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Tennessee Fieldwork: Mose Vinson; Booker T. Laury

Creator:
Smithsonian Institution. Festival of American Folklife. Tennessee Program 1986 Washington, D.C.  Search this
Field worker:
Raichelson, Richard M., 1941-  Search this
Artist:
Vinson, Mose, 1917-2002  Search this
Laury, Booker T., 1914-1995  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
compact audio cassette
1 Sound cassette (analog.)
Type:
Archival materials
Sound cassettes
Place:
Tennessee
Memphis (Tenn.)
Date:
1986
Local Numbers:
FP-1986-CT-0020
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Piano music (Barrelhouse)  Search this
Blues (Music)  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1986 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1986, Item FP-1986-CT-0020
See more items in:
Smithsonian Folklife Festival records: 1986 Festival of American Folklife
Smithsonian Folklife Festival records: 1986 Festival of American Folklife / Series 6: Tennessee / Fieldwork
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5be563778-e431-4dd1-9c58-fb128bd7c8e2
EDAN-URL:
ead_component:sova-cfch-sff-1986-ref1210

Scurlock Studio Records

Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Names:
Howard University -- 20th century  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Washington, Booker T., 1856-1915  Search this
Extent:
200 Cubic feet
Type:
Collection descriptions
Archival materials
Dye transfer process
Studio portraits
Matrices, color separation
Photographs
Color separation negatives
Place:
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1888-1996
Summary:
The collection includes approximately 250,000 photonegatives, photoprints, color transparencies from the photographic business founded by Addison Scurlock in Washington, DC. Collection also includes business records and ephemera.
Scope and Contents:
Photographs includes portraits of famous African-American luminaries such as Booker T. Washington, W.E.B. DuBois, and many other artists, intellectuals, educators, entertainers, etc., as well as documentation of Washington, DC, including both the African-American community and national political life, and important photographs of Howard University; also commercial photography, including color materials.

Color separation materials include sets of black-and-white color-separation negatives, sets of matrices for the Kodak Dye Transfer process (full-color Dye Transfer prints are storied in a different series).

Business records: The photography studio records and Custom Craft records are in separate series, reflecting the fact that they were operated as separate businesses.

The collection includes all forms of photographs produced by the studio, such as prints in black-and-white and color, black-and-white and color negatives, color transparencies, black-and-white dye-transfer matrices, slides, etc.; as well as business documents, studio session ledgers, appointment books, business and personal correspondence, tax documents, and books, catalogs, and other publications. This material documents not only the photographic output of the business, both commercial and artistic, as well as the personal and business side of the enterprise.

Some photographs in the collection were not created by the Scurlocks. Some black-and-white and color prints seem to derive from assignments in the Capitol School of Photography, and are therefore student work. Also Custom Craft, the professional color processing service provided by the studio, made prints for other photographers, and samples for printing reference, as well as studio decor, have been retained in the collection. Custom Craft worked for such diverse photographers as artist Robert Epstein and well-known Washington photographer Fred Maroon, for example.

The collection numbers several hundred thousand photographic negatives, prints, and transparencies made by the Scurlocks and other staff photographers of the studio in its various Washington locations. The negatives are estimated at approximately 160,000-200,000 in number, and the prints of all sizes and types at nearly 57,000. The vast majority of the photographs are portraits of individuals, family groups, and organizations, as the primary business of the studio was portrait photography. They date primarily from the 1940s to 1990s. There are also a number of images, made for commercial clients, of building interiors and exteriors, and food. A small group of photojournalistic documentation also exists. The subjects also include architectural and industrial views, scenes in and around Washington, including children and street laborers, political events, social events, and 35mm slides of President Kennedy's funeral, 1964. There are also more personal artistic images, including still lifes with plants and flowers, and a few nudes; Robert's wartime service is also documented by his photographs, including European landscape photographs.

In addition to images taken by the Scurlock studio photographers, there are some prints, especially color, of images by other photographers who were clients, such as Fred Maroon, a prominent Washington photojournalist, and Robert Epstein, a teacher at the Corcoran School of Art. A print of one of Maroon's pictures had been displayed in the studio reception room at the time the studio was closed.

A large group of manuscript items, business documents, ephemera, and office and studio supplies constitutes a separate series from the photographs. An important adjunct to the photographs, a set of ledgers recording and identifying portrait sittings, highlights this group.

Nearly all of the photographs and documents stored in the studio and auxiliary storage locations were accepted for acquisition in order to form a complete history of this family business's production and operations over the better part of a century, whereas a selection of photographic apparatus and studio equipment was acquired by the Photographic History Collection: these items have been inventoried and catalogued separately.

Studio Portraits

The majority of the surviving photographic negatives and proof prints were made in connection with the studio's portrait work for a wide variety of clients. These portraits include images of famous people, such as political figures, entertainers, and noteworthy persons in a variety of fields, including scientists, writers, intellectuals, and academics. The majority of the figures depicted among both the famous and the not so famous are black. The greatest number of studio portraits, most of which are identified and dated, depict a general clientele who visited the studio for portrait sittings. Although the individual images in this vast quantity have limited research value in the usual sense, the aggregate represents a chronology spanning almost ninety years, which may be useful for demographic and genealogical information and as visual evidence of changing styles in clothing, hair, and accessories. It constitutes a panorama of a significant percentage of Washingtonians of the period, especially the black community.

Portraits of famous personages include George Washington Carver, Dr. Martin Luther King, Jr., Duke Ellington, Marian Anderson, Archbishop Desmond Tutu, Sammy Davis, Jr., Sugar Ray Leonard, Muhammad Ali, Mayor Walter Washington, and Presidents Kennedy, Johnson, Nixon, Ford, Reagan, Bush, and Clinton, Mayor Marion Barry, DC Council members, statesmen such as Ralph Bunche, and many other noteworthy figures. Of particular interest is a signed group portrait of the US. Supreme Court with Chief Justice Berger presiding. There are also large- format portraits of Justice Thurgood Marshall and J. Edgar Hoover.

Group portraits include both formal sittings and the informal documentation of banquets, convocations, and similar events. This material includes groups at Howard University; Dunbar High School; the Post Office Clerks' Banquet; the Bishops' Meeting of the AME Church; a YMCA camp, cira 1947 1949; the 23rd annual conference of the NAACP, 1932, etc.

Howard University

Several thousand black and white negatives and prints, 1930s-1960s, depict the people, facilities, and events of Howard University, with which the Scurlocks had a long business relationship. There are various portraits, including Howard University Medical School, represented by 850 negatives and 100 prints. A group of law school and medical school images numbers some 800 negatives and 200 prints. In addition, there are class portraits, as well as images of famous guests speaking at Howard convocations, such as President Herbert Hoover.

Wedding Photography

An important aspect of any portrait studio's output is wedding photography, and the Scurlock studio was no exception. Bridal portraits, group pictures of wedding parties, and the complete documentation of weddings, in both black and white and color, constitute a significant part of the collection. African-American weddings predominate and provide important insights into this aspect of the society.

Exhibitions

The studio's work was shown in special public exhibitions over the years, and several of these are included in toto. The most important was an extensive retrospective display of 121 prints of Addison's work, both vintage and posthumous, prepared by Robert for the Corcoran Gallery of Art in 1976. Others include: (1) a set of 32 black and white images made by Robert at the Ramitelli Air Base, Italy, while he was a major in the US Air Force during World War II; (2) a group of portraits from a Black History Month exhibit at Woodward and Lothrop; and (3) a set of sixteen vintage and modern prints which Robert displayed in an interview on the "Today" television show in the 1980s.

Commercial Work

This category includes architectural and industrial photography for commercial clients, food and still life photographs, etc. Much of this material is comparatively recent and was made in large format color, and includes transparencies and enlargements. It is possible that some of the prints represent Custom Craft work for other photographers rather than the camera work of Robert and George Scurlock. Thus far, prints by artist Robert Epstein have been identified as extra prints of his work from orders which he placed with the firm. At least one image by Fred Maroon has been identified.

A group of color prints constitutes copies of artworks, primarily in the National Portrait Gallery, for which the Scurlocks worked. Prints in 8" x 10", 11" x 14", 16" x 20" and 20" x 24" sizes are included, and undoubtedly negatives and transparencies corresponding to these subjects will be found.

Photojournalism

In addition to the formal studio portraits and pictures documenting formal events, the Scurlocks took candid photographs of the everyday life of their city, as well as extraordinary events of local and national significance, ranging from occasions such as John F. Kennedy's funeral and the 1968 riots to political rallies and demonstrations.

Capitol School of Photography

The collection includes a variety of materials, such as books and ephemera, which document the activities of the Capitol School of Photography, a sideline of the Scurlock business. Some of the photographs apparently represent student work. The most famous student of the school was Jacqueline Bouvier (later Jacqueline Kennedy Onassis), although no documentation of her association with the school has been located thus far. There are 45 photographs, circa 1950s, showing the photography lab, men retouching prints, students with cameras, etc.

Personal Photographs

A few photographs of the Scurlock family are included in the collection in various forms and formats, including enlarged portraits of Addison and Robert. A self portrait of Addison and Mamie Scurlock is included in the Corcoran Gallery of Art exhibition series. Other photographs which represent personal artistic expression, such as a few nude studies and floral and plant still lifes, are included.

Series 6 consists of photographic materials including color transparencies, slides, film, and proofs but occasionally includes notes, forms, and envelopes associated with the orders.
Series 1: Black and White Photographs:
Dates -- 1888-1993

Extent -- 105 boxes

Contents -- Series 1: Black and White Photographs: The materials are almost entirely black and white photographs, but in the subseries of clients, there may also be job envelopes, order materials, and other photographic material types that were included in the overall order. The series is arranged into two subseries, clients and subjects, and both are arranged alphabetically. The subseries clients documents the orders made by clients of the Scurlock Studio and individuals who were or could be identified but may or may not have actually placed an order at the Studio. The majority of the photographs in the clients subseries are formal portrait sittings but there are photographs of events, organizations, and businesses. The subseries subjects are photographs that were grouped into categories because no known client or individual in the image could be identified. The subjects cover a broad array of subjects but the majority of the subjects include unidentified people in formal portrait sittings and groups. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 1.1: Clients Black and white photographs1.2: Subjects Black and white photographs
Series 2: Color Photographs:
Dates -- 1930-1995

Extent -- 113 boxes

Contents -- Series 2: Color Photographs: The series color photographs consists of color photographs and hand-colored photographs, but there are also order envelopes and materials, and other photographic material types that were part of the order. The subseries are arranged as clients, subjects, weddings, and hand-colored photographs. Clients are arranged alphabetically by last name or the first word of an organization's name. Not all individuals, organizations, or businesses necessarily represent a client of the Scurlock Studio; if an individual or organization could be identified, the photograph was placed under the identified person or organization even if ther were not a known client of the Studio. The majority of the photographs are individual portrait sittings but also included are family portraits, businesses, organizations, and informal images. The subjects are arranged alphabetically, and document images of non-humans and humans that could not be connected to a known client. Weddings and hand-colored are arranged in alphabetical order with clients preceeding subjects. The were a large subject of the overall collection and the majority of weddings are color photographs but also included in the subseries are black and white and hand-colored photographs of weddings. The hand-colored photographs largely reflect the same subject matter of the subseries clients and subjects. In addition, not all photographs in this subseries were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 2.1: Clients Color photographs2.2: Subjects Color photographs2.3: Weddings2.4: Hand-colored photographs
Series 3: Framed Prints:
Dates -- circa 1979

