Search Results

Creator:

Smothers Brothers  Search this

Names:

Paulsen, Pat  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

7 Cubic feet (21 boxes, 1 map-folder)

Type:

Collection descriptions

Archival materials

Biography files

Clippings

Color slides

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence)

Photograph albums

Photographs

Color prints (photographs)

Programs

Press releases

Scrapbooks

Scripts (documents)

Date:

1959-2008, undated

Summary:

The collection documents the lives and careers of the Smothers Brothers, with emphasis on their 1960s television variety show, The Smothers Brothers Comedy Hour.

Scope and Contents:

Collection documents the private lives and professional careers of Tom and Dick Smothers, with emphasis on their television variety show, The Smothers Brothers Comedy Hour. The largest portion of the collection contains photographic materials. Publicity materials including press releases, programs, newspaper clippings, and magazine articles; correspondence containing fan mail (some from famous persons such as Lucille Ball, Jack Paar, and others), letters from viewers both complimentary and critical of shows, and letters from members of Congress; business records including contracts, tour itineraries, talent agency materials, scripts, and scrapbooks; and legal documents relating to the lawsuit against Columbia Broadcasting System (CBS) are also found in the collection. Collection is arranged into three series: Series 1, Photographs, 1961-2007, undated; Series 2, Business Records, 1959-2002, undated; and Series 3, Personal Papers, 1966-2008, undated.

Arrangement:

Collection is arranged into three series:

Series 1: Photographic Materials, 1961-2007, undated

Subseries 1.1: Television Shows, 1966-1989, undated

Subseries 1.2: Specials, Tours, and Public Appearances, 1964-1988, undated

Subseries 1.3: Motion Picture Films and Theatre, 1969-1982

Subseries 1.4: General, 1961-2007, undated

Subseries 1.5: Promotional, 1961-2003, undated

Series 2: Business Records, 1959-2002, undated

Subseries 2.1: Press, 1960-2002, undated

Subseries 2.2: Employee Files, 1959-1999, undated

Subseries 2.3: Smothers Brothers v. Columbia Broadcasting System, Incorporated (CBS), 1966-1972, undated

Subseries 2.4: Correspondence, 1960-1996

Subseries 2.5: Performance Materials, 1962-1993, undated

Subseries 2.6: Fan Club, 1990-1992, undated

Series 3: Personal Papers, 1966-2008, undated

Related Materials:

Materials in the Archives Center, National Museum of American History

Duncan Family Yo-Yo Collection NMAH.AC.0807

Colonna, Farrell Wine Label Collection NMAH.AC.0626

Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western and Folk Music NMAH.AC.0300

Bob Rule Papers, NMAH.AC.0855

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:

Comedy  Search this

Folk singers  Search this

Television personalities  Search this

Television  Search this

Variety shows (Television programs) -- Production and direction  Search this

Genre/Form:

Biography files

Clippings -- 20th century

Color slides -- 20th century

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence) -- 20th century.

Photograph albums

Photographs -- 20th century

Color prints (photographs) -- 20th century

Photographs -- Black-and-white photoprints -- 20th century

Photographs -- Black-and-white negatives -- 20th century

Photographs -- Black-and-white negatives -- Acetate film

Programs

Press releases

Scrapbooks

Scripts (documents)

Citation:

Smothers Brothers Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1437

See more items in:

Smothers Brothers Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83ece83d3-a6c8-44b1-8d02-c25507efbd68

EDAN-URL:

ead_collection:sova-nmah-ac-1437

Creator:

Revenue Camera Club  Search this

National Photographic Society  Search this

Donor:

Schroeder, Barbara  Search this

Names:

Greater Washington Council of Camera Clubs  Search this

National Museum of American History (U.S.). Division of Photographic History  Search this

Photographic Society of America  Search this

Extent:

3.5 Cubic feet (10 boxes)

Type:

Collection descriptions

Archival materials

Correspondence

Photographs

Newsletters

Clippings

Minutes

Date:

1942-1986

Summary:

Collection documents the National Photographic Society, an amateur camera club in Washington, D.C.

