. In addition, the collection features materials connected to historians and other scholars who participated in a number of teams Reagon organized to carry out specific research initiatives in sacred music traditions and the larger African American experience.
The collection, which was arranged by Dr. Reagon and staff, consists of four parts: a cultural file, a sheet music file, a photography file, and a negative file. The cultural file includes primary documents such as programs from historic performances, personal letters, press releases, and programs from scholarly conferences as well as secondary materials such as journal articles, excerpts from books, and biographical notes. The photography (and negative) files contain photographs of performers and scholars who have participated in the evolution of the African American sacred music tradition. The sheet music file encompasses songbooks and individual pieces of music.
Series 1: Cultural Files, ca. 1836 - 1994: The bulk of materials date from the 1920's to the 1960's. Four document boxes of materials which relate to prominent personalities, groups and events that contributed to the popularization of African American sacred music. Also included in this series is information on slave songs, the Civil War, the Black Church, the Civil Rights Movement, and popular music culture.
Series 2: Sheet Music, ca. 1901 - 1993: The bulk of materials date from the 1900's to the 1950's. Three document boxes of sacred music sheets and songbooks including concert, spiritual, and gospel arrangements. Also included are a few popular compositions, some written by classically trained musicians.
Series 3: Negative Files, ca. 1880's - 1993: The bulk of the materials ranges from 1940 to 1965. Two boxes document boxes of photographic negatives depicting gospel music performers and performances. Included .are contact sheets and individual negatives of varying sizes.
Series 4: Photographs and Illustrations, ca. 1822 - 1993: The bulk of materials range from the 1900's to the 1980's. Eight document boxes of photographs featuring gospel performers, performances, sacred rituals, sacred organizations, Civil Rights activity , and gospel music conferences (primarily black and white).
Biographical / Historical:
Bernice Johnson Reagon, noted vocalist, musician, curator, historian, writer and civil rights activist, provided the impetus for the Smithsonian Institution's research into African American sacred song and music traditions from 1977 until ca. 1997.
Dr. Reagon was born October 2, 1942 to a rural Georgia Baptist minister (Jesse Johnson) and his wife (Beatrice Wise) whose religious influence is evident in her research and performance style. She came of age during the 1960's Civil Rights era, and was a Student Non-violent Coordinating Committee (SNCC) Freedom Singer. The SNCC Freedom Singers were an African American group whose vocal singing style was an integral element in the civil rights struggles. The Singers traveled throughout the country performing protest songs such as "We Shall Not Be Moved" and "This Little Light of Mine". Their songs reflected the Black church theology of the era, emphasizing freedom, long denied, but fervently sought by civil rights activists and the people they represented.
At one march, Reagon was jailed along with hundreds of other demonstrators. This experience taught her the importance of music as a political act. Reagon reflected on this in the book We Who Believe in Freedom: Sweet Honey in the Rock... She founded Sweet Honey in the Rock, a highly regarded female a capella ensemble dedicated to performing traditional music of the African diaspora in 1973, started working full time at the Smithsonian Institution in 1974, and earned a Ph. D. from Howard University in 1975.
Reagon's life has combined political activism with music and cultural history. She began directing the Smithsonian's Program in Black American Culture in 1976. In 1988 she became a curator at the National Museum of American History and after retirement in 1993 continued her work in African American songs of protest and sacred traditions as a curator emeritus at the Smithsonian and a distinguished professor at American University.
Dr. Reagon has authored and edited numerous publications including, We'll Understand It Better By and By: African American Pioneering Gospel Composers, (Smithsonian Press, 1992) and We Who Believe in Freedom: Sweet Honey in the Rock...Still on the Journey (Anchor Books, 1993). She was principal scholar, producer and host of the National Public Radio series "Wade in the Water: African American Sacred Music Traditions (1994). Dr. Reagon has served as consultant composer and performer for several film and video projects including programs for PBS,"Eye on the Prize" (Blackside Productions) and "We Shall Overcome" (Ginger Productions), and has won a number of awards for her scholarship and pioneering work (MacArthur Fellowship, 1989; the Charles Frankel Prize,1995 and the Isadora Duncan award, 1996).
Provenance:
Collection donated by Bernice Johnson Reagon.
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.
George Trivers, an African American man born on April 24, 1907, discusses growing up in Anacostia from the age of five. Trivers speaks about various landmarks and notable community members as well as his education and family life in Anacostia. He talks about how segregation affected the neighborhood, particularly with schools and other public spaces, such as libraries and playgrounds. He describes the overcrowding and poor housing plans that affected Anacostia; how families purchased land in Hillsdale; and how investors and taxation impacted the families in the community. He mentions a community hearing that residents attended and presented at to fight back against the neighborhood being called a "slum area" and to address housing issues.
