Seventeen views, including several of Grand Army of the Republic reunions.
Restrictions:
Unrestricted research use on site. Photographs must be handled with white cotton gloves, unless protected by plastic sleeves.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Papers document Landy R. Hales (1889-1972), an inventor and commercial artist who designed window and interior store displays, posters, children's games, and puzzles primarily from 1920s to 1930s in New York City and Baltimore. Of significance is Hales's work for Macy's Department Store. The papers consist of correspondence, patents, business records for several of Hales's companies, photographs, drawings/sketches, prototypes, and newspaper and magazine clippings.
Scope and Contents:
The papers document Hales's career as an inventor and commercial artist as well as his work in games, puzzles, educational tools, and posters. The collection includes sketches and design drawings, photographs, publicity materials, clippings and articles, and game prototypes.
Series 1, Brilliant Sign Company, 1908-1909, consists of stock shares, transferred by Hales to others in the amount of twenty dollars for the Brilliant Sign Company of Baltimore City, Maryland.
Series 2, Landy R. Hales, Inc., 1927-1929, 1944, consists of of invoices, orders, and check stubs from R.H. Macy and Company and Gimbel Brothers, Inc. for work by Landy R. Hales, Inc. for window displays. The orders detail what will be constructed and decorated. The R.H. Macy materials also contain a 1927 souvenir from Macy's Wonderland Christmas. Included in this series is a 1944 United States Treasury Department War Finance Program citation to Landy R. Hales.
Series 3, Hales Layer Poster Corporation, 1922-1969 (bulk 1920s), consists of materials documenting Hales poster company. Hales's formed Hales Layer Poster Corporation in New York State on July 16, 1925 to manufacture, purchase, sell and deal in layer posters and equipment for constructing layer posters in packaged or other forms. The corporation's other directors were Alfred J. Silberstein and Alvin A. Silberman, both of New York. Hales developed a new method of making a poster by placing cut-out pieces of materials such as composition board or wood on a background, then building layers to form three dimensions in the finished product. The first store to use Hales layer posters was Saks Fifth Avenue in New York City. The posters were never sold and were only used in advertising and window displays.
The materials consist of stock shares and values, a certificate of incorporation, branded letterhead, correspondence, an order book (blank forms), a point-of-purchase ad featuring Little Red Riding Hood, a patent for a display device, layer poster instructions, examples of posters, sample card stock, and instructions for the ABCD Ease Game. The display device patent (US 1,563,485) was issued to Hales on December 1, 1925. The invention relates to display devices for commercial advertising arrangements constructed out of layers of veneer or cardboard for reproducing and illustrating articles for sale, magazines, posters or art works. The principal object was to provide a display picture having depth. The correspondence, 1922-1937, 1969 and undated, contains letters with individuals companies, hotels, and department stores primarily in New York City such as B.F. Keith's New York Hippodrome, Saks & Company, Hotel Nassau, Keystone Manufacturing Company, and Rialto Theatre. Much of the correspondence relates to services provided by Hales Layer Poster Corporation. Hales's correspondence with Morris Gest, a theatrical producer who introduced La Chauve-Souris, a touring revue during the early 1900s, to the United States. There is also a letter typewritten by Hales in 1969 to Pablo Picasso about copying Picasso prints using the Hales layer poster method.
The instructions for "how to make" a Hales layer poster are well documented, detailing the step-by-step process and including the use of Hales Studio colors for painting. Specific instructions for the "Tom, Tom Piper's Son" with color guide are found here. A full, unused layer poster kit is in box 14. Additionally, Hales created the ABCD Ease Game, a board game played with dice with the objective to reach "ease." The way to reach "Ease" is through truth, courage, justice, thrift, study, work, loyalty, and honesty. Instructions and prototypes of the gameboard are represented.
Series 4, Hales Manikins, Inc., 1938-1948 and undated, consists of correspondence, a voting trust agreement, board of directors meeting minutes, stock shares, a floor plan for the company, blueprints for rubber figures, and a patent for a manikin and method of making the same (US 2,129,421). Hales Maninikin incorporated in 1941 in Baltimore, Maryland to manufacture, distribute, sell and otherwise deal in manikins and other display advertising figures. The board of directors meeting minutes contain articles of incorporation, by-laws, and minutes.