Scope and Contents:

The Executive Records, 1944-1978, consist of copies and drafts of the constitution, by-laws, correspondence, and the Board of Trustee Meeting Minutes. The Treasurer Records, 1956-1973, include bank account information that deals with authorization to open an organizational bank account, correspondence about monies collected and expenses incurred and the treasurer's annual reports that document receipts, disbursements, and special activities. The Membership Records, 1945-1984, contain directories (with mailing addresses and telephone numbers), officer information detailing which members served as trustees and/or on what committee. The club had several committees—slide, projector, portrait, special activities, publicity, finance, reception, dinner, membership, salon, audit, print, nominating, program, library and by-laws. The membership applications were maintained on 3" x 5 and 5" x 8" index cards. The annual awards information contains certificates awarded to Barbara Schroeder for a variety of honors, but the majority of documentation deals primarily with annual awards given for color slides. The Henry B. Shaw Memorial Trophy was a specific award and honor that was presented to the NPS member who made the greatest contribution to the well being of NPS. The award was named for Henry B. Shaw, former president of NPS.

The club published a monthly bulletin titled The Finder, 1942-1986, which was distributed to club members and photographic dealers. The Finder was a one-page newsletter from 1942 to April 1945, but in May of 1945 enlarged to four pages, in some instances with inserts. The Photographs and Negatives, 1959-1960, provide documentation of the club's annual banquet and presentation of awards in 1959 and a holiday outing to Petersburg, West Virginia. The photographs and negatives are approximately 4" x 5". The Salons, 1944-1959, includes schedules and other printed materials about salons that club members participated in or attended in the Washington, D.C. area. Camera Clubs, 1949-1967, documents the Greater Washington Council of Camera Clubs, an organization with which NPS was affiliated, and the Metropolitan Camera Club Council, Inc. of New York, New York. The newspaper clippings, 1948-1955, contain information on two columns, "Camera Angles," a weekly written by Alexander J. Wedderburn, Curator of Photography at the Smithsonian Institution and the "Monthly Print Clinic" featuring a photograph with narrative description.

Includes documents concerning the National Photographic Society's affiliations with the Greater Washington Council of Camera Clubs and the Photographic Society of America.

Arrangement:

The collection is divided into six series

Series 1: Executive Records

Series 2: Treasurer Records

Series 3: Membership Records

Series 4: The Finder Newsletter

Series 5: Photographs and Negatives

Series 6: Salons

Series 7: Camera Clubs

Series 8: Newspaper Clippings

Biographical / Historical:

The Revenue Camera Club was organized in Washington, D.C. on March 14, 1938. It changed its name to The National Photographic Society (NPS) on April 1, 1943. It became affiliated with the Greater Washington Council of Camera Clubs and the Photographic Society of America. The NPS was incorporated in 1944 with a constitution and by-laws as a "non-profit organization under the provisions of Chapter 5 of the Code of the District of Columbia for the promotion of art and science of photography in all its various branches, through individual memberships, associated camera clubs and other photographic organizations, research and the dissemination of photographic knowledge and the promotion of photographic salons and exhibitions." The management of the society was vested in a board of trustees that was made up of nine members. The club held meetings in each other's homes, church basements or at the Mt. Pleasant or Georgia Avenue libraries where they showed member's prints and eventually held meetings at the Arts Club of Washington. The club dissolved in 1986.

Provenance:

Collection donated by Ms. Barbara Schroeder, February 12, 1999.

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:

Clubs -- Photography -- 1940-1990 -- Washington (D.C.)  Search this

Exhibitions -- 1940-1990 -- Washington (D.C.)  Search this

Camera clubs -- 1940-1990 -- Washington (D.C.)  Search this

Genre/Form:

Correspondence -- 1940-2000

Photographs -- Black-and-white negatives -- Acetate film -- 1900-2000

Newsletters -- 20th century

Clippings -- 1940-1990 -- Washington (D.C.)

Minutes

Citation:

National Photographic Society Records, 1942-1986, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0681

See more items in:

National Photographic Society Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8cbfb397c-5584-47a8-9d62-112bcc45bfaf

EDAN-URL:

ead_collection:sova-nmah-ac-0681

Creator:

d'Arazien, Arthur  Search this

Extent:

11 Cubic feet (30 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Dye destruction process

Photographic prints

Transparencies

Cibachrome (tm)

Tear sheets

Color negatives

Color prints (photographs)

Dye destruction photoprints

Silver-dye bleach process

Type c color prints

Chromogenic processes

Place:

Canada -- Industry -- 1940-1980

Date:

circa 1930-2002

Scope and Contents:

The collection includes Arthur d'Arazien's professional work in industrial photography from the late 1940's through about 1981; personal creative photography and other types of professional work were retained by Mr. d'Arazien or placed elsewhere. Thus this collection is a very cohesive, unified body of work, which documents primarily American (and some Canadian) business and industry during a period of expansion a golden age of American industry. Although it represents the photographer's creative and artistic style and skill, the subject matter is appropriate to the National Museum of American History from several viewpoints the visual documentation of industry and technology, as well as advertising, public relations, and business history.

