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Crystal Caverns [acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Crystal Caverns (Washington, D.C.).  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 44
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- 1930-1940
Date:
1932
Scope and Contents:
Job Number: 25277
Seven members of orchestra at Crystal Caverns night club.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musicians -- 1930-1940  Search this
Portraits, Group -- 1930-1940 -- Washington (D.C.).  Search this
African American musicians  Search this
Night clubs -- 1930-1940  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8b63f8153-2cdb-467b-be1c-2307b64df057
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1122
Online Media:

[Crystal Caverns night club : acetate film photonegative,]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Crystal Caverns (Washington, D.C.).  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 44
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- 1930-1940
Date:
1932
Scope and Contents:
Job Number: 25277
Long view of Crystal Caverns orchestra, with empty tables and chairs in front.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musicians -- 1930-1940  Search this
Portraits, Group -- 1930-1940 -- Washington (D.C.).  Search this
African American musicians  Search this
Night clubs -- 1930-1940  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8919dabe1-eba8-44c1-9557-aa37f81057d7
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1125
Online Media:

Dunbar Orchestra, 1934 [cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Names:
Dunbar High School (Washington, D.C.)  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 73
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
1934
Scope and Contents:
Dunbar orchestra members with their instruments seated outside of building in formal pose; 1934. Ink on negative: "E. Dunbar Orchestra, 1934". No edge imprint, no Scurlock number.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Orchestra  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep883752e57-464a-4004-b9ba-3f093f48cdd9
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref2423
Online Media:

Cardozo Orchestra, 1933 [cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Names:
Cardozo High School (Washington, D.C.)  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 73
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
1933
Scope and Contents:
Cardozo High School orchestra on stage in formal pose, 1933. No Scurlock number. Ink on negative: "E Cardozo Orchestra, 1933". No edge imprint.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Orchestra  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f7bfac51-cd57-4dbb-aeb9-afc39cd7cc9f
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref2425
Online Media:

["Artist-Ballroom Trombones" advertisement with illustration of trombone : trade catalog, page 29]

Topic:
Band and Orchestra Instruments. General Catalog H.
Publisher:
C.G. Conn, Ltd.  Search this
Collection Creator:
Hazen, Margaret Hindle  Search this
Hazen, Robert M.  Search this
Extent:
1 Item (Ink on paper.)
Container:
Box 11, Folder 6, Page 29
Type:
Archival materials
Advertisements
Trade catalogs
Date:
[1930.]
Scope and Contents:
Page 29 from Conn catalog
Local Numbers:
90-16438 (OPPS Neg.)
Collection Restrictions:
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Rights:
Copy prints available. Probably copyrighted. Order from neg. no. 90-16438. Fees for commercial use.
Topic:
Musical instruments -- 1930-1940  Search this
Trombone -- 1930-1940  Search this
Musical instruments industry -- 1930-1940  Search this
Genre/Form:
Advertisements -- 1930-1940
Trade catalogs -- 1930-1940
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
See more items in:
Hazen Collection of Band Photographs and Ephemera
Hazen Collection of Band Photographs and Ephemera / Series 2: Ephemera / Band Company Ephemera / Conn, C. G. Co. Band and Orchestra instruments. 1930. 96 p. plus wraps. General Catalog H." (CE 45)
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c265dee9-8de3-4e3c-9c78-6abef0890a2f
EDAN-URL:
ead_component:sova-nmah-ac-0253-ref1985

Photograph of Beverly White

Photograph by:
Unidentified  Search this
Distributed by:
Rockwell-O'Keefe, Inc., American  Search this
Subject of:
Beverly White, American  Search this
Claude Hopkins, American, 1903 - 1984  Search this
Claude Hopkins Orchestra, American, 1930 - 1940  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 9 × 7 1/2 in. (22.8 × 19 cm)
H x W (Sheet): 10 1/16 × 8 1/16 in. (25.5 × 20.4 cm)
Type:
gelatin silver prints
portraits
Date:
ca. 1938
Topic:
African American  Search this
Jazz (Music)  Search this
Photography  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.125
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd54bab2709-80b5-4b08-ac13-dcc3179b834e
EDAN-URL:
edanmdm:nmaahc_2013.46.25.125
Online Media:

Photograph of Beverly White

Photograph by:
Unidentified  Search this
Distributed by:
Rockwell-O'Keefe, Inc., American  Search this
Subject of:
Beverly White, American  Search this
WOR, American  Search this
Claude Hopkins, American, 1903 - 1984  Search this
Claude Hopkins Orchestra, American, 1930 - 1940  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 9 × 7 7/16 in. (22.9 × 18.9 cm)
H x W (Sheet): 10 1/16 × 7 15/16 in. (25.5 × 20.2 cm)
Type:
gelatin silver prints
portraits
Place depicted:
New York City, New York, United States, North and Central America
Date:
ca. 1938
Topic:
African American  Search this
Jazz (Music)  Search this
Mass media  Search this
Nightlife  Search this
Photography  Search this
Singers (Musicians)  Search this
Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.34
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5f2e937ec-1f4c-422b-9960-5e575ae50ff0
EDAN-URL:
edanmdm:nmaahc_2013.46.25.34
Online Media:

Program for Cafe Zanzibar

Printed by:
Unidentified  Search this
Distributed by:
Cafe Zanzibar, American, 1943 - 1948  Search this
Subject of:
Joe Howard, American, 1867 - 1961  Search this
Pee Wee Marquette, American, 1914 - 1992  Search this
Louis Armstrong, American, 1901 - 1971  Search this
Bill "Bojangles" Robinson, American, 1878 - 1949  Search this
Maurice Rocco, American, 1915 - 1976  Search this
Velma Middleton, American, 1917 - 1961  Search this
Peters Sisters, American  Search this
Nicholas Brothers, American  Search this
The Delta Rhythm Boys, American, 1934 - 1987  Search this
The Zanzibeauts, American, 1943 - 1948  Search this
Claude Hopkins Orchestra, American, 1930 - 1940  Search this
Louis Armstrong and his Orchestra, American, 1928 - 1947  Search this
Medium:
ink on paper
Dimensions:
H x W x D (Closed): 7 3/16 × 4 15/16 × 1/16 in. (18.3 × 12.6 × 0.1 cm)
H x W x D (Open): 7 3/16 × 9 15/16 × 1/16 in. (18.3 × 25.3 × 0.1 cm)
Type:
souvenir programs
Place used:
New York City, New York, United States, North and Central America
Date:
ca. 1945
Topic:
African American  Search this
Dance  Search this
Entertainers  Search this
Jazz (Music)  Search this
Musicians  Search this
Nightlife  Search this
Photography  Search this
Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.68
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5e03185e1-6e36-4c49-8ab5-e84a5aa9f593
EDAN-URL:
edanmdm:nmaahc_2013.46.25.68
Online Media:

Program for Cafe Zanzibar

Printed by:
Unidentified  Search this
Distributed by:
Cafe Zanzibar, American, 1943 - 1948  Search this
Subject of:
Joe Howard, American, 1867 - 1961  Search this
Pee Wee Marquette, American, 1914 - 1992  Search this
Bill "Bojangles" Robinson, American, 1878 - 1949  Search this
The Delta Rhythm Boys, American, 1934 - 1987  Search this
Otto Eason, American  Search this
Velma Middleton, American, 1917 - 1961  Search this
Louis Armstrong, American, 1901 - 1971  Search this
Maurice Rocco, American, 1915 - 1976  Search this
Peters Sisters, American  Search this
The Zanzibeauts, American, 1943 - 1948  Search this
Nicholas Brothers, American  Search this
Louis Armstrong and his Orchestra, American, 1928 - 1947  Search this
Claude Hopkins Orchestra, American, 1930 - 1940  Search this
Medium:
ink on paper
Dimensions:
H x W x D (Closed): 7 1/4 × 5 1/16 × 1/16 in. (18.4 × 12.8 × 0.1 cm)
H x W x D (Open): 7 1/4 × 10 1/16 (18.4 × 25.6 × 0.1 cm)
Type:
souvenir programs
Place used:
New York City, New York, United States, North and Central America
Date:
ca. 1945
Topic:
African American  Search this
Dance  Search this
Entertainers  Search this
Jazz (Music)  Search this
Musicians  Search this
Nightlife  Search this
Photography  Search this
Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.69
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd54609042e-b229-45a7-ab0c-b21724922181
EDAN-URL:
edanmdm:nmaahc_2013.46.25.69
Online Media:

Alma Thomas papers

Creator:
Thomas, Alma  Search this
Names:
Art in Embassies Program (U.S.)  Search this
Martha Jackson Gallery  Search this
Bader, Franz, 1903-1994  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Johnson, Nathalie J. Cole  Search this
Sarg, Tony, 1882-1942  Search this
Tarbary, Celine  Search this
Taylor, Joshua Charles, 1917-  Search this
Thomas, J. Maurice (John Maurice), 1900 or 1901-  Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Audiocassettes
Video recordings
Photographs
Date:
circa 1894-2001
Summary:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.
Scope and Contents note:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.

Biographical material includes identity cards, chronologies, an audio recording including a biographical account, and scattered documentation of Thomas's education and teaching careers with D.C. Public Schools, Howard University, and Thomas Garrett Settlement in Wilmington, Delaware. Also found are records relating to Thomas's participation in a summer marionette class taught by Tony Sarg in 1934, and a tour of European art centers which Thomas took in 1958.

Letters relate primarily to the exhibition of Thomas's work and related events and are from galleries, museums, other art institutions, colleagues, and friends including Franz Bader, Adelyn Breeskin, Corcoran Gallery of Art, Howard University Gallery of Art, Martha Jackson Gallery, Nathalie J. Cole Johnson, Vincent Melzac, Celine Tabary, and Joshua Taylor.