Series 5, Hales Pictures, Inc., 1937-1938, 1967 and undated, consists of an agreement with Walt Disney Enterprises, sketches by Kay Kamen, Ltd., a press release about Hales Picture Puzzles, and prototypes of Hales Puzzle Pictures. Of note is a copy of the February 1938 Rockefeller Center Magazine. The magazine contains articles about science, technology, publishing, the arts, events at Radio City Music Hall (Disney-related) and television. It offers good documentation of office business machines.
The first series of puzzles Hales introduced in 1937 were four subjects from Walt Disney's characters: Mickey Mouse, Minnie Mouse, Pluto, and Donald Duck. The object of the puzzle was to put all of the pieces together in their proper place--some of the puzzle pieces were raised to different levels. After the puzzle was completed, it could be glued to a backboard. There are prototypes for the Mickey Mouse, Minnie Mouse and Donald Duck puzzles. Only the Mickey and Minnie puzzles contain puzzle pieces. The Donald Duck puzzle consists of the box only.
In August 1937, Hales Pictures Inc., entered into a one year agreement with Walt Disney Enterprises that granted Hales the right to reproduce Disney characters for his puzzles and poster pictures. Hales paid Disney the sum of five-hundred dollars as an advance on future royalties. Disney also provided to Hales typical representations of the Disney characters. There are a series of Kay Kamen Ltd., Disney character drawings for Pluto, Donald Duck, Minnie Mouse, and Mickey Mouse. These drawings were provided to Hales by Kamen. The Minnie and Mickey Mouse drawings have been heavily annotated and mocked up by Hales for the purposes of creating his signature Hales Puzzle Pictures. Kamen (d. 1949) began his professional career as a retail hat merchant and later entered advertising. In 1932, Kamen contacted Disney, soon signed a contract, and was named the company's sole licensing representative. Through merchandising, Kamen made Disney's mouse star popular.
Series 6, Hales Sign Company, 1909 and undated, consists of examples of promotional and branded pieces for Hales's sign painting business that was located in Baltimore, Maryland.
Series 7, Drawings/Sketches, 1927-1930 and undated, consists of pencil, ink and paint sketches. The bulk of the sketches are Christmas-related, such as the poster study for the Macy's Christmas Wonderland, 1927 and the toy department displays for a bridge, drawbridge, house and tower. Other sketches include Noah's Ark, a matador, the "The Wise Woman of Gotham," Carlin's Amusement Park of Baltimore, Maryland, and resort scenes (tennis, golf and sailing).
Series 8, Photographs, 1925-1935, consists primarily of black-and-white prints documenting Hales's work in his studio and for clients such as Macy's. Some of the photographs were taken by Worsinger Window Service, Hughes Company of Baltimore, Le Don Studio of White Plains, New York; Apeda Studio, Inc. of New York City; Schultze Studio of Brooklyn, New York, and H.C. Campbell Company of Oakland, California.
Series 9, Greeting Cards, undated, consists of examples of greeting cards and postcards, primarily for Christmas, Easter, and Valentines Day, assembled by Hales.
Series 10, Clippings, 1922-1935, consists of loose photocopies and original news and magazine clippings in a bound volume. The clippings primarily relate to Hales's work in New York City, but there are clippings about The Corner Shop at Macy's, and there are copies of illustrations assembled by Hales, specifically the "Best Fifty Small Folio Currier and Ives Prints. " The majority of these he clipped from the New York Sun. Also included are clippings about La Chauve-Souris the touring revue during the early 1900s.
Arrangement:
The collection is arranged into ten series.