Extent -- 3 boxes

Contents -- Series 3: Framed Prints: The series framed prints includes three framed color photographs. The framed prints are arranged by the size, from smallest to largest, of the frame. The photographs are of two important political figures: Washington, D. C., Mayor Marion Barry and Senator Edward Brooke.
Series 4: Black-and-White Silver Gelatin Negatives:
Dates -- 1900-1994

Extent -- 320 boxes

Contents -- Series 4: Black-and-White Silver Gelatin Negatives: The material type of the series is black and white silver gelatin negatives. The negatives are arranged into twelve subseries. 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, D. C. 4.1: Black and white negatives 4.2: Black and white negatives in freezers arranged by job number 4.3: Black and white negatives in freezer storage arranged by client 4.4: Black and white negatives in freezer storage arranged by subject 4.5: Black and white negatives in cold storage arranged by job number 4.6: Black and white negatives in cold storage arranged by client 4.7: Negatives in cold storage arranged by client with index cards 4.8: Negatives in cold storage arranged by subject 4.9: Black and white negatives for publication 4.10: Glass Plate Negatives 4.11: Customcraft Negatives 4.12: Banquet Negatives
Series 5: Color Negatives:
Dates -- 1964-1994

Extent -- 72 boxes

Contents -- Series 5: Color Negatives: The series color negatives primarily of color negatives but it also includes order envelopes and materials. The series is arranged into two subseries: clients and subjects. The subseries clients is arranged by job number, and the materials document the orders placed by clients of the Scurlock Studio and identified persons and organizations. The negatives depict individual portrait sittings, groups, and informal poses. The subseries subjects is arranged in alphabetical order, and the materials document negatives that could not be connected to a client of the studio. The negatives represent subjects such as art, buildings, commercial ventures of the Scurlock Studio, and unidentified people. 5.1: Color negatives arranged by client5.2: Color negatives arranged by subject
Series 6: Color Transparencies, Slides, and Other Formats:
Dates -- 1922-1994

Extent -- 40 boxes

Contents -- Series 6: Color Transparencies, Slides, and Other Formats: The series color transparencies, slides, and other formats consists of black and white and color transparencies, color slides, film, proofs, and order materials. The materials are arranged into four subseries: transparencies, slides, film, and proofs. The subseries are arranged by clients, in alphabetical order by last name, and then subjects, in alphabetical order. The materials document the orders placed at the Scurlock Studio by clients and identified individuals and organizations, and materials that could not be identified and are categorized by subjects. The subjects represented in the materials are primarily individual, family, and group portraits, and events and places. Cut but unmounted slides were typically placed in the subseries transparencies but a small number of cut but unmounted slides are included in the slides. The subseries proofs only contains a form of proof used by the Scurlock Studio that has a fugitive image, and other types of proofs printed on low quality paper or are water-marked and have a lasting image were included in the series Black and White Photographs and Color Photographs if the proof was either black and white or color. 6.1: Transparencies6.2: Slides6.3: Film6.4: Proofs
Series 7: Black-and-White Color Separation Negatives and Matrices:
Dates -- 1955-1957

Extent -- 7 boxes

Contents -- Series 7: Black-and-White Color Separation Negatives and Matrices: The materials in the series are black-and-white color separation negatives and a booklet about how to process black-and-white color separation negatives. The materials are arranged into three subseries: clients, subjects, and the booklet. The materials document orders placed at the Scurlock Studio by clients and individuals and organizations that could be identified but not connected to a specific order. The materials also document negatives categorized by subjects because there was no known client or identifiable individual or organization. The subjects represented are individual portrait sittings and groups, and unidentified people. 7.1: Clients Black-and-White Color Separation Negatives 7.2: Subjects Black-and-White Color Separation Negatives Booklet
Series 8: Scurlock Studio Business Records:
Dates -- 1907-1996

Extent -- 66 boxes

Contents -- Series 8: Scurlock Studio Business Records: The series Scurlock Studio Business Records contains paperwork pertaining to the administration of the business, the financial documentation of the business, the reocrds of sales, the advertising signs and promotions of hte business, the files kept on employees, and other materials kept at the Scurlock Studio. The series is arranged into six subseries: administrative file, financial, sales, advertising and marketing, employee and personnel, and office files. Each subseries is arranged differently according to the types of materials predominantly found in the subseries or in chronological order. The subjects represented in the series are mostly related to the financial records of the Scurlock Studio kept and the invoices of sales records. A wide variety of other subjects relating to the the business records of the Scurlock Studio can also be found including: session registers, construction plans, advertisements for specific holidays, and product information sent to the Studio. Some materials found in this series may be marked Scurlock Studio and Custom Craft, the color division of the Scurlock Studio, and were placed with this series because the Scurlock Studio was the primary business. Other materials with an unclear origin of either the Scurlock Studio or Custom Craft were placed in this series. 8.1: Administrative Files8.2: Financial8.3: Sales8.4: Advertising and Marketing8.5: Employee and Personnel8.6: Office Files
Series 9: Custom Craft Business Records:
Dates -- 1951-1994

Extent -- 57 boxes

Contents -- Series 9: Custom Craft Business Records: The series Custom Craft Business Records consists of paper documents relating to the administrative, financial, sales records, employee and personnel, and other files about the affairs of the Custom Craft business's day-to-day operations. The materials are arranged into five subseries: administrative, financial, sales, employee and personnel, and office files. The materials within a subseries are ordered by types of documents that consisted of a large number of materials listed first and materials with few documents following the grouped materials in chronological order. The materials document the day-to-day business of Custom Craft. The subjects represented are documents relating to the administration of the business, journals kept to document finances, the order invoices, the files kept about employees, product information, and materials accumulated in the office. Some documents may list both the Scurlock Studio and Custom Craft and were kept with the business records of Custom Craft if the materials appeared to fit the activities, color photography, of that business. Other documents relating to the business affairs of Custom Craft may be in the series Scurlock Studio Business Records because these documents did not clearly indicate which business the documents belonged to; in these cases, the materials were put in the series Scurlock Studio Business Records because the business was the primary business of the Scurlocks. There business records seem to indicate that there was not always a clear differentiation between the two businesses. 9.1: Administrative9.2: Financial9.3: Sales9.4: Employee and Personnel9.5: Office files
Series 10: Capitol School of Photography:
Dates -- 1948-1954

Extent -- 4 boxes

Contents -- Series 10: Capitol School of Photography: The series Capitol School of Photography consists of paper documents, photographs, and transparencies. The materials are arranged in chronological order and document the administration of the Capitol School of Photography and the students. The subjects represented are administrative documents, student files, photographs by students, photographs of students and the space used for the School, and transparencies of the same subjects.
Series 11: Washington Stock:
Dates -- 1981-1994

Extent -- 2 boxes

Contents -- Series 11: Washington Stock: The series Washington Stock consists of order materials, orders, and published materials. The materials are arranged chronologically and document the orders placed for Washington Stock and how the materials were used and published. The subjects represented are orders, standard forms used by Washington Stock, and published materials.
Series 12: Background Materials and Publications:
Dates -- 1902-1995

Extent -- 18 boxes

Contents -- Series 12: Background Materials and Publications: The series Background Materials and Publications is composed of paper documents, published materials, and materials from exhibitions. The materials are arranged into four subseries: historical and background information, Scurlock images, reference materials, and exhibition materials. The materials document the Scurlocks, published Scurlock images, published materials lacking Scurlock images, exhibitions of Scurlock images, and other exhibitions of related material. The subjects represented are largely materials related to the Scurlocks' photography and personal interests. Images were placed in the subseries Scurlock images if the photograph was credited to the Scurlocks or was a photograph known to have been taken by the Scurlocks; it is possible that uncredited and less well known images taken by the Scurlocks are present in the subseries reference materials. 12.1: Historical and Background Information12.2: Scurlock Images12.3: Reference Materials12.4: Exhibition Materials
Arrangement:
The collection is divided into 12 series.

This collection was processed with numerous changes in arrangement and numbering of boxes. Original box numbers have been retained in this finding aid for cross-reference purposes and to assist anyone with a record of photographs according to the original box numbers.
Biographical / Historical:
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).

The turn of the twentieth century saw a mass exodus of African Americans from the South to northern cities in search of better employment opportunities and fairer racial treatment. Although many considered Washington to be the northern-most southern city, it still offered opportunities for African Americans leaving seasonal agricultural work and racial oppression in the South. In Washington, African Americans found stable employment with the U.S. government. In addition, Howard University offered African Americans teaching opportunities, college education, and professional training as doctors, dentists, nurses, lawyers, and ministers. By 1900 a substantial African-American middle class existed in Washington. Despite the fact that Washington was a historically and legally segregated city (and would remain so into the 1960s), this middle class population continued to grow and prosper.

After graduation from high school, Addison Scurlock moved from Fayetteville, North Carolina, to Washington, D.C., with his family in 1900. With a keen interest in photography, he sought out an apprenticeship at the white-owned Moses Rice Studio on Pennsylvania Avenue. The Rice brothers (Amos and Moses) had been in Washington working as photographers since the 1860s and had one of the more prominent and better studios in the city. There Addison learned portrait and general photography. In 1904, he left Rice and began his photographic career at his parents' home. By 1911, when he opened the Scurlock Studio, he had already captured the likeness of Booker T. Washington (1910; see Appendix B), most likely his most well-known portrait. Scurlock quickly identified his market: a self-sufficient African-American community which included students, graduates, and educators affiliated with Howard University; poets; writers; intellectuals; musicians and entertainers; politicians; socialites; fraternal and religious organizations and their leaders. The Scurlock Studio, located at 900 U Street, N.W., became a fixture in the midst of the thriving African-American business community. As with his white counterparts on Pennsylvania Avenue and F Street, N.W., Addison Scurlock inspired passers-by with window displays of his photographs of national leaders and local personalities.

During the 1930s, Addison Scurlock's two sons Robert and George apprenticed in the studio. In addition to portrait and general photography, the sons learned the techniques of retouching negatives and photographic prints, hand-coloring, hand-tinting, and mat decoration. George concentrated on the commercial side of the business while Robert concentrated on the portrait side. The Scurlocks' work changed with the times. From the early 1900s until Addison's death in 1964, the Scurlock Studio was the official photographer of Howard University. In the 1930s the studio began a press service and prepared newsreels on African American current events for the Lichtman Theater chain, which offered some of the few non-segregated venues in the city. Their press service supplied the African-American press with newsworthy photographs of current events, personalities, and social, political, and religious life. Clients included the Norfolk Journal and Guide, Amsterdam News, Pittsburgh Courier, Cleveland Call and Post and the Washington Tribune and Afro-American. George and Robert ran the Capitol School of Photography from 1948 to 1952. Included among their students were African-American veterans under the G.I. Bill, Ellsworth Davis, who later worked as a Washington Post photographer and Bernie Boston of the Los Angeles Times. Perhaps their best-known student was the young Jacqueline Bouvier.

In 1952 Robert opened Washington's first custom color lab. Capitalizing on his knowledge of color processing, Robert was asked to take color portraits of both noted and ordinary individuals. In addition, the studio offered color views of important Washington landmarks and monuments. By the 1960s, Robert added magazine photography to his list of talents, publishing images in Life, Look, and Ebony. Robert continued photographing Washingtonians at his studio until his death in 1994.

According to George Scurlock, the Scurlock studio never had substantial competition in the African American community. Some Washington residents remember it differently, however. Dr. Theodore Hudson, a retired Howard University professor, recalled two other black photographers: Sam Courtney and a man named Sorrell. He said Courtney photographed events in the African American community...?

The collection represents the most comprehensive record of any long-lived, let alone African-American, photography studio, in a public institution. Other twentieth century studio collections exist, such as Robinson Studio, Grand Rapids; Hughes Company, Baltimore, Md. Among African American studio collections in public institutions are James Van Der Zee (New York City, 1912-80s), P.H. Polk (Tuskegee), and the Hooks Brothers (Memphis, Tenn., 1910-1975). The Scurlock Collection covers a greater time period and provides greater depth of coverage of African-American events and personages.