Notes and writings include four notebooks and autobiographical writings by Thomas, a "Birthday Book," and an annotated engagement calendar. J. Maurice Thomas's writings about Alma Thomas, her research for a bibliography on James Weldon Johnson, and writings by others, including Jacob Kainen, about Alma Thomas, are also found here.

Exhibition files contain a wide variety of documentation for many group and solo exhibitions of Thomas's work from the early 1950s through a 1998-2000 traveling retrospective exhibition, including solo exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in 1972. The records include letters from Franz Bader Gallery, David Driskell at Fisk University, and Vincent Melzac. Photographs include Thomas with individuals including William Buckner, Jeff Donaldson, David Driskell, James W. Herring, and Vincent Melzac. Also found is a photograph of the 1951 Little Paris Studio Group picturing Lois Mailou Jones, Celine Tabary, Alma Thomas, and others. Two video recordings are of events related to the 1998-2000 retrospective at the Fort Wayne Museum of Art and the Columbus Museum of Art. Records documenting a 1981-1982 exhibition at the Smithsonian National Museum of American Art, A Life in Art: Alma Thomas, includes the script of a video written by Adolphus Ealey.

Personal business records include price lists, gift and loan receipts, and files concerning the Art in Embassies Program, the Martha Jackson Gallery, a benefit auction for the Corcoran School of Art, and the designation of the Thomas family home in Washington, D.C. as a historic property.

Eleven scrapbooks document Thomas's teaching career through the activities of the art classes she taught at Shaw Junior High School.

Printed materials include announcements and catalogs for exhibitions and other events; clippings which document Thomas's career and subjects of interest to her; Christmas cards featuring block prints designed by Thomas; and other programs and publications featuring Thomas.

Photographs are of Alma Thomas, family, and friends and colleagues including Sam Gilliam, James V. Herring, and Nathalie V. Cole Johnson; art classes taught by Thomas; Thomas's homes in Columbus, Georgia and Washington, D.C.; and exhibitions not documented in Series 4: Exhibition Files, including photographs of Alma Thomas at an opening at Barnett Aden Gallery with Alonzo Aden and others.
Arrangement note:
The papers have been arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1911-2001 (Box 1; 0.5 linear feet)

Series 2: Letters, circa 1930-2001 (Boxes 1-2; 0.6 linear feet)

Series 3: Notes and Writings, circa 1920s-circa 1998 (Box 2; 0.7 linear feet)

Series 4: Exhibition Files, 1951-2000 (Boxes 2-3, OV 7; 0.8 linear feet)

Series 5: Personal Business Records, circa 1950s-1994 (Box 3; 0.2 linear feet)

Series 6: Printed Material, circa 1908-2000 (Boxes 3-5, OV 7; 1.8 linear feet)

Series 7: Scrapbooks, 1930-1946 (Box 5; 0.3 linear feet)

Series 8: Photographs, circa 1894-2001 (Boxes 5-6; 0.6 linear feet)
Biographical/Historical note:
Washington, D.C. painter and art educator Alma Thomas (1891-1978) was known for her abstract paintings filled with dense patterns of color, and was considered a major artist of the Washington Color School.

Thomas was born in Columbus, Georgia, in 1894, and was the eldest of the four daughters of John Harris Thomas and Amelia Cantey Thomas. The family moved to Washington, D.C. in 1906 and Thomas was first introduced to art classes at Armstrong Technical High School. Following her graduation in 1911 she took a course in kindergarten teaching at the Miner Normal School, and subsequently worked as a substitute teacher in the Washington, D.C. public school system until 1914, when she took a teaching position on the Eastern shore of Maryland. From 1916 to 1923 she taught kindergarten at Thomas Garrett Settlement House in Wilmington, Delaware.

Thomas originally enrolled at Howard University in Washington, D.C. as a home economics major in 1921, but after studying under Lois Mailou Jones amd James V. Herring in Herring's newly established art department, she earned a Bachelor's degree in Fine Art in 1924, and became the first person to graduate from the program. Thomas then began her teaching career at Shaw Junior High School in Washington, D.C. that lasted from 1924, until her retirement in 1960. During this time she established community arts programs that would encourage her students to develop an appreciation of fine arts. Activities included marionette programs, distribution of student-designed holiday menu cards for dinners given for soldiers at the Tuskegee Veterans' Hospital, art clubs, lectures, and student exhibitions. In 1943 she became the founding vice president of Barnett Aden Gallery, which was established by James V. Herring and Alonzo Aden and was the first integrated gallery in Washington, D.C.

In 1934 Thomas earned an M.A. degree in Art Education from Columbia University. At American University in Washington, D.C., she studied creative painting under Joe Summerford, Robert Gates, and Jacob Kainen from 1950 to 1960, and began to break away from representational painting and experiment more seriously with Abstract Expressionism. In 1958 she participated in a tour of the art centers of Western Europe under the auspices of the Tyler School of Fine Arts at Temple University in Philadelphia.