Series 1, Brillant Sign Company, 1908-1909
Series 2, Landy R. Hales, Inc., 1927-1929, 1944
Series 3, Hales Layer Poster Corporation, 1922-1969 (bulk 1920s)
Series 4, Hales Manikins, Inc., 1938-1948 and undated
Series 5, Hales Pictures, Inc., 1937-1938, 1967 and undated
Series 6, Hales Sign Company, 1909 and undated
Series 7, Drawings/Sketches, 1927-1930 and undated
Series 8, Photographs, 1925-1935
Series 9, Greeting Cards, undated
Series 10, Clippings, 1922-1935
Biographical / Historical:
Landy R. Hales was born on September 17, 1889 in Baltimore, Maryland to Landy J. Hales and Fanny Linthicum Hales. Hales grew up in Anne Arundel, Maryland and had one brother, Wesley Hales. Hales began his career with no formal art training and apprenticed as a sign painter in Baltimore, Maryland. In 1908, Hales formed the Brilliant Sign Company in Baltimore to design displays for area businesses. In 1913, Hales married Lenore McCully. They had two children, Elizabeth McCully Hales (b. 1915) and Landy Romain Hales (b. 1921).
During World War I, Hales designed posters for the Liberty Bond Program, created by then Secretary of the Treasury William Gibbs McAdoo (1863-1941). This poster campaign was intended to popularize the bonds, and Hales created posters using his "layer technique," which was a method of making a poster by placing cut-out pieces of materials such as composition board or wood on a background, then building layers to form three dimensions in the finished product. In the early 1920s, Hales moved to New York City to advance his career and expand his opportunities. In New York, Hales specialized in display devices, commercial art, and advertising. An artist-inventor, Hales patented two ideas, a display device (US Patent 1,563,485) and a manikin (US Patent 2,129,421). He founded Landy R. Hales, Inc. (1925), Hales Layer Poster Corporation (1925), Hales Manikins, Inc. (1941), and Hales Pictures, Inc. 1937. In 1937, Hales Pictures Inc., entered into a one-year agreement with Walt Disney Enterprises that granted Hales the right to reproduce Disney characters for his puzzles and poster pictures. During the same year, Hales leased office space at Rockefeller Center.
Hales worked for Morris Gest, a theatrical producer, creating advertising for the Russian show Le Chauve Sourvis which featured the Parade of the Wooden Soldiers. Hales also manufactured and installed mechanical displays in Macy's Christmas windows at 34th Street and worked as an independent contractor for other department stores such as Gimbel Brothers and Saks & Company as well as the Hotel Nassau, Keystone Manufacturing Company, Rialto Theater, Keith's New York Hippodrome, and the Music Box Theatre.
Hales left New York City in 1945 and returned to Maryland, where he did commercial work for Carlin's Amusement Park in Baltimore and created layer posters for himself and family members. Hales died in 1972 at the age of 84.
Related Materials:
Materials at the Archives Center
Warshaw Collection of Business Americana, Parades:stereographs, circa 1880-1908 (AC0060)
Messmore and Damon Company Records, 1930s-1990s (AC0846)
Hudson Fulton Celebration Parade Photograph Album, 1909 (AC1149)
William L. Bird "Holidays on Display" Collection (AC1288)
Provenance:
The collection was donated by Katharine Landa McNulty Hogben, Frances Helen McNulty Beverage, Margaret Ann McNulty Klipp, Lenore Hales McNulty Frey, and Elizabeth Stuart McNulty on November 27, 2005.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The records document Messmore and Damon's work in the design and construction of parade floats, museum dioramas, exhibitions, displays and scenery. The materials include business records, photographs, patents, scrapbooks, promotional materials, sound recordings and moving image.
Scope and Contents:
The collection consists of papers relating to Messmore and Damon's work in the design and construction of parade floats, museum dioramas, exhibitions, displays and scenery. The materials include business records, patents, photographs, scrapbooks containing clippings and photographs, promotional materials, sound recordings, and moving image.
Arrangement:
The collection is divided into eleven series.