The photographs include black and white negatives and prints from the negatives, as well as color negative and transparency materials, up to 8" x 10" in size. Probably the majority of the transparencies were made in the large size. The black and white materials include pictures of d'Arazien at work some made by famous Life magazine photographer Alfred Eisenstaedt, a colleague at the Famous Photographers School. A number of Dye Transfer prints mounted on illustration board were made by master color printer Don Browning.

In addition to frequently extensive caption information on all of d'Araziens original envelopes and enclosures, many enclosures for color negatives and transparencies bear d'Arazien labels with technical information or instructions for color printing, such as filter pack designations and local printing controls. These enclosures therefore have been retained in the collection, although usually they are not of archival quality.

Of secondary significance are 62 large color prints, mostly Type C, with a few Cibachromes, which were made from the original transparencies for exhibition purposes. Most were made either by K & L laboratories, New York City (stickers on back) or Eastman Kodak professional laboratories, Rochester, N.Y., and have been wet mounted to non archival Masonite. At the time of acquisition, several had faded and/or changed color. These are available for research and exhibition purposes, but are not expected to survive as long as the original transparencies.

The collection contains Mr. d'Arazien's files of printed materials. These include reproductions which indicate how his photographs were used by clients. Included are annual reports, promotional pieces, magazine tearsheets from advertising and editorial uses, and other biographical items.

Series 1: Professional industrial photographs.

Photographs document primarily American business and industry (including some taken in Canada). Black-and-white negatives with prints from these negatives, also color negative and transparency materials. Most transparencies are 8" x 10". The photographs demonstrate the photographer's reputation as a master of dramatic lighting and the coordination of large-scale, complex industrial setups in factories, steel mills, and even outdoor settings. Also 65 color prints, mostly Type C with a few Cibachromes, made from the original transparencies for exhibition purposes, mostly wet-mounted to Masonite. Black-and-white photographs include pictures of d'Arazien at work--some by Life magazine photographer Alfred Eisenstaedt.

Series 2: D'Arazien's files of printed materials, some of which include photomechanical reproductions of his work, indicating how the photographs were used by clients; also annual reports, magazine tearsheets from advertising and editorial uses, and other promotional items, in addition to biographical materials.

2007 addendum: Transparencies, slides, prints and negatives of additional photographs by Arthur d'Arazien, including industrial subjects as well as travel, architectural, agricultural, portrait, art, still life and personal photographs. Also included are miscellaneous papers, mostly relating to d'Arazien's photographic work.

Arrangement:

The collection is divided into three series.

Series 1: Paper Documents

Subseries 1.1: Publications and Reproductions.

Subseries 1.2: Photographer's Labels, Envelopes, Etc.

Series 2: Photographs

Subseries 2.1: Color Phototransparencies

Subseries 2.2: Color Photonegatives and Color Photoprints

Subseries 2.3: Black and White Photonegatives and Photoprints

Subseries 2.4: Color Photoprints: Enlargements Mounted on Masonite

Material is arranged in each sub-series primarily by client names, in alphabetical order.

Series 3: Oversize prints

Biographical / Historical:

Arthur d'Arazien began his photographic career as an assistant to a famous theatrical photographer, documenting Broadway shows. A distinctive emphasis on dramatic lighting in his later work suggests the heavy influence of the theater. He did fashion and commercial photography, as well as photographing the 1939 World's Fair, for Underwood & Underwood Illustration Studios, East 44th St., New York City, in 1938 1939. He was described in a U.S. Camera Annual article as Aan architect whose interest in photography has caused him to make a profession of it.

D'Arazien taught aerial photography for the U.S. Air Corps Technical Training Command at Lowry Field, Denver, during World War II. He began his career in industrial photography with the De Laval Separator Company, New York City. His energy and creativity led to assignments which often were judged too difficult for lesser photographers. His growing reputation as an industrial photographer kept pace with the dynamic growth of the industrial and technological activities he was photographing during the 1950s through the 1980s.