A number of articles have been written about the Scurlock family. Jane Freundel Levey, editor of Washington History magazine, believes that the family went beyond the artful use of light, shadow, and composition. She wrote, "Perhaps the most distinctive hallmark of the Scurlock photograph is the dignity, the uplifting quality of the demeanor of every person captured by photographs who clearly saw each subject as above the ordinary."

Constance McLaughlin Green, one of the leading historians of Washington, D.C., talks about African-American Washington as "the Secret City," a separate world with institutions of its own that remained virtually unknown to the white majority. Addison Scurlock and his sons captured that world on film and in doing so, documented that world in the course of running his business and perfecting his art. Steven C. Newsome, director of the Maryland Commission on Afro-American History and Culture stated that The Scurlocks' photograph "Gave us connections. They tell stories. They let us remember."

The collection includes photographs of the nationally famous Booker T. Washington, W.E.B. DuBois, Paul Laurence Dunbar, Mary McLeod Bethune, Mary Church Terrell, Marian Anderson; the locally or regionally important: P.B.S. Pinchback, Judge Miflin Gibbs, Col. Jim Lewis, Ernest Just, Anna J. Cooper; and actors, artists, vaudevillians, and musicians such as Fredi Washington, Madame Lilian Evanti, Oakley & Oakley, and Duke Ellington.

Sources

George Scurlock. Interview conducted by David Haberstich and intern Lora Koehler at Mr. Scurlock's apartment, Aug. 2003.

Theodore Hudson, conversation with David Haberstich in the Archives Center, 2 February 2004.

Jane Freundel Levey, "The Scurlock Studio," Washington History, 1989, p. 44.

Robert S. Scurlock, "An Appreciation of Addison N. Scurlock's Photographic Achievements," The Historic Photographs of Addison N. Scurlock. Washington, D.C.: The Charles Sumner School Museum and Archives, 1986 (exhibition catalog).
Materials at Other Organizations:
The Historical Society of Washington, DC holds Scurlock-related materials.

The Charles Sumner School Museumn and Archives holds Scurlock-related materials.
Materials in the National Museum of American History:
Cameras and other photographic apparatus, studio furniture, and miscellaneous ephemera from the Scurlock studio are in the History of Photography Collection (now Division of Work and Industry). An adding machine from the studio is in the Museum's mathematics collection. See accessions 1997.0293 and 2010.0157.
Provenance:
The Museum purchased the Scurlock Studio Records from the Estate of Robert S. Scurlock, through Judge Marjorie Lawson in 1997. During the period of negotiation between the museum and Robert Scurlock's heirs, his widow Vivian and brother George, the collection was on loan to the Museum and was housed primarily in a closed exhibition area on the second floor. Staff of the Archives Center took physical possession of the collection long before the transfer to the Museum was final. The studio records and photographs were housed principally in the 18th Street studio and in two rental storage facilities. The primary move of the collection to the Museum occurred in September 1995. An additional pickup occurred on February 12, 1996 (on tags). There was probably one additional pickup from the studio by David Haberstich and Caleb Fey on an unrecorded date.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:
Portraits -- 20th century  Search this
Politicians -- 20th century  Search this
Segregation  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
African Americans -- History -- 20th century  Search this
African American entertainers -- 20th century  Search this
African American photographers  Search this
Genre/Form:
Dye transfer process
Studio portraits
Matrices, color separation
Photographs -- 20th century
Color separation negatives
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep852403536-424e-4026-9305-7c0938436f63
EDAN-URL:
ead_collection:sova-nmah-ac-0618
Online Media:

Anthology of American Folk Music, Vol. 1: Ballads

Creator:
Smith, Harry Everett, 1923-1991  Search this
Performer:
Patton, Charley, 1891-1934  Search this
Justice, Dick, 1906-1962  Search this
Ashley, Clarence, 1895-1967  Search this
Jones, Coley  Search this
Reed, Belle  Search this
Reed, Bill  Search this
Kazee, Buell, 1900-1976  Search this
Parker, Chubby  Search this
Dunford, Uncle Eck, 1878-1953  Search this
Burnett, Dick  Search this
Rutherford, Leonard  Search this
Foster, Garley  Search this
Grayson, G.B.  Search this
Harrell, Kelly, 1889-1942  Search this
Crain, Edward L.  Search this
Hutchison, Frank, 1897-1945  Search this
Poole, Charlie, 1892-1931  Search this
Lewis, Furry, 1893-1981  Search this
Smith, Versey  Search this
Smith, William  Search this
Carter, Buster  Search this
Young, Preston, 1907-  Search this
Hurt, Mississippi John, 1894-1966  Search this
Nelstone's Hawaiians (Musical group)  Search this
Burnett and Rutherford (Musical group)  Search this
Carolina Tar Heels  Search this
Texas Cowboy  Search this
Virginia String Band  Search this
Carter Family (Musical group)  Search this
North Carolina Ramblers  Search this
Bently Boys  Search this
Williamson Brothers & Curry (Musical group)  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
2 Phonograph records (analog, 33 1/3 rpm, 12 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Type:
Archival materials
Phonograph records
Place:
Appalachian Region, Southern -- Songs and music
Texas
United States
Dallas (Tex.)
Tennessee
United States--West
Maryland
Kentucky
North Carolina
Virginia
West Virginia
Memphis (Tenn.)
Mississippi
Avalon (Miss.)
United States--South
Date:
1952
Contents:
Henry Lee -- Fatal flower garden -- House carpenter -- Drunkards special -- Old lady and the devil -- The butcher's boy -- The wagoner's lad -- King kong kitchie kitchie ki-me-o -- Old shoes and leggins -- Willie Moore -- Lazy farmer boy -- Peg and awl -- Ommie Wise -- My name is John Johanna -- Bandit Cole Younger -- Charles Giteau -- John Hardy was a desperate little man -- Gonna die with my hammer in my hand -- Stackalee -- White House blues -- Frankie -- When that great ship went down -- Engine 143 -- Kassie Jones -- Down on Penny's farm -- Mississippi boweavil blues -- Got the farm land blues.
Track Information:
101 Henry Lee (Child No. 68) / Dick Justice. Guitar.

102 Fatal Flower Garden / Nelstone's Hawaiians (Musical group). Guitar.

103 House Carpenter (Child No. 243)/ Clarence Ashley. Banjo.

104 Drunkards Special (Child No. 274) / Coley Jones. Guitar.

105 The Old Lady and the Devil (Child No. 278)/ Belle Reed, Bill Reed. Guitar.

106 The Butcher Boy, The - Railroad Boy / Buell Kazee. Banjo.

107 Wagoners Lad, The - Loving Nancy / Buell Kazee. Banjo.

201 King Kong Kitchie Kitchie Ki-Me-O / Chubby Parker. Banjo.

202 Old Shoes and Leggins / Uncle Eck Dunford. Guitar,Banjo,Harmonica,Violin,Autoharp.

203 Willie Moore / Burnett and Rutherford (Musical group), Dick Burnett, Leonard Rutherford. Banjo,Fiddle.

205 Peg and Awl / Clarence Ashley, Carolina Tar Heels, Garley Foster. Guitar,Banjo,Harmonica.

206 Omie Wise / G. B. Grayson. Fiddle.

207 My Name is John Johanna (John Johanna) / Kelly Harrell. Guitar,Banjo,Fiddle.

301 Cole Younger / Texas Cowboy, Edward L. Crain. Guitar.

302 Charles Giteau / Kelly Harrell, Virginia String Band. Guitar,Banjo,Fiddle.

303 John Hardy / Carter Family. Guitar,Autoharp.

305 Stackalee (Stagger Lee) / Frank Hutchison. Guitar,Harmonica.

306 White House Blues / North Carolina Ramblers, Charlie Poole. Guitar,Banjo,Fiddle.

403 Kassie Jones (Casey Jones) / Furry Lewis. Guitar.

401 When That Great Ship Went Down (The Titanic) / Versey Smith, William Smith. Guitar,Tambourine (Drum).

402 Engine One-Forty-Three / Carter Family. Guitar,Autoharp.

404 Down on Penny's Farm / Bently Boys. Guitar,Banjo.

204 A Lazy Farmer Boy / Buster Carter, Preston Young. Guitar,Violin.

304 Gonna Die With My Hammer in My Hand (John Henry) / Williamson Brothers & Curry (Musical group). Guitar.

307 Frankie (Frankie and Johnny) / Mississippi John Hurt. Guitar.

405 Mississipi Boweavil Blues (Boweavil Blues)(Boll Weevil) / Charley Patton. Guitar.

406 Got the Farm Land Blues / Clarence Ashley, Carolina Tar Heels, Garley Foster. Guitar,Banjo,Harmonica.
Local Numbers:
Folkways.2951; Folkways.251

FW-ASCH-LP-02951
Publication, Distribution, Etc. (Imprint):
New York Folkways 1952
Date/Time and Place of an Event Note:
Recorded in: Dallas (Tex.), United States, Texas.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Old-time music  Search this
Ballads  Search this
Folk songs -- United States  Search this
Murder  Search this
Maritime  Search this
Disasters  Search this
Wit and humor  Search this
Marriage  Search this
love songs  Search this
Animals  Search this
String band  Search this
Working class -- Songs and music  Search this
Crime  Search this
Outlaw songs  Search this
Topical songs  Search this
Blues (Music)  Search this
Protest songs  Search this
Railroads  Search this
Agriculture  Search this
Courtship  Search this
Adunke  Search this
Guitar  Search this
Banjo  Search this
Harmonica  Search this
Violin  Search this
Autoharp  Search this
Violin  Search this
Tambourine (Drum)  Search this
Labor  Search this
Industrial revolution  Search this
Railroads  Search this
African Americans  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-LP-02951
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / LP
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5569933a9-9fc7-4d0f-b251-9b38d937c9b2
EDAN-URL:
ead_component:sova-cfch-asch-ref24607