Series 1: Background/Biographical Materials, 1925-1996
Series 2: Business Files, 1918-1997
Subseries 2.1: Messmore and Damon, Inc., 1918-1988
Subseries 2.2: Messmore, Inc., 1971-1989
Series 3: Patents, 1892-1952
Series 4: Projects/Exhibitions, 1924-1997
Series 5: Parades, 1960-1997
Series 6: Product Literature, circa 1930s-1992
Series 7: Heart Patient Simulator Materials, 1977-1998
Series 8: Scrapbooks, 1925-1947
Series 9: Photographs, 1900-1997
Subseries 9.1: Family, 1900-1997
Subseries 9.2: Subjects, 1930-1995
Subseries 9.3: Chronological, 1957-1985
Subseries 9.4: Ephemera, undated
Subseries 9.5: Postcards, undated
Subseries 9.6: Negatives, undated
Series 10: Oversize Materials, 1930-1989
Series 11: Audiovisual Materials, 1933-1937, 1997
Subseries 11.1: Audio Discs, 1933-1937
Subseries 11.2: Moving Image, 1997
Biographical / Historical:
Messmore and Damon, Inc. was founded in 1914 by George Harold Messmore (1884-1961) and Joseph A. Damon (1882-1962). Messmore and Damon met in 1916 while working on floats for the Elks Convention in New York City. The two formed a partnership and in 1914 opened Messmore and Damon, Inc., a small shop where they initially constructed animal displays, but quickly expanded to theatrical scenery, parade floats, props for television, amusement park operations, seasonal displays, special effects in stores, advertising and promotional work, window displays, dioramas, and other exhibit work. Most of their parade and department store work featured mechanical devices which animated the animal and human figures involved, pioneering in what became known as "animatronics." The firm did the first Macy's Day Parade in 1924 and attained world-wide fame with their exhibit, The World a Million Years Ago at the 1933-1934, Chicago Century of Progress Exposition. A separate company, Messmore, Inc., was created to manufacture and sell a cardiology patient simulator, "Harvey," later known as "George," for use in medical schools.
Joseph A. Damon, born in Mt. Vernon, Illinois, attended art school in St. Louis. A scenic artist by training he worked at Lee Lash Studios and built floats for the Hudson/Fulton Celebration in 1909. Damon married Olga Schaufelberger and had one daughter named Olga C. Damon (1922-2000).
George H. Messmore, known as "GH," started his career working backstage in theaters and built displays for the Panama-Pacific Exposition (1915). Messmore married Meta Decker (1890-1985) and they had one son, Francis (1916-1997), known as "Fran." Fran joined Messmore and Damon in 1946, working on department store displays and ran the company until his death in 1997. The company was dissolved on September 2, 1998.
Related Materials:
Materials in the Archives Center
William L. Bird Holidays on Display Collection (AC1319)
Michael Cipriano Papers (AC1274)
Landy Hales Papers (AC0906)
John Nicholson Papers (AC1279)
Edward J. Orth Memorial Archives of the World's Fair (AC0560)
Provenance:
The collection was donated by Pamela Messmore Tobiason, granddaughter of George H. Messmore, in 2003.
Restrictions:
The collection is open for research.
Social Security numbers are present and numbers have been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
Reference copies for the audio discs do not exist. Use of these materials requires special arrangement with Archives Center staff.
Gloves must be worn when handling unprotected photographs and negatives.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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.
Collection Citation:
Coon Chicken Inn Records and Graham Family Papers, 1913-1973, Archives Center, National Museum of American History
Original caption reads, "Tananarive - Festival of Flowers."
Additional printed text on recto reads: "Edition E. Bachel, Ã Tamatave."
Local Numbers:
EEPA MG-46-03
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The complete records of the Orange Bowl Parade, Miami, Florida containing float renderings, programs, and photographs.
Scope and Contents:
This collection consusts of . This collection arranged into six series.
Series 1, Historical Background Material,
Series 2, Seiler, Ernest E., 1951-1977, undated
Series 3, Orange Bowl Parade
Subseries 3.1, Office Files
Subseries 3.2, Float renderings and Drawings
Subseries 3.3, Costume
Subseries 3.4, Parade Scripts
Subseries 3.5, Ephemera
Series 4, Publicity Materials
Series 5, Photographs
Subseries 5.1, Floats
Subseries 5.2, Bands
Subseries 5.3, Parades
Subseries 5.4, Queens
Subseries 5.5, Slides
Subseries 5.6, Orange Bowl billboards
Arrangement:
Collection arranged into seven series.