Robert Vogel, former Curator of Mechanical and Civil Engineering for the National Museum of American History, wrote that d'Arazien: ...became internationally known for his dramatic color views of the American industrial scene at a time when our industry can be said to have been at the height of its powers....He was commissioned by the giants of steel, paper, chemicals, machinery, transportation, automobiles, mining, metal refining, textiles, and the other heavy (and medium) industries. ...He developed a number of special techniques for obtaining the grand, sweeping views that became his trademark, including multiple exposures to achieve dramatic lighting effects, elaborate lighting setups involving multiple flashes from several vantages employing a number of assistants intercommunicating by radio, complex arrangements with transportation lines and the various departments of the subject organization to produce the desired juxtaposition of elements in the photograph, and the like. His MO was anything but that of simply walking onto the scene and snapping the shutter; for many of his breathtaking views he appears to have been more producer and impresario than photographer.

Arthur d'Arazien describes the growth of his spectacular style as an eager response to new subjects, challenges, and photographic materials:

...knowing that color was the coming thing in corporate advertising, I pursued that line. I did lots of experimenting; every assignment gave me an opportunity to try something new, such as combination day and night exposures on a single sheet of film, multiple flash bulbs to light large interiors, multiple exposures on the same film, such as...moving objects ...automobiles, trains...to build up excitement in a picture. Colored gels to change colors. I even used old fashioned flash powder to light ...steel mills, because there were no flashbulbs powerful enough to light these dark, cavernous interiors: this idea was borrowed from the Air Corps night time aerial photography with magnesium flash powder.

A skilled painter and metal sculptor as well as photographer, d'Arazien came from a family of artists. His photographs were made primarily on assignment from industrial corporations for advertising, editorial, and public relations purposes, but have been exhibited and collected as works of art in the Smithsonian Institution (Division of Photographic History), the Metropolitan Museum of Art, and the Cleveland Museum. His work was included in the Photography in the Fine Arts exhibitions organized by Ivan Dimitri, and he was a founding faculty member of the Famous Photographers School, Westport, Connecticut, in the early 1960's.

D'Arazien married Margaret Scott and has two sons. He had a studio in Waterside Plaza, New York, and made his home in New Canaan, Connecticut, until moving to Naples, Florida, upon his retirement in 1988. The collection was brought to the Smithsonian's attention by his son Steven, and was donated to the Archives Center before this move. In anticipation of this gift, Mr. d'Arazien spent several months inspecting his collection, eliminating duplicate and technically unsuccessful images, and captioning photographs.

Sources American Aces, U.S. Camera Annual 1939. Clipping in scrapbook no. 1, box 24, first page.

Robert M. Vogel, memorandum, undated, but written after a December 1987 visit to d'[Arazien's home. In Archives Center collection control file.

Letter to the author, 26 February 1992, in collection control file.

Provenance:

Collection donated by Arthur d'Arazien, December 24, 1988.

Restrictions:

Collection is open for research but the majority of the collection 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.

Topic:

Industry -- Photographs -- 1940-1980 -- Canada  Search this

Industry -- Photographs -- 1940-1980 -- United States  Search this

Steel industry and trade -- 1940-1980  Search this

Agriculture -- Photographs -- 20th century  Search this

Travel -- Photographs -- 1930-2000  Search this

Genre/Form:

Photographs -- Black-and-white negatives -- Acetate film

Photographs -- Chromogenic -- 1900-2000

Dye destruction process

Photographic prints

Transparencies

Cibachrome (TM)

Tear sheets

Color negatives

Color prints (photographs)

Dye destruction photoprints

Silver-dye bleach process

Color prints (photographs) -- 20th century

Type C color prints

Chromogenic processes

Citation:

Arthur d'Arazien Industrial Photographs, ca. 1930-2002, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0314

See more items in:

Arthur d'Arazien Industrial Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c58b8378-f263-4065-bd66-643e070e44c1

EDAN-URL:

ead_collection:sova-nmah-ac-0314

Creator:

Alabama Mining Institute  Search this

Names:

Alabama Fuel and Iron Company, Overton, Alabama  Search this

Central Iron and Coal Company, Kellerman, Albama  Search this

DeBardeleben Coal Company (Sipsey, Alabama)  Search this

Gulf States Steel Company (Sayre, Alabama)  Search this

Imperial Coal and Coke Company (Bradford, Alabama)  Search this

New Castle Coal and Coke Company (New Castle, Alabama)  Search this

Railway Fuel Company (Parrish, Alabama)  Search this

Republic Iron and Steel Company (Republic, Alabama)  Search this

Republic Iron and Steel Company (Sayreton, Albama)  Search this

Roden Coal Co. (Marvel, Alabama)  Search this

Southern Coal and Coke Company (Boothton, Alabama)  Search this

Woodward Iron Company (Woodward, Alabama)  Search this

Former owner:

National Museum of American History (U.S.). Division of Extractive Industries  Search this

National Museum of American History (U.S.). Division of Work and Industry  Search this

Extent:

1 Cubic foot (3 boxes)

Type:

Collection descriptions

Archival materials

Negatives

Photographs

Date:

1920s

Summary:

Collection consists of photographs and negatives that depict aspects of social life mining company towns in Alabama during the 1920s.

Scope and Contents note:

Photographs depict social aspects of company town life by documenting primarily exterior views of buildings, such as miner's homes, company stores, dance halls, schools, churches and movie theaters. The interior views include doctor's offices, first aid stations, company stores, dairies and butcher shops. The typed descriptions define which structures intended for use by Black or White people. There are no photographs documenting mines or mining equipment.

Arrangement:

Collectio is arranged into three series.

Series 1: Volume 1, Alabama Mining Institute Photograph Album, 1920s

Series 2: Volume 2, Alabama Mining Institute Photograph Album, 1920s

Series 3: Negatives, 1984

Biographical/Historical note:

The Alabama Mining Institute is a consortium of underground and surface mining operators, dating back to the 1920s.

Provenance:

Originally collected for the Division of Extractive Industries. Immediate source of acquisition unknown.

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.

Topic:

Company towns  Search this

Dwellings -- Alabama  Search this

Mining corporations  Search this

Mining and minerals industry  Search this

Segregation  Search this

Segregation in education  Search this

Genre/Form:

Negatives

Photographs -- Black-and-white negatives -- Acetate film -- 1900-1950

Citation:

Alabama Mining Institute Photographs, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1004

See more items in:

Alabama Mining Institute Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ef14fe61-4a53-4620-84f6-f590d5dcb419

EDAN-URL:

ead_collection:sova-nmah-ac-1004

Collector:

Morison, George S., 1842-1903  Search this

Names:

Corn Palace (Sioux City, Iowa)  Search this

Collection Creator:

Morison, George S., 1842-1903  Search this

Extent:

1 Item (Silver gelatin on acetate., 34 cm x 41.5 cm.)

Type:

Archival materials

Black-and-white negatives

Photographs

Date:

1890

Scope and Contents:

Corn Palace of Sioux City, Iowa, 1890. E.W. Loft designed the first corn palace of 1887. Photographer unidentified, possibly Morison.

Local Numbers:

AC0978-0000001.tif (AC Scan No.)

Collection 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.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Architecture, Moorish Revival  Search this

Crop art  Search this

Genre/Form:

Black-and-white negatives

Photographs -- 1890-1900 -- Black-and-white negatives -- Acetate film

Collection Citation:

George Morison Collection, Archives Center, National Museum of American History

See more items in:

George S. Morison Collection

George S. Morison Collection / Series 5: Glass Plate Negatives / Sioux City Corn Palace

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8dd5c42fa-e652-41c2-8cb6-f759ca5e8cd1

EDAN-URL:

ead_component:sova-nmah-ac-0978-ref4006

Creator:

Frater, Fred  Search this

Extent:

0.15 Cubic feet

Type:

Collection descriptions

Archival materials

Photographs

Place:

Intercourse (Pa.)

Pennsylvania

Date:

circa 1947-1950

Scope and Contents:

The twenty-eight photographs and corresponding negatives in this collection were taken by photographer Fred S. Frater in Intercourse, Pennsylvania sometime between 1947 and 1950. They document a day-long auction of furniture, farm equipment and household goods that took place during the winter or early spring season. They depict an outdoor setting and, while some Amish women are shown, the photographs feature primarily Amish men and boys.

The negatives are in a two frame strip of 120, black and white film stock.

The photographs measure 5"x5" and were developed on Fugicolor Crystal Archive Paper. Although taken around 1947, the photographs in this collection were not developed until March 14, 2008.

Arrangement:

The Collection is arranged into two series.