Following her retirement from teaching in 1960, Thomas devoted herself full-time to painting, and continued to develop her signature style. She was inspired by nature and the desire to express beauty through composition and color, and refused to be constrained by societal expectations related to her race, gender, and age, achieving her greatest success in the last decade of her life. Her work was exhibited at the Dupont Theatre Art Gallery, Franz Bader Gallery, and the Howard University Gallery of Art, before she was honored in 1972 with exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in Washington, D.C.

Thomas's work has been exhibited at the White House and can be found in the permanent collections of major museums, including the Metropolitan Museum of Art, the National Museum of Women in the Arts, and the Smithsonian American Art Museum.
Separated Materials note:
In 1979, J. Maurice Thomas loaned papers for microfilming. Most, but not all, of the loaned material was later donated and is described in this finding aid. Loaned materials not donated at a later date are available on reels 1541-1543 and are not described in the container listing of this finding aid.
Provenance:
J. Maurice Thomas, the artist's sister, loaned portions of the collection for microfilming in 1979. Most, but not all of this material was then later donated in several accretions by J. Maurice Thomas, between 1979 and 2004. Charles Thomas Lewis, Thomas' nephew, gave additional papers in 2010.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Washington (D.C.)  Search this
Educators -- Washington (D.C.)  Search this
Topic:
Painting, American  Search this
African American artists  Search this
Women artists  Search this
Washington Color School (Group of artists)  Search this
Women educators  Search this
Women painters  Search this
African American educators  Search this
African American painters  Search this
Genre/Form:
Scrapbooks
Audiocassettes
Video recordings
Photographs
Citation:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thomalma
See more items in:
Alma Thomas papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98cd54656-ee02-4a0d-81ad-6db24f1be010
EDAN-URL:
ead_collection:sova-aaa-thomalma
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Online Media:

Fletcher and Horace Henderson Music and Photographs

Creator:
Henderson, Horace, 1904-1988  Search this
Lewis, Barbara  Search this
Lewis, Barry  Search this
Henderson, Fletcher, 1897-1952  Search this
Extent:
22.5 Cubic feet (82 boxes)
Type:
Collection descriptions
Archival materials
Audiocassettes
Audiotapes
Manuscripts
Parts (musical)
Photographs
Date:
1930s-1980s
Scope and Contents:
The Fletcher and Horace Henderson Collection contains original scores and band books, loose sheet music, both original and published, from both Fletcher and Horace's libraries, playlists, lyrics, photographs, personal papers and correspondences, newspaper clippings, jazz publications, an oral history manuscript of an interview with Horace, audio tapes, and other personal memorabilia documenting the lives and careers of the two brothers as pianists, band leaders, and arrangers. The majority of the material dates from the mid 1920s to the early 1980s.

Series 1: Fletcher and Horace Henderson's Music ca. 1930s - 1980s Boxes 1-68. Original band books and scores, lyrics, playlists, loose music, and published music either arranged or used by Fletcher or Horace Henderson during their careers as pianists, band leaders, and arrangers. The series is organized into six subseries: Subseries 1A: Horace's Band Books, Subseries 1B: Loose Music, Subseries 1C: Original Scores, Subseries 1D: Lyrics, Suberies 1E: Playlists, and Suberies 1F: Published Music.

Suberies 1A, ca. 1940s -1980s, boxes 1-21. Horace Henderson Band Books. Each Band Book stands on its own, and is identified by the musician who used it or the location where the music was performed. Some performers include Gail Brochman, Eddie Calhoun, and George Reed. Many of the band books were used for performances at the Trianon Ballroom in Chicago.

Subseries 1B, ca. 1930s - 1980s, boxes 22-58. Music in boxes 22-54 comes from Horace Henderson's band library, and boxes 55-58 from Fletcher Henderson's band library. The music consists of full scores, piano scores, and parts arranged or used by Horace or Fletcher Henderson. Arranged alphabetically by title; FS - Full Score, PS - Piano Score, and P - Parts. * Indicates an overlap between loose music, and music known to have been performed at the Trianon Ballroom in Chicago. **Indicates an overlap between Horace and Fletcher's Libraries. The music is arranged alphabetically by music title.

Subseries 1C, ca. 1930s - 1940s, boxes 59-60. Original scores arranged by Fletcher Henderson, many for Benny Goodman and other bandleaders, including AHoneysuckle Rose@, AKing Porter's Stomp@, and AStealin' Apples@. There is also a complete band book written and arranged by Fletcher. Arranged alphabetically by title.

Subseries 1D, ca. 1940s - 1980s, box 61. Original lyrics used in performances by Horace Henderson's bands. Arranged alphabetically by title where identified.