Anthology of American Folk Music, Vol. 2: Social Music

Creator:
Smith, Harry Everett, 1923-1991  Search this
Performer:
McIntorsh, Lonnie  Search this
Stephens, Uncle Bunt (John L.), 1879-1951  Search this
Setters, Jilson, 1861-1942  Search this
Hunt, Prince Albert, 1901-1931  Search this
Gaspard, Blind Uncle, 1880-1937  Search this
Lachney, Delma, 1896-1947  Search this
Baxter, Andrew  Search this
Baxter, Jim, musician  Search this
Robertson, Eck, 1887-1975  Search this
Ming, Hoyt, 1902-1985  Search this
Ming, Hoyt and His Pep-Steppers  Search this
Thomas, Henry, 1874-1952  Search this
Jackson, Jim, ca. 1884-1937  Search this
Fruge, Columbus  Search this
Falcon, Joe, 1900-1965  Search this
Breaux, Clifford  Search this
Breaux, Ophy  Search this
Coleman, Bob  Search this
Cloutier, Frank  Search this
Gates, J. M., Rev.  Search this
Nelson, Mary, Rev.Sister  Search this
Roberts, T.  Search this
Mason, Moses  Search this
Lunsford, Bascom Lamar, 1882-1973  Search this
Johnson, Blind Willie  Search this
Phipps, Ernest  Search this
McGee, F. W. (Ford Washington), 1890-1971  Search this
Rice, D. C., Rev.  Search this
Edwards, Elder  Search this
Hunt's Texas Ramblers  Search this
Breaux Freres  Search this
Cincinnati Jug Band  Search this
Victoria Cafe Orchestra  Search this
Alabama Sacred Harp Singers  Search this
Middle Georgia Singing Convention No. 1  Search this
Brother Williams Memphis Sanctified Singers  Search this
Carter Family (Musical group)  Search this
Artist:
Thomas, Henry, 1874-1952  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
2 Phonograph records (analog, 33 1/3 rpm, 12 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Cajuns  Search this
Type:
Archival materials
Phonograph records
Place:
Texas
United States
Dallas (Tex.)
Illinois
Chicago (Ill.)
Alabama
Birmingham (Ala.)
Tennessee
Memphis (Tenn.)
United States--Southeast
Louisiana
Ohio
Georgia
United States--South
Virginia
Kentucky
Date:
1952
Contents:
Sail away lady (Bunt Stephens) -- The wild wagoner (J.W. Day) -- Wake up Jacob (A. Hunt's Ramblers) -- La danseuse (D. Lachney & Gaspard) -- Georgia stomp (Andrew & Jim Baxter) -- Brilliancy medley (Eck Robertson Family) -- Indian war whoop (F. Ming Pep-Steppers) -- Old country stomp (Henry Thomas) -- Old dog blue (Jim Jackson) -- Saut crapaud (Columbus Fruge) -- Arcadian one step (Joseph Falcon) -- Home sweet home (Breaux Freres) -- Newport blues (Cincinnati Jug Band) -- Moonshiners dance (F. Cloutier Orchestra) -- Born again (Rev. J.M. Gates) -- Oh death (Rev. J.M. Gates) --Rocky road (Sacred Harp Singers) -- Present joys (Sacred Harp Singers) -- This song of love (Ga. Singing Convention) -- Judgement (Sister M. Nelson) -- Better things (Sanctified Singers) -- Laid my burden down (McIntorsh & Edwards) -- John the Baptist (Rev. Moses Mason) -- Dry bones (Bascom Lunsford) -- John the Revelator (Blind Willie Johnson) -- Little Moses (The Carter Family) -- Shine on me (Phipps Singers) -- Fifty miles of elbow room (Rev. F.W. McGee) -- In the battlefield for my Lord (Rev. D.C. Rice).
Track Information:
101 Sail Away Lady / Uncle Bunt (John L.) Stephens. Fiddle.

102 The Wild Wagoner / Jilson Setters. Fiddle,Guitar.

103 Wake Up Jacob - Wild Horse / Hunt's Texas Ramblers, Prince Albert Hunt. Fiddle,Guitar.

104 The Danseuse - Fox Trot - Dancer / Blind Uncle Gaspard, Delma Lachney. Fiddle,Guitar. French language,Cajun French dialect.

105 Georgia Stomp / Andrew Baxter, Jim Baxter. Fiddle,Guitar. English language.

106 Brilliancy Medley / Eck Robertson. Fiddle,Guitar,Banjo.

107 Indian War Whoop / Hoyt Ming, Ming, Hoyt and His Pep-Steppers. Fiddle,Guitar,Autoharp.

201 Old Country Stomp / Henry Thomas. Guitar,Whistle. English language.

202 Old Dog Blue / Jim Jackson. Guitar. English language.

203 Saut Crapaud - Jump Frog - Fox Trot / Columbus Fruge. Accordion. French language,Cajun French dialect.

204 Acadian One Step / Joe Falcon. Fiddle,Accordion,Triangle (Musical instrument). French language,Cajun French dialect.

205 Home Sweet Home / Breaux Freres, Clifford Breaux, Ophy Breaux. Fiddle,Guitar,Accordion. French language,Cajun French dialect.

206 Newport Blues / Cincinnati Jug Band, Bob Coleman. Guitar,Harmonica,Jug. English language.

207 Moonshiners Dance (Part 1) / Victoria Cafe Orchestra, Frank Cloutier. Banjo,Harmonica,Piano,Clarinet,Tuba,Trumpet,Drum. English language.

301 Must Be Born Again - Born Again / J.M, Rev. Gates. English language.

302 Oh Death Where is Thy Sting / J.M, Rev. Gates. English language.

303 Rocky Road / Alabama Sacred Harp Singers. Organ (Musical instrument). English language.

304 Present Joys / Alabama Sacred Harp Singers. Organ (Musical instrument). English language.

305 This Song of Love / Middle Georgia Singing Convention No. 1. English language.

306 Judgement / Mary, Rev.Sister Nelson. English language.

307 He Got Better Things for You / Brother Williams Memphis Sanctified Singers, T. Roberts. Guitar. English language.

401 John the Baptist / Moses Mason. Guitar. English language.

402 Dry Bones / Bascom Lamar Lunsford. Banjo. English language.

403 John the Revelator / Blind Willie Johnson. Guitar. English language.

404 Little Moses / Carter Family. Guitar,Autoharp. English language.

405 Shine on Me / Ernest Phipps. Fiddle,Guitar,Piano,Mandolin. English language.

406 Fifty Miles of Elbow Room / F. W. (Ford Washington) McGee. Guitar,Piano,Trumpet. English language.

407 I'm in the Battle Field for My Lord / D. C., Rev. Rice. Triangle (Musical instrument),Piano,Trumpet,Drum,Trombone,Bass. English language.

308 Since I Laid My Burden Down / Brother Williams Memphis Sanctified Singers, Elder Edwards, Lonnie McIntorsh. Guitar,Tambourine (Drum). English language.
Local Numbers:
Folkways.2952; Folkways.252

FW-ASCH-LP-02952
Publication, Distribution, Etc. (Imprint):
New York Folkways 1952
Date/Time and Place of an Event Note:
Recorded in: Memphis (Tenn.), Tennessee, Birmingham (Ala.), Alabama, Chicago (Ill.), Illinois, Dallas (Tex.), United States, Texas.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Fiddle tunes  Search this
Old-time music  Search this
Dance  Search this
Folk songs -- United States  Search this
Instrumental music  Search this
Foxtrot (Dance)  Search this
Stomp dance  Search this
String band  Search this
Square dance music  Search this
One-Step (Dance)  Search this
Waltz  Search this
Popular music  Search this
Jug band music  Search this
Skiffle  Search this
Blues (Music)  Search this
Spirituals (Songs)  Search this
Gospel music  Search this
hymns  Search this
Shape-note singing  Search this
Religious  Search this
Violin  Search this
Guitar  Search this
Banjo  Search this
Autoharp  Search this
Whistle  Search this
Accordion  Search this
Triangle (Musical instrument)  Search this
Harmonica  Search this
Jug  Search this
Piano  Search this
Clarinet  Search this
Tuba  Search this
Trumpet  Search this
Drum  Search this
Organ (Musical instrument)  Search this
Mandolin  Search this
Trombone  Search this
Bass  Search this
Tambourine (Drum)  Search this
Shape-note singing  Search this
African Americans  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-LP-02951
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / LP
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk57bbf3c6c-4972-4ac5-b64a-a9ad90e2bad7
EDAN-URL:
ead_component:sova-cfch-asch-ref24608

Anthology of American Folk Music, Vol. 3: Songs

Creator:
Smith, Harry Everett, 1923-1991  Search this
Performer:
Thomas, Henry, 1874-1952  Search this
Ashley, Clarence, 1895-1967  Search this
Kazee, Buell, 1900-1976  Search this
Thompson, Ashley  Search this
Lewis, Noah, 1895-1961  Search this
Herbert, Didier  Search this
Brown, Richard, -1937  Search this
Boggs, Dock, 1898-1971  Search this
Mahaffey, Hub  Search this
Lunsford, Bascom Lamar, 1882-1973  Search this
Stoneman, Ernest V.  Search this
Stoneman, Hattie  Search this
Breaux, Cleoma, d. 1940  Search this
Falcon, Joe, 1900-1965  Search this
Jefferson, Blind Lemon, 1897-1929  Search this
Estes, Sleepy John, 1899-1977  Search this
Thomas, Willard  Search this
Cannon, Gus, 1883-1979  Search this
Daniels, Julius  Search this
Breaux, Ophy  Search this
McGee, Sam, 1894-1975  Search this
Macon, Uncle Dave, 1870-1952  Search this
Hurt, Mississippi John, 1894-1966  Search this
Nestor, J.P. (J. Preston), 1876-1967  Search this
Maynard, Ken, 1895-1973  Search this
Cannon's Jug Stompers  Search this
Memphis Jug Band  Search this
Carter Family (Musical group)  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
2 Phonograph records (analog, 33 1/3 rpm, 12 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Cajuns  Search this
Type:
Archival materials
Phonograph records
Place:
Tennessee
United States
Memphis (Tenn.)
Louisiana
New Orleans (La.)
Virginia
Maces Springs (Va.)
Kentucky
Texas
Brownsville (Tenn.)
United States--South
Mississippi
Date:
1952
Contents:
The coo coo bird (Clarence Ashley) -- East Virginia (Buell Kazee) -- Minglewood blues (Cannon's Jug Stompers) -- One morning in May (Didier Herbert) -- James Alley (Richard Brown) -- Sugar baby ("Dock" Boggs) -- I wish I was a mole (Bascom Lunsford) -- Mountaineer's courtship (Mr. & Mrs. Stoneman) -- Merchant's daughter (Stoneman Family) -- Bob Lee Junior blues (Memphis Jug Band) -- Single girl (The Carter Family) -- Le vieux soulard (C. Breaux & J. Falcon) -- Rabbit foot blues (Blind Lemon Jefferson) -- Expressman blues (John Estes) -- Poor boy blues (Ramblin' Thomas) -- Feather bed (Cannon's Jug Stompers) -- Country blues ("Dock" Boggs) -- Ninety-nine year blues (Julius Daniels) -- Prison cell blues (Blind Lemon Jefferson) -- Two white horses (Blind Lemon Jefferson) -- C'est si triste (C. & O. Breaux & Falcon) -- Way down the old plank road (Uncle Dave Macon) -- Roll down the line (Uncle Dave Macon) -- Spike driver blues (John Hurt) -- K.C. Moan (Memphis Jug Band) -- Train on the island (J.P. Nestor) -- Lone star trail (Ken Maynard) -- Fishing blues (Henry Thomas).
Track Information:
101 The Coo Coo Bird / Clarence Ashley. Banjo. English language.

102 East Virginia / Buell Kazee. Banjo. English language.

103 Minglewood Blues / Cannon's Jug Stompers, Ashley Thompson, Noah Lewis. Banjo,Harmonica,Guitar,Jug. English language.

104 I Woke Up One Morning in May / Didier Herbert. Guitar. French language,Cajun French dialect.

105 James Alley Blues / Richard (Richard "Rabbit") Brown. Guitar. English language.

106 Sugar Baby / Dock Boggs, Hub Mahaffey. Banjo,Guitar. English language.

107 I Wish I Was a Mole in the Ground / Bascom Lamar Lunsford. Banjo. English language.

201 The Mountaineer's Courtship / Ernest V. Stoneman, Hattie Stoneman. Harmonica,Guitar. English language.

202 The Spanish Merchants Daughter / Ernest V. Stoneman, Hattie Stoneman. Harmonica,Guitar,Fiddle. English language.

203 Bob Lee Junior Blues / Memphis Jug Band. Guitar,Jug,Kazoo,Banjo-mandolin. English language.

204 Single Girl, Married Girl / Carter Family. Guitar,Autoharp. English language.

205 The Vieux Soulard Et Sa Femme, Le - Old Drunkard and His Wife / Cleoma Breaux, Joe Falcon. Guitar,Accordion. French language,Cajun French dialect.