Series 1: Historical Background Material,
Series 2: Ernest E. Seiler, 1951-1977, undated
Series 3: Orange Bowl Parade
Subseries 3.1: Office Files
Subseries 3.2: Float renderings and Drawings
Subseries 3.3: Costume
Subseries 3.4: Parade Scripts
Subseries 3.5: Ephemera
Series 4: Publicity Materials
Series 5: Photographs
Subseries 5.1: Floats
Subseries 5.2: Bands
Subseries 5.3: Parades
Subseries 5.4: Queens
Subseries 5.5: Slides
Subseries 5.6: Orange Bowl billboards
Subseries 5.7: Photographic Negatives
Series 6: Festival Float Files
Series 7: Oversize Float Renderings, 1945-2000
Series 8: Motion Picture Film, 1957-1972
Biographical / Historical:
The Orange Bowl football game and associated Festival and Parade is one of the country's oldest and most colorful spectacles. It was conceived in 1932 by local businessmen as a way to attract visitors to Miami in the middle of the Great Depression. Originally known as the Palm Festival, in 1935 it was renamed the Orange Bowl Festival. Its popularity grew steadily, especially after a full-time business manager was hired in March 1939 to promote it. Two months later, in May 1939, the organizers officially incorporated themselves as the nonprofit Orange Bowl Committee, with the avowed purpose of promoting positive social and economic activity in the Miami community through the annual game, festival and parade. The foreword of a promotional brochure for the 1940 Festival, The Story of the Orange Bowl, described it as "The ORANGE BOWL… An Institution of higher learning in the arts of sportsmanship and community co-operation….Conceived and administered by unselfish citizens in the public interest…. Dedicated to the ideals of fellowship, good will and understanding among all ages, in the upholding of a great state.... This, briefly, is the ORANGE BOWL, belonging to all Florida and to the nation…."
The parade came to national prominence after the Second World War. One key factor in the Committee's success was its early and mutually beneficial partnership with radio and television broadcasting, which brought the Orange Bowl festivities to a nation-wide audience. The parade packaged the social, cultural, and carnival-like fantasy life of Florida for northern audiences who might warm themselves by their televisions on New Year's Eve. To gain every advantage as a television event the parade was staged at night, unique among televised parades of similar scope and popular appeal. Unencumbered by height and width restrictions, its floats grew to fantastic proportions, characterized by animated mechanical figures, features such as "outriggers" (pontoon-like appendages from the main body of the float, like water skiers), and self-contained electrical lighting and sound systems. The latter anticipated Disney's "Electrical Parade." Similar attention was given to the staging of the Orange Bowl half-time show, whose multi-story telescoping towers and platforms have since become a Super Bowl staple. The production of Orange parade floats and special effects was a year-round job, which placed it in league with Macy's Thanksgiving Day Parade, Pasadena's Tournament of Roses, and New Orleans' Mardi Gras.
The Committee ended its annual parade and festival in 2002 but the Orange Bowl football game continues.
Related Materials:
Materials in the Archives Center
Carvel Ice Cream Records
Pepsi-Cola Advertising Collection (AC092)
Materials Held by the National Museum of American History, Division of Political History
Vaughn's Parade Float File
Provenance:
The collectioon was donated by the orange Bowl Committee, through Jeffrey T. Roberts, President, 2011.
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.
Mexico City, Palm Sunday parade. Decorative ribbons printed with "A1 martyr del agrigarios" (to? the martyr of farmers) and "Comunidades agrarias" (farming communities). Photo by Andree Vilas Graham.
Collection Restrictions:
The collection is open for research.
Collection Rights:
Copyright held by donor. Written permission required prior to obtaining reproductions. Consult with Archives Center staff for contact information. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Katherine Joseph Collection, Archives Center, National Museum of American History, Smithsonian Institution
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
The Future DC's float in the annual Martin Luther King Jr. Day Peace Parade .
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
The Future DC's float in the annual Martin Luther King Jr. Day Peace Parade .
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Scenes from the annual Martin Luther King Jr. Day Peace Walk and Parade in historic Anacostia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