Subseries 1E, ca. 1940s - 1980s, boxes 62-63. Playlists compiled in preparation for performances by Horace Henderson's orchestras, listing titles played at various performances. Un-arranged.

Subseries 1F, ca. 1920s-1980s, boxes 64-68. Published sheet music and books for piano/vocal parts. Includes art music, method books, popular music, fake books, and music book covers. Folders are arranged by type of publication, and the music is arranged alphabetically by title within each folder.

Series 2: Photographs, ca. 1920s - 1980s Boxes 69-70. Photographs documenting the lives of both Fletcher and Horace Henderson's personal lives and careers. Photographs are arranged by category including Fletcher Henderson Candids with Friends, Horace Henderson Candids, Performance Marquees, and both brothers with their orchestra. Some unique pictures include portraits of Mr. and Mrs. Henderson (Fletcher and Horace's parents), candids of Fletcher with Benny Goodman, and Horace with Lena Horne.

Series 3: Personal Papers and Correspondences, ca. 1920s - 1980s Boxes 71-78. Programs and broadsides, newspaper articles, letters, essays, publications, and other personal documents tracing the lives of Horace and Fletcher, as well as some personal items of their parents. The series is divided into six subseries: Subseries 3A: Programs and Broadsides, Subseries 3B: Newspaper Articles and Clippings, Subseries 3C: Personal Papers and Correspondences, Subseries 3D: Miscellaneous Publishings, Subseries 3E: Transcript of an Oral History Interview, and Subseries 3F: Henderson Family Scrapbook.

Subseries 3A, ca 1930s - 1980s Boxes 71-72. Contains broadsides and ad clippings promoting both Horace and Fletcher's performances, along with programs for various jazz festivals. There are also three sets of Las Vegas Programs, advertising the weekly happenings during the years Horace was performing there, mainly at the Riviera Hotel and Casino (1959-1961). These include; Ken's Spotlight Las Vegas, Fabulous Las Vegas Magazine, On The Go, and other miscellaneous circulations. Arranged by category (Fletcher's broadsides, Horace's broadsides, Programs), and by date within each set of publications or programs.

Subseries 3B, ca. 1950s - 1980s, Boxes 73 & 78. Contains newspapers, articles, and clippings, ranging from 1951 to 1986, documenting the lives of Fletcher, Horace, and some of their contemporaries (ie: Duke Ellington) through the eyes of the media. Arranged by categories; reference to Fletcher, Horace, or Miscellaneous. Box 73 contains the oversized articles.

Subseries 3C, ca. 1920s-1980s, Box 74. Contains letters, contracts, and other personal documents of Fletcher, Horace, and their parents. Also contains a copied photo collection of Horace, a manuscript of AHorace Henderson Presents his Interpretation of Jazz@, and an essay (author unknown) about Fletcher's influence on jazz.

Subseries 3D, ca. 1960s - 1980s, Box 75. Contains miscellaneous publishings collected from the various locations Horace lived and worked. Includes weekly circulations from Denver and the surrounding area where Horace lived from the mid sixties until his death, along with various music magazines that he subscribed to (ADownbeat@, AInternational Musician@). Arranged by date within each category.

Subseries 3E, ca. 1975, box 76. Contains the original transcript of the Oral History Interview of Horace Henderson, for the Smithsonian Institution, performed by Tom MacCluskey on April 9-12, 1975.

Subseries 3F, box 77. Contains a Henderson Family Scrapbook which includes photographs of Fletcher's and Horace's father and mother, and various newspaper clippings commending the careers of Mr. Henderson, Horace, and Fletcher. The scrapbook's original order has been maintained.

Series 4: Audio Tape Recordings ca.1970s - 1980s Boxes 79-80. Contains a collection of recordings of live performances of Horace's orchestra in various Denver area locations such as the Esquire Supper Club and the Petroleum Club. Also includes a sample tape, a brief Atest@ recording by Horace and Angel, a radio tribute to Horace, and a few miscellaneous mix tapes. The tapes are arranged by date when available. Box 79 contains the original copies, and box 80 contains the duplicates.
Arrangement:
The collection is arranged into four series.

Series 1: Horace and Fletcher Henderson's Music

Series 2: Photographs

Series 3: Personal Papers

Series 4: Horace Henderson Audio Tapes
Biographical / Historical:
Fletcher Hamilton Henderson, Jr. (a.k.a. Smack) was born on December 18, 1897 in Cuthbert, Georgia. He was born into a middle class black family, and as a child studied European art music with his mother, a piano teacher. His sister later became the head of the music department at the Tuskeegee Institute in Alabama, and his younger brother, Horace, would eventually follow in his footsteps as a jazz musician, arranger, and band leader. Horace W. Henderson (a.k.a. Little Smack) was born on November 22, 1904. He also studied piano with his mother and sister, and like his brother, began formal music training as a teenager. Fletcher Henderson attended Atlanta University where he earned a degree in chemistry and math in 1919.