206 Rabbit Foot Blues / Blind Lemon Jefferson. Guitar. English language.

207 Expressman Blues / Sleepy John Estes. Guitar,Piano,Mandolin. English language.

301 Poor Boy Blues / Willard Thomas. Guitar. English language.

302 Feather Bed - Lost John / Cannon's Jug Stompers, Gus Cannon. Banjo,Harmonica,Guitar,Jug. English language.

303 Country Blues / Dock Boggs. Banjo. English language.

304 Ninety-Nine Year Blues / Julius Daniels. Guitar. English language.

305 Prison Cell Blues / Blind Lemon Jefferson. Guitar. English language.

306 See That My Grave is Kept Clean - Two White Horses / Blind Lemon Jefferson. Guitar. English language.

307 C'Est Si Triste Sans Lui -It Is So Blue without Him / Cleoma Breaux, Joe Falcon, Ophy Breaux. Guitar,Accordion. French language,Cajun French dialect.

401 Way Down the Old Plank Road - Down Plank Road / Sam McGee, Uncle Dave Macon. Banjo,Guitar. English language.

402 Buddy Won't You Roll Down the Line / Sam McGee, Uncle Dave Macon. Banjo. English language.

403 Spike Driver Blues / Mississippi John Hurt. Guitar. English language.

404 K. C. Moan / Memphis Jug Band. Banjo,Harmonica,Guitar,Jug,Kazoo. English language.

405 Train on the Island / J. P. Nestor. Banjo,Violin. English language.

406 The Lone Star Trail / Ken Maynard. Guitar. English language.

407 Fishing Blues / Henry Thomas. Guitar,Quills (Musical instrument). English language.
Local Numbers:
Folkways.2953; Folkways.253

FW-ASCH-LP-02953
Publication, Distribution, Etc. (Imprint):
New York Folkways 1952
General:
Title of vol. 3: Songs. Booklet by Harry Smith containing program notes and bibliographical and discographical references (28 p. : ill.) laid in. Cannon's Jug Band: Noah Lewis: Harmonica Gus Cannon: Jug and Banjo Ashley Thompson: Guitar (Thompson sings on "Minglewood Blues.")
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Animals  Search this
Nonsense literature  Search this
Folk songs -- United States  Search this
love songs  Search this
Jug band music  Search this
Blues (Music)  Search this
Wit and humor  Search this
Courtship  Search this
Marriage  Search this
Prisoners' songs  Search this
Old-time music  Search this
Railroads  Search this
Work songs  Search this
Railroads -- Songs and music  Search this
Cowboys -- Songs and music  Search this
Banjo  Search this
Harmonica  Search this
Guitar  Search this
Jug  Search this
Violin  Search this
Kazoo  Search this
Banjo-mandolin  Search this
Autoharp  Search this
Accordion  Search this
Piano  Search this
Mandolin  Search this
Violin  Search this
Quills (Musical instrument)  Search this
Industrial revolution  Search this
Motion pictures  Search this
African Americans  Search this
Function:
Labor unions
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-LP-02953
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / LP
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5a20a1e73-6c4c-44dc-9382-cb39b6be4ca6
EDAN-URL:
ead_component:sova-cfch-asch-ref24609

"What a mighty power for good is a united nation"--President McKinley at Memphis, Tenn. [Active no. 4885 half-stereo photonegative.]

Topic:
McKINLEY TOUR
Publisher:
Underwood & Underwood  Search this
Names:
McKinley, William, 1843-1901  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (3-1/2" x 3-3/4".)
Type:
Archival materials
Photographs
Place:
Memphis (Tenn.)
Tennessee
Local Numbers:
RSN 14102
General:
Currently stored in box 3.1.28 [115], moved from [107].
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:
Political campaigns -- Tennessee  Search this
Presidents -- Tennessee  Search this
Genre/Form:
Photographs -- 1900-1910 -- 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 14092-14155
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8fffd3e72-b08a-447c-ad77-9178b96f8813
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref10703

Folk Music in America, Vol. 3: Dance Music- Breakdowns and Waltzes

Producer:
Spottswood, Richard K. (Richard Keith)  Search this
Performer:
Dilleshaw, John  Search this
Doyle, Little Buddy  Search this
Hofner, Adolph  Search this
Johnson, Edwin W., 1905-1984  Search this
Sapps, Booker T.  Search this
Flowers, Willy  Search this
Matthews, Roger  Search this
Steeley, A.L.  Search this
Graham, J. W.  Search this
Amoaku, W. K. (William Komla), 1940-  Search this
Enis, Marvin, 1956-  Search this
Enis, Mike, 1936-  Search this
Macon, Uncle Dave, 1870-1952  Search this
Miles, J. Paul  Search this
Miles, Vernon  Search this
Miles, Wade  Search this
Arteleus Mistric  Search this
Seven Foot Dilly and His Dill Pickles  Search this
Edwin Johnson Swedish Trio  Search this
Bogtrotters  Search this
Red Headed Fiddlers  Search this
Tampa Joe  Search this
East Texas Serenaders  Search this
Mike Enis Group  Search this
Uncle Dave Macon & the Fruit-Jar Drinkers  Search this
Evangeline Band  Search this
Nashville Washboard Band  Search this
Collection Creator:
Rinzler, Ralph  Search this
Extent:
1 Phonograph record (analog, 33 1/3 rpm, 12 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Czech-Americans  Search this
Swedish Americans  Search this
Tohono O'Odham Indians  Search this
Cajuns  Search this
Type:
Archival materials
Phonograph records
Place:
United States
Georgia
Atlanta (Ga.)
Tennessee
Memphis (Tenn.)
Texas
San Antonio (Tex.)
Minnesota
Saint Paul (Minn.)
Florida
Belle Glade (Fla.)
Virginia
Galax (Va.)
Dallas (Tex.)
Arizona
Tucson (Ariz.)
New York
New York (N.Y.)
North Carolina
Cherry Lane (N.C.)
Louisiana
New Orleans (La.)
Saint Martinville (La.)
Nashville (Tenn.)
Wisconsin
Fort Worth (Tex.)
Lindale (Tex.)
Opelousas (La.)
Sweden
Date:
1976
Contents:
Kenesaw Mountain rag (Seven Foot Dilly and His Dill Pickles) -- She's got good dry goods (Little Buddy Doyle) -- Green meadow waltz (Adolph Hofner and His Orchestra) -- Polska from Boda / Soldier's Joy (Edwin Johnson Swedish Trio) -- Alabama blues ; Boot that thing (Booker T. Sapps, Roger Matthews and Jesse Flowers) -- Days of '49 (The Bog Trotters) -- Far in the mountain (The Red Headed Fiddlers) -- Warm wipe stomp (Macon Ed and Tampa Joe) -- Aldeline waltz (East Texas Serenaders) -- Waltz (Mike Enis Group) -- The rabbit in the pea patch (Uncle Dave Macon and the Fruit-Jar Drinkers) -- John Henry / Cripple Creek (Paul, Vernon, and Wade Miles) -- Belle of Point Clare (Arteleus Mistric) -- Acadian air (Evangeline Band) -- Old Joe (Nashville Washboard Band)
Track Information:
101 Kenesaw Mountain Rag / John Dilleshaw, Seven Foot Dilly and His Dill Pickles. Guitar,Fiddle,Banjo,Bass. English language.

102 She's Got Good Dry Goods / Little Buddy Doyle. Guitar,Harmonica. English language.

103 Green Meadow Waltz (Louka Zelena) / Adolph Hofner. Guitar,Fiddle,Hawaiian guitar,Piano,Accordion. English language.

104 Polska From Boda/Soldier's Joy / Edwin Johnson Swedish Trio, Edwin W. Johnson. Violin.

105 Alabama Blues / Booker T. Sapps, Willy Flowers, Roger Matthews. Guitar,Harmonica. English language.

106 Boot That Thing / Booker T. Sapps, Willy Flowers, Roger Matthews. Guitar,Harmonica. English language.

107 Days of '49 / Bogtrotters. Guitar,Fiddle,Banjo,Autoharp. English language.

108 Far in the Mountain / Red Headed Fiddlers, A.L. Steeley, J.W. Graham. Fiddle,Banjo. English language.

201 Warm Wipe Stomp / Tampa Joe, W.K. Amoaku. Violin,Bottleneck (Guitar playing). English language.

202 Aldeline Waltz / East Texas Serenaders. Guitar,Banjo,Violin,Violoncello. English language.

203 Waltz / Mike Enis Group, Marvin Enis, Mike Enis. Accordion,Saxophone,Bajo sexto.

204 The Rabbit in the Pea Patch / Uncle Dave Macon & the Fruit-Jar Drinkers, Uncle Dave Macon. Guitar,Fiddle,Banjo. English language.

205 John Henry/Cripple Creek / J. Paul Miles, Vernon Miles, Wade Miles. Guitar,Banjo,Mandolin. English language.

206 Belle of Point Claire / Arteleus Mistric. Harmonica. Cajun French dialect.

207 Acadian Air (Waltz) / Evangeline Band. Cornet,Clarinet,Trombone,Tuba.

208 Old Joe / Nashville Washboard Band. Guitar,Mandolin,Washboard band music,Can.
Local Numbers:
FP-RINZ-LP-0922

Library of Congress.LBC 3
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Library of Congress 1976
Date/Time and Place of an Event Note:
Recorded in: Nashville (Tenn.), Saint Martinville (La.), New Orleans (La.), Louisiana, Cherry Lane (N.C.), North Carolina, New York (N.Y.), New York, Tucson (Ariz.), Arizona, Dallas (Tex.), Galax (Va.), Virginia, Belle Glade (Fla.), Florida, Saint Paul (Minn.), Minnesota, San Antonio (Tex.), Texas, Memphis (Tenn.), Tennessee, Atlanta (Ga.), Georgia, United States.
General:
"A bicentennial project : Library of Congress, Archive of Folk song"; includes recordings from field and commercial sources. Songs sung in English, Czech or French. Program notes with words of the songs, translations, and bibliographical and discographical sources (7 p.) in container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk songs -- United States  Search this
String band  Search this
Western swing (Music)  Search this
Fiddle tunes  Search this
Waltz  Search this
Cajun music  Search this
Old-time music  Search this
Guitar  Search this
Violin  Search this
Banjo  Search this
Bass  Search this
Harmonica  Search this
Hawaiian guitar  Search this
Piano  Search this
Accordion  Search this
Violin  Search this
Autoharp  Search this
Bottleneck (Guitar playing)  Search this
Violoncello  Search this
Saxophone  Search this
Bajo sexto  Search this
Mandolin  Search this
Cornet  Search this
Clarinet  Search this
Trombone  Search this
Tuba  Search this
Washboard band music  Search this
Can  Search this
World music -- Sweden  Search this
African Americans  Search this
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, Item FP-RINZ-LP-0922
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 9: Audio / Commercial / LPs
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk52f933b41-c05c-42ac-8c1a-ed46cec2f732
EDAN-URL:
ead_component:sova-cfch-rinz-ref5906

Rinzler Fieldwork: Interview with Margaret Valiant, worked with Resettlement Administration

Artist:
Valiant, Margaret  Search this
Performer:
Valiant, Margaret  Search this
Recorder:
Rinzler, Ralph  Search this
Field worker:
Rinzler, Ralph  Search this
Collection Creator:
Rinzler, Ralph  Search this
Extent:
1 Sound cassette (analog.)
Culture:
Americans  Search this
Type:
Archival materials
Sound cassettes
Place:
Tennessee
United States
Memphis (Tenn.)
Local Numbers:
FP-1993-CT-0268
Date/Time and Place of an Event Note:
Recorded in: Memphis (Tenn.), United States, Tennessee, April 17, 1975.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Oral history  Search this
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, Item FP-1993-CT-0268
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 9: Audio / Non-Commercial / Fieldwork / Compact Audio Cassettes (CT)
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk57ab692e2-e7e9-40d0-bb15-e437a62e26f0
EDAN-URL:
ead_component:sova-cfch-rinz-ref7341

Maid of Cotton Records

Creator:
Cotton Museum at the Memphis Cotton Exchange  Search this
National Cotton Council  Search this
Extent:
38 Cubic feet (91 boxes)
Type:
Collection descriptions
Archival materials
Videocassettes
Slides (photographs)
Scrapbooks
Reports
Programs
Photographs
Photograph albums
Audiotapes
Place:
Memphis (Tenn.)
Date:
1939-1994, undated
Summary:
The Maid of Cotton (MOC) beauty pageant was sponsored by the National Cotton Council, Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans from 1939-1993. The contest was held annually in Memphis, Tennessee until the National Cotton Council and Cotton Council International moved to Dallas, Texas. Beginning with the 1985 pageant (held December 1984) the competition was held in Dallas. The pageant was discontinued in 1993 due to lack of funds, a sponsor, and changes in marketing strategies. The records include files on contestants, photographs, and scrapbooks.
Scope and Contents:
The collection contains the records for the Maid of Cotton pageant (1939-1993) sponsored by the National Cotton Council (NCC), Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans. The collection consists of approximately 38 cubic feet of records created by the NCC in the course of operating the Maid of Cotton contest from 1939 to 1993. The records form the complete archive of this fifty-four year program. The records include administrative files, scrapbooks, photographs, slides, and videotapes.