Trivers goes on to talk about racial discrimination, such as government identification cards registering African Americans as either "Light Brown" or "Black" and segregated dormitories at universities. He explains more about his time in the Naval Academy, learning about various oaths and ceremonies as well as taking academic classes and physical education.
He discusses his higher education, parents, raising three sons with his wife, Meta, and various recreational activities in the neighborhood, including church picnics, picking fruit, and playing football. Trivers also talks about typical family life in Anacostia; about the various occupations he held, including being a bellhop and a WPA program worker; and about the Bonus Marchers, veterans demanding their bonus certificates.
George Trivers was interviewed by Wanda Dickens and Donna Coates. Digital audio files include white noise and static; interviewee can be heard clearly for the most part.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rooks Turner was born free on October 24, 1844, in Pasquotank County, North Carolina. He was the ninth of the twelve children of Daniel and Peggy (Margaret) Turner. Rooks' father was an African American preacher and farmer who already owned $400 of real estate in 1850. Because of his race, Rooks could not attend school and had to go and work on the farm.
In 1869, he was admitted to a grammar school opened by the Freedmen's Bureau and sponsored by the New York Freedmen's Commission. He excelled in his studies and was indicated by Thomas W. Cardozo, principal of the school, to attend Howard University's Preparatory Department.
The Howard University Preparatory School functioned similarly to a high school and prepared students for college admission. Rooks Turner successfully finished the preparatory course and was admitted to the university. He completed his college degree in 1877 and returned to North Carolina, where he went into teaching.
On May 10, 1880, he married Elizabeth Sessoms Freeman from Camden County, North Carolina. They would have four boys: Shelby, Rooks Jr., Arthur, and Lorenzo Dow. Shelby died early in 1883, and Rooks Jr. died of tuberculosis in 1912. Arthur and Lorenzo Dow would graduate from Howard University.
Rooks Turner was a very successful teacher, so much so that two elderly women in the mid-20th century remembered his efforts to make education available to African Americans. Nevertheless, in 1896, after a fight with a white man, Rooks Turner had to leave Elizabeth City overnight to save his life.
He came to Washington, DC, where he went on to get a Master's Degree from Howard University and to teach in the segregated schools of Montgomery County. The family was reunited for a short time in 1901, but the marriage had been irreconcilably broken. Although Rooks and Elizabeth Turner never divorced, they lived apart after that.
Rooks Turner died on July 22, 1926. He drowned in Rock Creek in an incident that the family believed was a suicide. He had been very despondent with the loss of his leg to diabetes and of the manuscript of his autobiography in a fire.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rooks Turner was born free on October 24, 1844, in Pasquotank County, North Carolina. He was the ninth of the twelve children of Daniel and Peggy (Margaret) Turner. Rooks' father was an African American preacher and farmer who already owned $400 of real estate in 1850. Because of his race, Rooks could not attend school and had to go and work on the farm.
In 1869, he was admitted to a grammar school opened by the Freedmen's Bureau and sponsored by the New York Freedmen's Commission. He excelled in his studies and was indicated by Thomas W. Cardozo, principal of the school, to attend Howard University's Preparatory Department.
The Howard University Preparatory School functioned similarly to a high school and prepared students for college admission. Rooks Turner successfully finished the preparatory course and was admitted to the university. He completed his college degree in 1877 and returned to North Carolina, where he went into teaching.
On May 10, 1880, he married Elizabeth Sessoms Freeman from Camden County, North Carolina. They would have four boys: Shelby, Rooks Jr., Arthur, and Lorenzo Dow. Shelby died early in 1883, and Rooks Jr. died of tuberculosis in 1912. Arthur and Lorenzo Dow would graduate from Howard University.
Rooks Turner was a very successful teacher, so much so that two elderly women in the mid-20th century remembered his efforts to make education available to African Americans. Nevertheless, in 1896, after a fight with a white man, Rooks Turner had to leave Elizabeth City overnight to save his life.
He came to Washington, DC, where he went on to get a Master's Degree from Howard University and to teach in the segregated schools of Montgomery County. The family was reunited for a short time in 1901, but the marriage had been irreconcilably broken. Although Rooks and Elizabeth Turner never divorced, they lived apart after that.
Rooks Turner died on July 22, 1926. He drowned in Rock Creek in an incident that the family believed was a suicide. He had been very despondent with the loss of his leg to diabetes and of the manuscript of his autobiography in a fire.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Peter Cook in honor of Julian Francis Abele and Julian Abele Cook, Sr.