In 1920, Fletcher Henderson moved to New York City to find a job as a chemist. Because employment in this field was hard to come by, especially for African Americans, he began working as a song demonstrator for the Pace Hardy Music Company. Shortly after Fletcher Henderson's arrival Harry Pace founded Pace Phonograph Corporation to produce records on the Black Swan label in 1921. Fletcher joined Pace's music team and was responsible for contracting and leading a jazz bands to accompany the label's singers.

In 1924, Fletcher's orchestra, under the direction of Don Redman, began to perform at Club Alabam (sic) on New York City's Broadway Avenue. That same year he and the band was offered a job performing at the Roseland Ballroom, where the band remained for ten years and gained national fame. His band was no different than the hundreds of dance bands, springing up across the country in response to the growing demand for social dance music, such as Count Basie's Orchestra, King Oliver and his Dixie Syncopators, and McKinney's Cotton Pickers. Don Redman left the Fletcher Henderson Orchestra in 1927 to direct McKinney's Cotton Pickers. However the music collaboration of Redman and Henderson had by then established what would become the "standard" big band arrangement for several decades, specifically the dynamic interplay between the brass and reed sections of the orchestra that included interspersed solos made famous by such esteemed soloists of the band as Louis Armstrong and Coleman Hawkins. Some of the band's most notable recordings made between 1924 and 1925 include Copenhagen and Sugarfoot Stomp.

By this time Horace Henderson had formed his own college jazz band in 1924, The Wilberforce Collegians, after transferring from Atlanta University to Wilberforce University to pursue a music degree. His older brother sent him arrangements and piano parts used by the Fletcher Henderson Orchestra for performances by the Collegians. Later that year Horace Henderson left the university to travel and perform with his band in New York City. His newly formed band included such notable musicians as Benny Carter and Ben Webster. While in New York he also began playing as a guest musician in his brother's band and learning from such legends of jazz as Coleman Hawkins, Buster Bailey, Louis Armstrong, and Don Redman that were working for the Fletcher Henderson Orchestra. During a Smithsonian Institution sponsored oral history interview with Tom MacCluskey, Horace recalled late night jam sessions at Hawkins' (Hawk) apartment where they would play through pieces from "Fletch's" library and analyze each individual's performance. We would "stop and discuss what had transpired during that session, you know, that particular tune. And man, that was a lesson...It was a session that was actually to help everybody, so that they would try things out and take another tune, and use these particular little points that Hawk would tell 'em.'"

Until the 1930s, the Fletcher Henderson Orchestra was the principal model for big jazz bands. However, his management of the band and its finances led to frequent band break-ups. In 1934, severe financial problems forced Fletcher to sell some of his best arrangements to Benny Goodman. Horace Henderson and others suggested Goodman's rapid rise in popularity among swing bands for white audiences was largely due to Fletcher Henderson's innovative band arrangements. Fletcher Henderson continued to lead bands until 1939 when he joined Goodman's orchestra as a full time staff arranger. In 1941 he returned to band leading and arranging, but suffered a severe stroke in 1950. Fletcher was partially paralyzed from the stroke, and died on December 29, 1952.

Horace, also, formed many bands throughout the 1930s and 40s, and became a sideman for leaders such as Don Redman (1931-33) and, most notably, his brother. He was a pianist and arranger for Fletch's band intermittently between 1931 and 1947. During this time, Horace spent a lot of time in Chicago with Fletcher's band at the Grand Terrace, and formed his own band at Swingland. Horace also worked as a freelance arranger for Benny Goodman, Charlie Barnet, and Earl Hines3. From November 1942 through August 1943, Horace was the leader of the 732nd Military Police Band in Joliet, Illinois. The position was first offered to Louis Armstrong, who turned it down and recommended Horace for the position. After leaving the army, he played with Fletcher's band for two years. Horace began writing for Charlie Barnet in 1944, where he first came across Lena Horne. During a job at the Paramount, Charlie had Called Horace to say that his vocalist had laryngitis, and he needed a new singer. Horace went to the Apollo in Harlem in search of some talent, and they sent him to the Regent where he could find Lena Horne. She joined Charlie's show the next day, and from there went on to fame. Horace joined her for an extended tour as a pianist and arranger, and later worked with Billie Holiday3.

Horace moved to Denver with his wife, Angel, in the late 1960s. The Horace Henderson Combo performed at many nightclubs and resorts in the Denver area, including Estes Park, the Broadmoor Hotel, and the Petroleum Club. He began playing the organ in 1970 because the clubs didn't want to pay for four or five piece bands, and with an organ to replace the piano, a bass player was no longer necessary3. Horace continued to lead bands in the Denver area until his death on August 29, 1988.