"One of the main values of the Maid of Cotton collection is its completeness. These are all of the official records of the program, documenting all of its activities throughout its entire existence from 1939 to 1993. As such, it represents a truly unique documentary record and opportunity for research.

Beauty contests have been the subject of serious scholarly study for many years. A search of WorldCat reveals over fifty books on the topic. Scholars have found the subject to be a fruitful springboard from which to study a wide variety of topics, primarily centered around issues of beauty, femininity, culture values, national identity, racism, and feminism.

Beauty pageants serve as symbols that reflect the values of American culture. For example, pageant winners have symbolized the advances made by formerly disenfranchised groups. Vanessa Williams, the first African American to win the Miss America crown (1983), rewrote the definition of beauty in America, and Heather Whitestone, the first deaf Miss America (1995), proved that physical handicaps need not hold anyone back from their dreams. Pageants can provide a focus for the re-examination of our society and culture. The tragic murder of six-year-old Jonbenet Ramsey in 1996 provided a window into what author Susan Anderson calls "the extravagant world of child beauty pageants," that led to public debate about issues of motherhood and adolescence.

In addition, beauty pageants can be viewed in advertising terms: they are the ultimate expression of the tried and true adage that sex sells. All pageants have sponsors and all sponsors want their products to be seen in a positive light. Some sponsors are content to contribute goods and services to the contestants --a new car, a trip to the Caribbean, a fur coat, etc. --so that their generosity can be noted in the publicity surrounding the contest. Others prefer to sponsor the entire program. The Miss Universe contest, for example, was created in 1952 by the Jantzen Company specifically to enable the company to showcase pretty girls wearing its swimsuits. Jantzen abruptly withdrew its previous support of the Miss America pageant when Yolande Betbeze refused to wear a bathing suit during her reign as Miss America 1951. The Maid of Cotton pageant is a highly organized, year-long, very visible public relations program that allows the National Cotton Council to showcase the wonders of cotton through the wonders of young beauty queens. Attractive young women are the perfect vehicle for promoting fashionable fabrics made from cotton.

Cotton --the product at the heart of the Maid of Cotton program --has been central to American economic and political history. NMAH's collecting and research interests reflect this. The Division of Work & Industry contains numerous cotton-related objects and much documentation on the subject. The Archives Center holds several cotton-related collections, including the Peter Paul Haring Papers, 1897-1935, documenting Haring's development of cotton picking machinery; the Lockwood Greene collection of thousands of engineering drawings, many of which were for textile mills; the Robert L. Shurr Script and Scrapbook for a 1939 biographical motion picture on Dr. George Washington Carver; and the Southern Agriculture Oral History Project Records, 1985-1992, which documents modern cotton farming through photography and oral history interviews. In addition, all aspects of cotton production, from farm to factory to finished goods, are documented in several hundred photos in the Underwood & Underwood Agricultural Photonegative Collection, the Underwood & Underwood Glass Stereograph Collection, the Division of Work & Industry Lantern Slide Collection, and the Donald Sultner-Welles Photograph Collection. Cultural aspects of cotton can be discovered in both the Warshaw Collection of Business Americana and in the DeVincent Collection of Illustrated American Sheet Music." (Orr, Craig. "NMAH Collections Committee", memorandum, 2009)

Series 1, Organizational and Pageant Files, 1939-1993, undated., is arranged chronologically by year. Files may contain correspondence, photographs, news clippings, radio commercial scripts, tear sheets, itineraries, trip reports, sheet music, legal documents, waivers, and permissions, and other material related to the Maid of Cotton pageant for that year. Files may also contain subsequent personal information on the Maid of Cotton for that year, for example change of address, news clippings, and the like. This series contains finalist files, trip files and tour report files.

Series 2, Photographs, Slides, and Transparencies, 1939-1994, undated., is arranged chronologically by year. This series contains photographs, slides, and transparencies related to the Maid of Cotton and her travels throughout the United States and overseas. It also contains photographs of the fashions worn by each Maid.

Series 3, Scrapbooks, 1951-1988, contains the scrapbooks created by the National Cotton Council office as well as scrapbooks created by the Maids themselves or others for her. Scrapbooks most often contain news clippings, ephemera, and sometimes correspondence.

Series 4, Audio-Visual, 1991-1993. This series contains video and audio related to the Maid of Cotton. It is currently unprocessed.
Arrangement:
This collection is arranged into four series.

Series 1: Organizational and Pageant Files, 1939-1993, undated

Subseries 1.1: Maid of Cotton files, 1939-1993

Subseries 1.2: Little Miss Cotton, 1956-1963, undated

Series 2: Photographs, Slides, and Transparencies, 1939-1994, undated

Subseries 2.1: Photographic Negatives and Transparencies, 1939-1993, undated

Subseries 2.2: Slides, 1939-1993, undated

Series 3: Scrapbooks, 1951-1988

Series 4: Audio-Visual, 1991-1993, undated
Biographical / Historical:
The Maid of Cotton pageant began in 1939. The annual pageant was sponsored by the National Cotton Council (NCC), Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans. The pageant was held in Memphis, Tennessee, in conjunction with the Carnival until the 1980s.

In mid-December every year the NCC released a list of contestants. Contestants were required to have been born in one of the cotton-producing states: Alabama, Arizona, Arkansas, California, Florida, Georgia, Kentucky, Louisiana, Mississippi, Missouri, New Mexico, North and South Carolina, Oklahoma, Tennessee, Texas or Virginia. They might have also been born in the cotton-producing counties of Alexander, Jefferson, Massac, Pulaski, Williamson or Madison, Illinois or in Clark or Nye counties of Nevada. There were usually twenty contestants each year.

Contestants were judged on personality, good manners, intelligence, and family background as well as beauty and an ability to model. A Top Ten were chosen and then a Top Five, and finally second and first runners up and a winner. Winners served as goodwill and fashion ambassadors of the cotton industry in a five-month, all-expense tour of American cities. In the mid-1950s the tour expanded globally. In the late 1950s a Little Miss Cotton pageant was begun but lasted only until 1963 before being discontinued. In the mid-1980s Dallas,Texas took over the pageant, in conjunction with the NCC and its overseas division, Cotton Council International. In 1986, to bolster interest and participation, the NCC eliminated the rule requiring contestants to be born in a cotton-producing state. The pageant was discontinued in 1993, one of the reasons being that Cotton Inc. stopped contributing scholarship money as well as waning public interest and changing marketing strategies. (pageantopolis.com website accessed April 2012.)

"The National Cotton Council is the official trade association of the cotton industry. The NCC was founded in 1939 to promote the interests of cotton farmers, ginners, brokers, and manufacturers from the Southern, cotton-growing states. Its mission evolved over the years as new uses for cotton and its byproducts have been found; as competition from synthetic fibers developed; as fashion tastes changed; as government regulation increased; and in response to foreign competition in both farming and manufacturing . The NCC website states that its modern-day mission is "to ensure the ability of all U.S. cotton industry segments to compete effectively and profitably in the raw cotton, oilseed and U.S.-manufactured product markets at home and abroad." Throughout its existence, the NCC has been the contact point for issues affecting its members, legislators in Congress, allied agribusiness, and consumers.

One of the first NCC programs undertaken by to promote the versatility and value of cotton to consumers was the Maid of Cotton program, begun in 1939. This consisted of a beauty pageant open to young women born in one of the seventeen southern cotton growing states. The contestants were evaluated on the basis of beauty, personality, poise, good manners, and intelligence; a family background in cotton production was especially helpful. The girls had to apply for selection to compete in the program. At first this was done directly to the Memphis-based program but eventually a system of state Maid of Cotton programs were established, whose winners went on to compete in the national Maid of Cotton contest. The Maid of Cotton received numerous prizes, whose value and variety tended to increase over the years. In the late 1940s, the program added a scholarship prize, probably in emulation of the Miss America contest. The Maid of Cotton pageant was held each December in Memphis as part of that city's Cotton Carnival festivities. The winner was featured prominently on her own float in the Cotton Carnival parade, was feted at prestigious Carnival events, and was treated as royalty wherever she went. Selection as the Maid of Cotton carried a high degree of status and mature ladies in the South to this day proudly identify themselves as such.

The Maid of Cotton's main function, once crowned, was to serve as a goodwill and fashion ambassador for cotton; any publicity she gained was automatically positive publicity for the cotton industry. Accompanied by an NCC-appointed manager, the Maids embarked on an all-expenses-paid tour. The Maids appeared in full regalia at public events such as county fairs, parades, and holiday events; starred in fashion shows featuring all-cotton outfits; gave speeches to local chambers of commerce and other groups; and in general were the attractive personification of the cotton industry wherever they went. At first, the tours concentrated on the cotton states but they were later extended to major cities outside the cotton belt and came to include visits to legislators on Capitol Hill. Beginning in the mid-1950s, the Maids began touring internationally and in the 1970s and 1980s they frequently headed up fashion shows in Asia.