The materials in the subseries consists of black and white silver gelatin negatives.
Type:
Collection descriptions
Archival materials
Matrices, color separation
Color separation negatives
Photographs
Studio portraits
Dye transfer process
Place:
Washington (D.C.) -- African Americans
Shaw (Washington, D.C.)
Washington (D.C.) -- Small business -- 20th century
Date:
1923-1940
Summary:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.12 materials primarily document clients of the Scurlock Studio that were organizations and the images depict those groups' and organizations' activities. An overview to the entire Scurlock collection is available here: Scurlock Studio Records
Scope and Contents note:
The materials primarily document clients of the Scurlock Studio that were organizations and the images depict those groups' and organizations' activities.
Arrangement note:
There is not a clear system of arrangement within the subseries.
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...
Forms Part Of:
Subseries 4.12 forms part of Series 4, within the Scurlock Studio Records group.
Scurlock Studio Records
Series 1: Black and White Photographs
Series 2: Color Photographs
Series 3: Framed Prints
Series 4: Black-and-White Silver Gelatin Negatives
Series 5: Color Negatives
Series 6: Color Transparencies, Slides, and Other Formats
Series 7: Black-and-White Color Separation Negatives and Matrices
Series 8: Scurlock Studio Business Records
Series 9: Custom Craft Business Records
Series 10: Capitol School of Photography
Series 11: Washington Stock
Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American entertainers -- 20th century Search this
African Americans -- History -- 20th century Search this
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.
Washington (D.C.) -- Small business -- 20th century
Washington (D.C.) -- African Americans
Shaw (Washington, D.C.)
Date:
undated
Summary:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.1 includes black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records
Scope and Contents:
Subseries 4.1 includes black and white silver gelatin negatives. The majority of the negatives, not all, have been scanned.
Arrangement note:
The negatives are not arranged in a clear order, and the negatives document clients and subjects. Researchers will need to look in two different box sizes for negatives of different sizes that were originally housed together in freezer boxes but are now housed separately according to size. A number of freezer boxes are missing, this is the reason for box number gaps, and contain varying numbers of negatives. The physical number of boxes was condensed during rehousing but the original freezer box numbers were retained in combination on the new boxes. The beginning and end of a freezer box are indicated inside the new box by blue dividers.
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...
Forms Part Of:
Subseries 4.1 forms part of Series 4, within the Scurlock Studio Records group.
Scurlock Studio Records
Series 1: Black and White Photographs
Series 2: Color Photographs
Series 3: Framed Prints
Series 4: Black-and-White Silver Gelatin Negatives
Series 5: Color Negatives
Series 6: Color Transparencies, Slides, and Other Formats
Series 7: Black-and-White Color Separation Negatives and Matrices
Series 8: Scurlock Studio Business Records
Series 9: Custom Craft Business Records
Series 10: Capitol School of Photography
Series 11: Washington Stock
Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African Americans -- History -- 20th century Search this
Commercial photography -- 20th century -- Washington (D.C) Search this
African American entertainers -- 20th century Search this
Genre/Form:
Photographs -- 20th century
Matrices, color separation
Dye transfer process
Studio portraits
Color separation negatives
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1955-1957, undated
Summary:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 7 consists of black-and-white color separation negatives and instructions for processing kodak matrix film. An overview to the entire Scurlock collection is available here: Scurlock Studio Records
Scope and Contents note:
Materials include black-and-white color separation negatives and instructions for processing kodak matrix film. These materials document orders placed at the studio by individuals and organizations that could be identified but not connected to a specific order. In addition, there are negatives categorized by subjects because there was no known client, identifiable individual or organization. The series is arranged into three subseries: Series 7.1: Clients, Series 7.2: Subjects, and Series 7.3: Related literature.
Arrangement note:
Arranged in 3 subseries.
7.1: Clients Black-and-White Color Separation Negatives
7.2: Subjects Black-and-White Color Separation Negatives
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...
Forms Part Of:
This series forms part of the Scurlock Studio Records group.
Scurlock Studio Records
Series 1: Black and White Photographs
Series 2: Color Photographs
Series 3: Framed Prints
Series 4: Black-and-White Silver Gelatin Negatives
Series 5: Color Negatives
Series 6: Color Transparencies, Slides, and Other Formats
Series 7: Black-and-White Color Separation Negatives and Matrices
Series 8: Scurlock Studio Business Records
Series 9: Custom Craft Business Records
Series 10: Capitol School of Photography
Series 11: Washington Stock
Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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.