Although both brothers had a major impact on the future of jazz, Horace is often thought of merely as a shadow to his more celebrated brother. Fletcher Henderson's career as a pianist, bandleader, and arranger is one of the most important in jazz history. Bands of leaders such as Count Basie, Charlie Barnet, Tommy and Jimmy Dorsey, and Benny Goodman all played arrangements, which were either written or influenced by Fletcher Henderson. Fletcher constantly surrounded himself with the most talented musicians of his era, and patterned the basic formula, which were imitated throughout the big band era. However, at least thirty of Fletcher's arrangements, many for Benny Goodman, are accredited as Horace's work. His arrangement Hot and Anxious was based on the traditional riff that later became the basis for Glenn Miller's In the Mood. Christopher Columbus is the most notable example of Horace's potent piano style, which is often noted to be stronger than his brother's. Although the brothers had differences, Horace insists that they did not involve music. Fletcher's style and success had a huge influence on Horace's career, and he was incredibly grateful for all his brother taught him. In an interview in April of 1975, he was quoted as saying, "I idolize his way of thinking because he was successful. You don't fight success, you join it." 3

Sources

1. Biographical information derived from The New Grove Dictionary of Jazz, edited by Barry Kernfeld (New York: Macmillan Press Ltd, 1988). 2. The Pace Phonograph corporation was the first African-American-owned recording company in the United States. Historical information derived from The Greenwood Encyclopedia of Black Music; Biographical Dictionary of Afro-American and African Musicians, by Eileen Southern (USA: Greenwood Press, 1982).

3. Interview with Horace Henderson, April 2-12, 1975, Smithsonian Institution, Washington, DC.
Provenance:
The Fletcher and Horace Henderson collection was acquired by the museum in December of 2001, donated by Barbara and Barry Lewis.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- 20th century -- United States  Search this
Genre/Form:
Audiocassettes
Audiotapes
Manuscripts -- Music -- 20th century
Parts (musical)
Photographs -- 20th century
Citation:
Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0797
See more items in:
Fletcher and Horace Henderson Music and Photographs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8b519292b-04b8-413a-a057-0c9c19f26b75
EDAN-URL:
ead_collection:sova-nmah-ac-0797
Online Media:

Miscellaneous Writings

Collection Creator:
Saarinen, Lilian Swann, 1912-1995  Search this
Container:
Box 3, Folder 3
Type:
Archival materials
Date:
1930s-1940s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Lilian Swann Saarinen papers
Lilian Swann Saarinen papers / Series 3: Writings and Notes
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978d2af04-159d-4ec7-bceb-0a45277ab1be
EDAN-URL:
ead_component:sova-aaa-saarlili-ref545
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  • View Miscellaneous Writings digital asset number 1

Orchestra and Girls' Chorus-- / Cardozo High School, 1936 [ink on negative]. [acetate film photonegative, banquet camera format.]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Cardozo High School (Washington, D.C.)  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 5, Folder 25
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Panoramas
Banquet camera photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
1936
Scope and Contents:
Scan Number: 618ns0243442pg.tif
Girls' Chorus standing below stage, where the orchestra in seated with instruments. Ink caption and Scurlock signature on negative. Manufacturer's mark on film edge: Defender Safety Base.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Auditoriums  Search this
Portraits, Group -- African Americans  Search this
High School Orchestras and Chorus groups  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Panoramas
Banquet camera photographs -- 1930-1940
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82c9b8a8e-0eb4-46c5-a52b-09c3a8735cb2
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref317

Tommy Myles Orchestra [on stage, with Tommy Myles in front, and Billy Eckstine directing(?)] [Acetate film photonegative and photoprints]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Creator:
Defender (film manufacturer)  Search this
Names:
Tommy Myles Orchestra  Search this
Myles, Tommy  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
Negative: 1 item
Photoprints: 2 items
Container:
Box 10, Folder 7
Type:
Archival materials
Photographs
Panoramas
Banquet camera photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
1933-1934
[1933-1934?]
Scope and Contents:
Scan Number: 618ns0177439sc.tif
Ink on negative: "Tommy Myles Orchestra Scurlock Photo Wash. D.C." "Defender Safety Base" edge imprint.
General:
No labeled temporary storage box.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits, Group -- 1930-1940 -- Washington (D.C.).  Search this
Orchestra  Search this
Musicians -- 1930-1940  Search this
Entertainment  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Panoramas
Banquet camera photographs -- 1930-1940
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83efd3e1c-4c19-4917-8548-56ff182896fa
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref497

[Orchestra on stage, chorus in front] [acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 13, Folder 65
Type:
Archival materials
Photographs
Banquet camera photographs
Date:
circa 1930
Scope and Contents:
Scan Number: 618ns0177513sc.tif
No ink on negative; no manufacturer's mark on film edge.
General:
From original negative Box 693513A.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Choirs -- Washington (D.C.)  Search this
Singers -- 1930-1950  Search this
Portraits, Group -- 1930-1940 -- Washington (D.C.).  Search this
Orchestras -- 1930-1940  Search this
Musicians -- 1930-1940  Search this
Entertainment -- 1930-1940  Search this
African American singers -- 1930-1940  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Banquet camera photographs -- 1930-1940
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8bd521ce8-e664-4e78-8a55-03ca1245a01b
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref677