Over time, however, the publicity value of an industry-anointed beauty queen lost its attraction both to the public and --more importantly --to the press. In addition, the role of cotton in the South, particularly in Memphis, declined. In 1986 the contest was moved from Memphis to Dallas. Eventually the cotton industry withdrew its support for the program's scholarships; the 1993 Maid of Cotton was the last to be crowned." (Orr, Craig. "NMAH Collections Committee", memorandum, 2009)
Related Materials:
Materials in the Archives Center

National Cotton Council Records, circa 1960s-1980s (AC1177)

Southern Agriculture Oral History Project Records, 1986-1991 (AC0773)
Provenance:
This collection was donated by the Cotton Museum at the Memphis Cotton Exchange on October 14, 2009.
Restrictions:
Collection is open for research but the negatives 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.
Topic:
Beauty contestants  Search this
Cotton textile industry  Search this
Cotton industry  Search this
Beauty contests -- United States  Search this
Genre/Form:
Videocassettes
Slides (photographs)
Scrapbooks -- 20th century
Reports
Programs -- 20th century
Photographs -- 20th century
Photograph albums -- 20th century
Audiotapes
Citation:
Maid of Cotton Records, 1939-1993, undated, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1176
See more items in:
Maid of Cotton Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f53d73b9-ea20-46d7-a006-fb4122e3ad71
EDAN-URL:
ead_collection:sova-nmah-ac-1176
Online Media:

Madilyn Buntz being interviewed. [black-and-white photoprint]

Collector:
Cotton Museum at the Memphis Cotton Exchange  Search this
Names:
Buntz, Madilyn  Search this
Collection Creator:
Cotton Museum at the Memphis Cotton Exchange  Search this
National Cotton Council  Search this
Extent:
1 Item (Silver gelatin on paper., 7-1/4" x 10".)
Type:
Archival materials
Photographs
Place:
Tennessee
Memphis (Tenn.)
Scope and Contents:
Maid of Cotton Scrapbook, 1957.
Arrangement:
Folder: Loose Materials Folder.
Local Numbers:
AC1176-0000014.tif (AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "The Experience of a Lifetime: The Maid of Cotton Story, 1939-1993", from December 1, 2010 to March 25, 2011. Craig Orr, curator.
Collection Restrictions:
Collection is open for research but the negatives 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.
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:
Beauty contestants  Search this
Beauty contests -- United States  Search this
Cotton industry  Search this
Cotton textile industry  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- 1940-2000
Collection Citation:
Maid of Cotton Records, 1939-1993, undated, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Maid of Cotton Records
Maid of Cotton Records / Series 3: Scrapbooks / Helen Landon
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep81c811adc-4531-4bad-b1eb-52834c4a6a05
EDAN-URL:
ead_component:sova-nmah-ac-1176-ref695

Maid of Cotton, Beverly Louise Pack, 1954, with John Wayne. [black and white photoprint]

Collector:
Cotton Museum at the Memphis Cotton Exchange  Search this
Names:
Pack, Beverly Louise  Search this
Wayne, John, 1907-1979  Search this
Collection Creator:
Cotton Museum at the Memphis Cotton Exchange  Search this
National Cotton Council  Search this
Extent:
1 Item (Silver gelatin on paper., 10" x 8-1/4".)
Type:
Archival materials
Photographs
Scope and Contents:
"'The weather's highly unusual'...screen star John Wayne assures Beverly Louise Pack, 1954 Maid of Cotton, as she shelters him from California showers with an umbrella (cotton, of course) during her recent Hollywood visit. Wayne took time out from preparing for his forthcoming role in RKO's 'The Conqueror' to meet the American cotton industry's beautiful ambassadress, who is on a 6-month international tour during which she'll display 54 wardrobes made of cotton. A junior at Texas Western College, the 20 year old brunette won the 1954 Maid of Cotton title by defeating 19 other finalists in Memphis, Tenn. last January."
Arrangement:
Box No. New blue photo file box #1.
Local Numbers:
AC1176-0000034.tif (AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "The Experience of a Lifetime: The Maid of Cotton Story, 1939-1993", from December 1, 2010 to March 25, 2011. Craig Orr, curator.
Collection Restrictions:
Collection is open for research but the negatives 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.
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:
Beauty contestants  Search this
Beauty contests -- United States  Search this
Cotton industry  Search this
Cotton textile industry  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- 1940-2000
Collection Citation:
Maid of Cotton Records, 1939-1993, undated, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Maid of Cotton Records
Maid of Cotton Records / Series 1: Organizational and Pageant Files / 1.1: Maid of Cotton Files / Beverly Louise Pack
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89c51124f-0a10-498c-8140-5193710b4f30
EDAN-URL:
ead_component:sova-nmah-ac-1176-ref715

1895-1899

Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Container:
Box 109, Folder 1-19
Type:
Archival materials
Date:
1895-1899
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 6: Financial Materials / 6.5: Vouchers / 6.5.2: Financial materials - Vouchers - Art vouchers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc3302d1311-161f-43c6-a53b-99c866d8da38
EDAN-URL:
ead_component:sova-fsa-a-01-ref1722
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  • View 1895-1899 digital asset number 1

Pearl Bowser Audiovisual Collection

Names:
Andrade-Watkins, Claire  Search this
Bambara, Toni Cade  Search this
Dash, Julie  Search this
Gerima, Haile  Search this
Greaves, William, 1953-2005  Search this
Gunn, Bill, 1934-1989  Search this
Jafa, Arthur  Search this
Jones, Robert Earl, 1904-2006  Search this
Massiah, Louis  Search this
Micheaux, Oscar, 1884-1951  Search this
Moses, Ethel  Search this
Robeson, Paul, 1898-1976  Search this
Sanchez, Sonia, 1934- (poet, reader)  Search this
Snead, James A., 1953-1989  Search this
Spence, Louise, 1945-  Search this
Tucker, Lorenzo  Search this
Donor:
Bowser, Pearl, 1931-  Search this
Extent:
approximately 100 Motion picture films
213 Sound cassettes (7 boxes)
Type:
Collection descriptions
Archival materials
Motion picture films
Sound cassettes
Sound cassette
Oral histories (document genres)
16mm motion picture film
Vhs (videotape format)
Place:
England
Harlem (New York, N.Y.)
Roanoke (Va.)
Memphis (Tenn.)
Date:
bulk 1920-2001
Arrangement:
The collection is currently arranged in three (3) archival series as follows:

Series 1: Motion Picture Films Series 2: Video Tapes Series 3: Audio Tapes

Series 1 and 2 are arranged sequentially by museum-assigned object numbers. Digital copies in Series 3 arranged into seven subseries by NMAAHC staff. There is an additional subseries for "unidentified" audiovisual materials.
Biographical / Historical:
Pearl Bowser is a filmmaker, producer, author, lecturer, and highly acclaimed scholar of African American film who is recognized as an authority on the works of Oscar Micheaux, a noted writer, director, and producer of race films from 1919 to 1948.

Born Pearl Johnson on June 25, 1931, in Sugar Hill, Harlem, New York, she was named after her mother (also Pearl Johnson), a domestic worker who had been raised in a Catholic nunnery. On occasional Saturdays, the younger Pearl would accompany her mother to work in apartments in lower Manhattan, where she would assist her by folding handkerchiefs for a small allowance. After moving to a lower part of Harlem when she was about four years old, she met Harlem entrepreneur "Bumpy" Johnson, for whom she and other children in the neighborhood did odd jobs such as counting coins or attending to his ice-cream stand. Johnson, who would sometimes give the children joy rides in his Cadillac, occasionally allowed Pearl and the other children to borrow books from his extensive library, provided that they read them and submitted to a quiz.

As a child, Bowser had several racist encounters. For example, one of her white kindergarten teachers at her elementary school wore gloves in the classroom as to not touch Black pupils. She was also occasionally teased for having a gap between her teeth but felt insulated from sustained bullying because she had several older brothers who sometimes protected her. On a separate occasion, when she was about nine years old, her mother sent her on a trip from New York to the South to visit relatives. Although her mother had purchased tickets for her to be in a Pullman car, when she changed trains in Washington, DC., she was forced to ride in the car behind the engine, which left her covered in soot.

An avid reader, Pearl excelled in elementary and high school and received a scholarship to attend Brooklyn College, where she majored in biology. She supplemented her income by recording the numbers in one of Bumpy Johnson's shops. Disappointed with the quality of the education she was receiving, Bowser withdrew from Brooklyn College, eventually landing a job at CBS where she worked on a team that analyzed Nielsen ratings.

In 1955, Pearl married fellow New Yorker LeRoy Bowser. By the mid-1960s, although Pearl and LeRoy Bowser had separate interests, they both were working simultaneously in the civil rights movement. While LeRoy was active in Brooklyn CORE (Congress of Racial Equality) and went to the South in the summer to teach for what was the beginning of HeadStart, Pearl, along with other production activists, took to the streets documenting African American culture and issues—working to bring these films to schools. Additionally, Bowser wanted to write a cookbook to earn funds for Brooklyn's CORE organization. She was approached by David Davis, the editor of Tuesday Magazine. Tuesday had distribution in the Herald Tribune across the country as a Sunday supplement. As the urban-world magazine exploded in Black communities, "Joan" Bowser's two-page pictorials on Southern cooking with a set of recipes became very popular in the five years she wrote them. Bowser retained copyrights to the articles, and easily completed her cookbook a short time later.

Bowser's colleague at ABC, Charles Hobson, found a used book written by Peter Noble about Black films and Oscar Micheaux. The volume was slim and contained what little information contained in the Museum of Modern Art (MoMA) files. Hobson and his colleagues wanted to write a book about the topic, and they assigned Bowser to begin the research. As part of the project, Bowser went to California to interview actors who may have been in early Black films or may have worked with Micheaux. What she learned began her intensive scholarship into Micheaux and his fellow filmmakers.

In 1971, she organized her first film festival, the Black Film History Series. In 1979, she organized the nation's first American women's film festival in New York City. She also presented a major retrospective, Independent Black American Cinema 1920-1980, which toured the country during 1981 and 1982. She also directed the Journey Across Three Continents film and lecture series, which toured the country from 1983-1985. Bowser also served as president of the prestigious Flaherty Film Seminar in 1987. In 1989, she, alongside Grant Munro, programmed the 35th Flaherty Film Seminar, which featured films such as Finzan, Zajota and the Boogie Spirit, Daughters of the Dust, and many more. She has also been a judge at the world-renown Pan-African Film and Television Festival of Ouagadougou (FESCPACO) in Burkina Faso (formerly known as Upper Volta).

In the 1980s Bowser was awarded an independent artists grant by the Ford Foundation to travel west and collect oral histories from individuals in Oscar Micheaux's orbit, loosely following the route he would have travelled decades earlier. Stopping in cities such as Roanoke, Virginia; Memphis, Tennessee; and Jackson, Mississippi, she collected dozens of oral histories from actors, actresses etc. that knew Oscar Micheaux. Through this research she became an eminent figure in the Black independent film industry. Working as a programmer, she travelled around the United States and the world showing films by domestic and Black filmmakers within the Diaspora.

Despite her wealth of experience working as a programmer, it wasn't until the 1990s that Bowser made her directorial debut with the documentary film Midnight Ramble. Funded by American Experience, the film looks at African Americans and Hollywood movies from 1910 through the 1950s. In 2000, she, along with Louise Spence, co-authored Writing Himself into History: Oscar Micheaux, His Silent Films and His Audiences, a book about the pioneering filmmaker. Additionally, she is founder and director of Chamba Educational Film Services, a film distribution company that specialized in distributing films by African American filmmakers. In the early 1980s, she renamed her company/collection as African Diaspora Images, a collection of historical and contemporary films documenting Black film history. She subsequently joined Third World Newsreel, where she was director of their theater department.

In 2012, Pearl Bowser donated her extensive collection of books, sound cassettes, films, film memorabilia, and papers to the Smithsonian National Museum of African American History and Culture.

Sources:

1940 United States Federal Census; New York, New York, New York, population schedule, p. 61B, house number 1486, family 195, Pearl Bowser; Ancestry.com. 1940 United States Federal Census [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2012 accessed: 10 Sept 2022); citing National Archives and Records Administration microfilm: m-t0627-02665

Bowser, Pearl. Pearl Bowser Oral History. Interview by Tuliza Fleming and Jennifer Lyon, July 21, 2011.
Provenance:
Acquired as a donation from Pearl Bowser in 2012.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Media Preservation team can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Occupation:
Filmmakers  Search this
Actors -- Interviews  Search this
Topic:
Documentary films  Search this
Film festivals  Search this
African American actors  Search this
African American actresses  Search this
African diaspora  Search this
Race films  Search this
African American motion picture producers and directors  Search this
African American women authors  Search this
Meetings  Search this
Conferences  Search this
Lectures and lecturing  Search this
Amateur films  Search this
Motion picture soundtracks  Search this
Oral history  Search this
Radio broadcasts  Search this
Genre/Form:
Sound cassette
Oral histories (document genres)
16mm motion picture film
VHS (videotape format)
Citation:
Pearl Bowser Collection, National Museum of African American History and Culture
Identifier:
NMAAHC.A2012.79.AV
See more items in:
Pearl Bowser Audiovisual Collection
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3209e9c6d-3045-4a0a-941e-6519385b18d5
EDAN-URL:
ead_collection:sova-nmaahc-a2012-79-av

Manila Davis Talley Scrapbook

Creator:
Talley, Manila Davis.  Search this
Names:
Curtiss-Wright Corporation  Search this
United States. Civil Air Patrol  Search this
Extent:
0.23 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
bulk 1917-1967
bulk 1929-1942
Summary:
This collection consists of a scrapbook relating to Manila Davis Talley and her aviation career.
Scope and Contents:
This collection consists of one scrapbook which contains newspaper clippings, membership cards, programs, photographs, and pilot's licenses, mostly relating to Manila Davis Talley and her aviation career. The focus of the collection is on the years 1929-42, and highlights Talley's career as a salesperson for Curtis-Wright, and her association with the 99s and the Betsy Ross Corps. Also included is the scrapbook is information on the Women's National Air Races, the Women's National Air Meets, and Talley's work with the Civil Air Patrol. The scrapbook also includes clippings and other items related to Amelia Earhart, Jimmy Doolittle and General Balbo.
Arrangement:
Single item in original order.
Biographical / Historical:
Manila Davis Talley (1898-1973) soloed in October 1929 and received her pilot's license in April of 1930. She joined Curtis-Wright Corporation as a saleswoman in late 1929 or early 1930. Talley joined the 99s (international association of female pilots) in 1930 and was a founding member of Betsy Ross Corps, a private 1930s female auxiliary/reserve for the Army Air Corps. Talley was the third woman to go through Air Force War College, in December 1966.
Provenance:
Estate of Manila Davis Talley, Gift, Unknown, NASM.XXXX.0041
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Topic:
Aeronautics  Search this
Women air pilots  Search this
Airplane racing  Search this
Genre/Form:
Scrapbooks
Citation:
Manila Davis Talley Scrapbook, NASM.XXXX.0041, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.XXXX.0041
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg2b3cfd97b-f6e7-454c-b17d-1c97c8b7f0e6
EDAN-URL:
ead_collection:sova-nasm-xxxx-0041
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Online Media:

M'Clure's Collection / of / National / Melodies. [Sheet music.]

Collector:
Broadcast Music, Inc.  Search this
Creator:
Beler, F.  Search this
Composer:
Beler, F.  Search this
Publisher:
McClure, Jas A.  Search this
Arranger:
Taylor, George M.  Search this
Names:
Davis, Jefferson  Search this
Collection Collector:
Broadcast Music, Inc.  Search this
Extent:
1 Item (Ink on paper., 13.2" x 9.9".)
1 item, 13.2" x 9.9".
Ink on paper.
Container:
Box 1, Folder 10
Type:
Archival materials
Sheet music
Place:
Confederate States of America
Manassas (Va.) -- History -- Civil War, 1861-1865
Nashville (Tenn.)
Confederate States of America
Memphis (Tenn.)
Date:
undated
Scope and Contents:
Music for "Manassas Quickstep only (underlined in pencil). On cover: "Oak Hill Polka, / to Gen. Ben. McCulloch. / Manassas Quickstep, / To the Army of the Potomac. / Dixie Quickstep, / Dedicated to Jeff Davis. / Leesburg March / Dedicated to Gen. Evans. / Last Rose of Summer / Brilliant Vairations by H. Herz. / Published by / Jas. A. M'Clure [sic], / Nashville and Memphis."
Arrangement:
In box 1, folder 10.
Local Numbers:
AC1258-0000006-1.jpg (AC Scan)

AC1258-0000006-2.jpg (AC Scan)

AC1258-0000006-3.jpg (AC Scan)

AC1258-0000006-4.jpg (AC Scan)

AC1258-0000006-5.jpg (AC Scan)

AC1258-0000006-6.jpg (AC Scan)
Collection Restrictions:
This collection is open for research use.
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:
Quicksteps  Search this
Civil War, 1861-1865  Search this
United States -- History -- Civil War, 1861-1865 -- Music  Search this
Genre/Form:
Sheet music -- 19th century
Sheet music -- 1860-1870
Collection Citation:
BMI Archives Confederate Sheet Music Collection, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
BMI Archives Confederate Sheet Music Collection
BMI Archives Confederate Sheet Music Collection / Series 1: Sheet Music
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8434ff7b0-7d1f-4f7f-8078-9d4e966a849b
EDAN-URL:
ead_component:sova-nmah-ac-1258-ref55
Online Media:

Recollections of Memphis / A Romanza [sheet music]

Composer:
Winkler, Ch. Ph.  Search this
Collector:
Broadcast Music, Inc.  Search this
Publisher:
McClure, Jas A.  Search this
Collection Collector:
Broadcast Music, Inc.  Search this
Extent:
1 Item (Ink on paper., 13.4" x 9.9".)
1 item, 13.4" x 9.9".
Ink on paper.
Container:
Box 1, Folder 14
Type:
Archival materials
Sheet music
Place:
Confederate States of America
Nashville (Tenn.) -- Music -- 19th century
Southern States -- Songs and music
Tennessee -- 19th century
Memphis (Tenn.)
Confederate States of America
United States -- History -- Civil War, 1861-1865 -- Songs and music
Date:
1860
Scope and Contents:
11 pp. "Dedicated to the / LADIES OF MEMPHIS, TENN. / and especially Inscribed to the MISSES TILLY POPE, / & / SALLIE HOUSTON. ALICE BOND. / SUE APPERSON." Published by Jas. A. McClure.
Arrangement:
In box 1, folder 14.
General:
Includes dedication: "To the ladies of Memphis, Tenn. and especially inscribed to the Misses Tilly Pope, Sally Houston, Sue Apperson, and Alice Bond ... Having during a residence of Five Years in this City experienced nothing but kindness at the hands of the Ladies of Memphis, I herewith Dedicate this piece of Music to them as an offering of gratitude"--Cover pg.
Local Numbers:
AC1258-0000024-01.jpg (AC Scan)

AC1258-0000024-02.jpg (AC Scan)

AC1258-0000024-03.jpg (AC Scan)

AC1258-0000024-04.jpg (AC Scan)

AC1258-0000024-05.jpg (AC Scan)

AC1258-0000024-06.jpg (AC Scan)

AC1258-0000024-07.jpg (AC Scan)

AC1258-0000024-08.jpg (AC Scan)

AC1258-0000024-09.jpg (AC Scan)

AC1258-0000024-10.jpg (AC Scan)

AC1258-0000024-11.jpg (AC Scan)
Collection Restrictions:
This collection is open for research use.
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.
Genre/Form:
Sheet music -- 19th century
Sheet music
Collection Citation:
BMI Archives Confederate Sheet Music Collection, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
BMI Archives Confederate Sheet Music Collection
BMI Archives Confederate Sheet Music Collection / Series 1: Sheet Music
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep857b8f04a-899b-45f1-adf9-48288fd27390
EDAN-URL:
ead_component:sova-nmah-ac-1258-ref72

Clippings and Scrapbook Pages

Collection Creator:
Wilson, Ellis, 1899-1977  Search this
Container:
Box 1, Folder 3
Type:
Archival materials
Date:
1925-1945
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Ellis Wilson papers, 1922-1959, bulk 1940s. Archives of American Art, Smithsonian Institution.
See more items in:
Ellis Wilson papers
Ellis Wilson papers / Series 1: Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ddb92bf6-08d4-4155-b1ce-f855af6a0b27
EDAN-URL:
ead_component:sova-aaa-wilselli-ref5
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Festival Recordings: 20th Anniv. Stage: The Ardoins with Canray Fontenot; The Fieldstones

Creator:
Smithsonian Institution. Festival of American Folklife. Twentieth Anniversary Program 1986 Washington, D.C.  Search this
Fieldstones (Musical group)  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Type:
Archival materials
Sound recordings
Place:
Washington (D.C.)
Memphis (Tenn.)
Tennessee
Contents:
Bois Sec: Alfonse "Bois Sec" Ardoin, Morris Ardoin, Russell Ardoin, Sean David Ardoin, Canray Fontenot; The Fieldstones: Bobbby Carnes, Wordie Perkins, Roy Sanders, Joe Hicks, Lois Brown R 5 Of 6
Local Numbers:
FP-1986-7RR-0250
Date/Time and Place of an Event Note:
Recorded in: Washington, D.C, United States, July 5, 1986.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Blues (Music)  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1986 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1986, Item FP-1986-7RR-0250
See more items in:
Smithsonian Folklife Festival records: 1986 Festival of American Folklife
Smithsonian Folklife Festival records: 1986 Festival of American Folklife / Series 2: 20th Anniversary Music Stage / Audio / FP-1986-CT-0250: Festival Recordings: 20th Anniversary Stage: The Ardoins with Canray Fontenot; The Fieldstones
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5f0af7782-aef8-4ff2-9ca9-9c87a0b0dfdb
EDAN-URL:
ead_component:sova-cfch-sff-1986-ref1322

Festival Recordings: Twentieth Anniversary Stage: The Fieldstones

Creator:
Smithsonian Institution. Festival of American Folklife. Twentieth Anniversary Program 1986 Washington, D.C.  Search this
Fieldstones (Musical group)  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound cassette (analog.)
Type:
Archival materials
Sound cassettes
Place:
Washington (D.C.)
Memphis (Tenn.)
Tennessee
Contents:
The Fieldstones: Bobby Carnes; Wordie Perkins, Roy Sanders, Joe Hicks, Lois Brown C 5 Of 6, Same As Si-Fp-1986-Rr-250
Local Numbers:
FP-1986-CT-0250-7
Date/Time and Place of an Event Note:
Recorded in: Washington, D.C, United States, July 5, 1986.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Blues (Music)  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1986 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1986, Item FP-1986-CT-0250-7
See more items in:
Smithsonian Folklife Festival records: 1986 Festival of American Folklife
Smithsonian Folklife Festival records: 1986 Festival of American Folklife / Series 2: 20th Anniversary Music Stage / Audio / FP-1986-CT-0250: Festival Recordings: 20th Anniversary Stage: The Ardoins with Canray Fontenot; The Fieldstones
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5999d7a15-8c2a-4777-bec4-d09c63c184fe
EDAN-URL:
ead_component:sova-cfch-sff-1986-ref1327

[E. Howard Clock Orders Ledger Volume 4, book]

Author:
E. Howard Clock Co.  Search this
Collection Creator:
Howard, Edward  Search this
E. Howard Clock Co.  Search this
Extent:
1 Volume (Ink on paper, 8.1" x 5.6".)
Container:
Box 19
Type:
Archival materials
Text
Volumes
Ledgers (account books)
Place:
Massachusetts -- 19th century
Boston (Mass.) -- 19th century
Date:
1878 October 1-1880 December 13
Scope and Contents:
(AC*0776.07.04)
Listing of clock orders.
Collection Restrictions:
The collection is open for research.
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:
Clock and watch making  Search this
Clock and watch makers  Search this
Clocks and watches  Search this
Genre/Form:
Ledgers (account books) -- 20th century
Ledgers (account books) -- 1840-1900
Collection Citation:
E. Howard Clock Company Records, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
E. Howard Clock Company Records
E. Howard Clock Company Records / Series 7: Clock Orders
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep88dc8b4ee-bb39-4d8a-a6c1-96f6c14fec25
EDAN-URL:
ead_component:sova-nmah-ac-0776-ref21
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Online Media:

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