[Orchestra and Girls' Chorus 1937 Cardozo High School, Wash. D.C.] [acetate film photonegative, banquet camera format.]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Creator:
Defender (film manufacturer)  Search this
Names:
Cardozo High School (Washington, D.C.)  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 5, Folder 12
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Negatives
Photographs
Panoramas
Banquet camera photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
1937
Scope and Contents:
Girls' choir in front and orchestra on stage with instruments. Ink caption on negative. Manufacturer's mark on film edge: Defender Safety Base.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musicians -- 1930-1940  Search this
Choirs -- 1930-1940  Search this
African American girls  Search this
Portraits, Group -- African Americans  Search this
Orchestras -- 1930-1940  Search this
Auditoriums  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Panoramas
Banquet camera photographs -- 1930-1940
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8e2492eb1-16f8-46ca-8928-bea721cfdb9d
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref8

[Orchestra on stage and group of girls seated in rows in front of stage : acetate film photonegative, banquet camera format.]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet, 12" x 20".)
Container:
Box 13, Folder 77
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Panoramas
Banquet camera photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Washington (D.C.) -- African Americans
Date:
circa 1930-1940
Scope and Contents:
Scan Number: 618ns0241675pg.tif
Most members of the orchestra are boys and girls. The girls are wearing white dresses and the boys are wearing dark jackets and white pants. No ink on negative. No edge imprint.
General:
No labeled temporary storage box.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American youth  Search this
Orchestras -- 1930-1940  Search this
Portraits, Group -- 1930-1940 -- Washington (D.C.).  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Panoramas
Banquet camera photographs -- 1930-1940
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep827ef5b77-d845-4a59-99e9-9a1bfc293314
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref701

[Cardozo High School orchestra, on stage, chorus sitting below : panoramic acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Cardozo High School (Washington, D.C.)  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 12" x 20".)
Container:
Box 14, Folder 4
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Panoramas
Banquet camera photographs
Place:
Washington (D.C.) -- 1930-1940 -- Photographs
Washington (D.C.) -- African Americans -- 1930-1950
Date:
1934-1935
[ca. 1934-1935.]
Scope and Contents:
Scan Number: 618ns0177534sc.tif
No ink on negative. No manufacturer's mark on film edge.
General:
From original negative Box 5893524A.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Singers -- 1930-1950  Search this
Choirs -- Washington (D.C.)  Search this
Portraits, Group -- 1930-1940 -- Washington (D.C.).  Search this
Musicians -- 1930-1940  Search this
Schools -- 1930-1940 -- Washington (D.C.).  Search this
Students -- 1930-1940  Search this
Education -- Washington, (D.C.)  Search this
Orchestra  Search this
African American singers -- 1930-1940  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Panoramas
Banquet camera photographs -- 1930-1940
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c7377174-01c7-4b24-bcfa-3627000ac201
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref761

[Club Prudhom orchestra, in band box : acetate film photonegative.]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
Club Prudhom  Search this
Club Prudhom orchestra  Search this
Calloway, Elmer  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 14, Folder 46
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Banquet camera photographs
Photographs
Date:
undated
Scope and Contents:
Scan Number: 618ns0177470pg.tif
The man standing in the center holding a cigarette and holder is thought to be Elmer Calloway, leader of the Club Prudhom orchestra and brother of Cab Calloway. Ink on negative: "Scurlock Photo". No manufacturer's mark on film edge.
General:
No labeled temporary storage box.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Bands (Music)  Search this
Entertainers  Search this
African American musicians  Search this
Nightclubs  Search this
Musicians -- Washington (D.C.)  Search this
Genre/Form:
Banquet camera photographs -- 1930-1940
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep817194d82-0e51-44cf-83c5-d5151b084173
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref845

Percy Glascoe's Plantation Orchestra Baltimore, Md. [acetate film photonegative, banquet camera format.]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 15, Folder 12
Type:
Archival materials
Photographs
Panoramas
Banquet camera photographs
Place:
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
undated
Ca. 1930-1940
Scope and Contents:
Scan Number: 618ns0243698pg.tif
Ten men sitting on stage with instruments: tuba, piano, drum, trumpet, trombone, clarinet, saxaphone, baritone saxaphone and a banjo. Ink caption and Scurlock signature on negative. Manufacturer's mark on film edge: Eastman-Kodak code notch(?).
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits, Group -- African Americans  Search this
Orchestra  Search this
Music Instruments  Search this
Perfomance Stages  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Panoramas
Banquet camera photographs -- 1930-1940
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.12: Banquet Negatives
Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep866a546e0-7596-45f9-a7be-30ce617b77b0
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-12-ref930

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