Series 1, Negatives,

Series 2, Photographs

Biographical / Historical:

Fred S. Frater studied photography at the Clarence H. White School of Photography and worked as a photographer at Lukens Steel Mill for nearly 40 years. He was drafted during World War II serving as a glider trooper and military photographer between 1943 and 1946. His photographs are in the collections of The Hagley Museum and Library, The Library of Congress, George Eastman House Museum and The United States Holocaust Museum. Frater resides in Exton, Pennsylvania.

Provenance:

Collection donated by Fred S. Frater in 2009.

Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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:

Amish -- Pennsylvania -- Lancaster County  Search this

Auctions  Search this

Genre/Form:

Photographs -- Black-and-white negatives -- Acetate film -- 1940-1950

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950

Citation:

Fred Frater Photographs of the Amish, circa. 1947-1950, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1147

See more items in:

Fred Frater Photographs of the Amish

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82b31bcf3-2f3f-4e9b-b146-a2cfdc74a155

EDAN-URL:

ead_collection:sova-nmah-ac-1147

Collector:

Western Union Telegraph Company  Search this

Collection Creator:

United Telegraph Workers.  Search this

Western Union Telegraph Company  Search this

Extent:

28 Items (items, assorted sizes, Silver gelatin on film.)

Container:

Box 731, Folder 6

Type:

Archival materials

Photographs

Photographs

Place:

Canada -- 1890-1900

Date:

undated

Local Numbers:

AC0205-0000014-01.tif (AC Scan)

AC0205-0000014-02.tif (AC Scan)

AC0205-0000014-03.tif (AC Scan)

AC0205-0000014-04.tif (AC Scan)

Restrictions:

Unrestricted research access by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Cable stations  Search this

Telegraph, Wireless  Search this

Genre/Form:

Photographs -- 1890-1900 -- Black-and-white negatives -- Acetate film

Collection Citation:

Western Union Telegraph Company Records, Archives Center, National Museum of American History

See more items in:

Western Union Telegraph Company Records

Western Union Telegraph Company Records / Series 23: Photographs / 23.4: Cable Stations / Negatives of Cable Stations-Heart's Content

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep859d88494-6a1b-4150-9848-8c4b53b21a1e

EDAN-URL:

ead_component:sova-nmah-ac-0205-ref11318

Creator:

Pullman Palace Car Co.  Search this

Donor:

Pullman-Standard  Search this

Names:

Lincoln, Robert Todd  Search this

Pullman, George M., 1831-1897  Search this

Extent:

128.5 Cubic feet (147 boxes)

Type:

Collection descriptions

Archival materials

Glass plate negatives

Photographs

Date:

circa 1882-1955

Summary:

Collection consists of approximately 13,500 images (original photographs, copy prints, and film and glass plate negatives) for freight, passenger, private, and street and rapid transit cars manufactured by the Pullman Palace Car Company. The collection contains primarily early railroad Americana, including interior and exterior views of private and business cars as well as passenger and street cars. The collection is an important part of the historical record of the railroad car-building industry as well as the history of architecture and interior design.

Scope and Contents:

The collection consists of approximately 13,500 images (original photographs, copy prints, and film and glass plate negatives) for freight, passenger, private, and street and rapid transit cars manufactured by the Pullman Palace Car Company. The collection contains primarily interior and exterior views of private and business cars as well as passenger and street cars. The collection is an important part of the historical record of the railroad car-building industry as well as the history of architecture and interior design. Historians, designers, railroad enthusiasts, model railroad hobbyists, scholars, and others will find this collection useful.

The glass plate negatives in this collection were produced using the wet collodion process, which was introduced to the United States in 1855 and used into the 1880s. The plates were coated with chemicals, sensitized, exposed and developed, all while the plate was wet. Later, Pullman photographers used the dry collodion process. This process involved using glass plates with a photographic emulsion of silver halides suspended in gelatin. This process had shorter exposure times.

George Pullman assembled a variety of photographers to document his company's work. The photography was primarily used as a record of work, especially for the Operating Department and Manufacturing Department at Pullman, as well as for prospective corporate customers.

Before establishing an in-plant photographic department in 1888, Pullman relied on local photographers. Some of the photographers included John Jex Bardwell, Wylie Dennison, Henry R. Koopman, J. W. Taylor, Thomas S. Johnson, Wylie Dennison, John P. Van Vorst, Clayton Ford Smith, Joseph McAllister, Melvin C. Horn, Ernie Stutkus, and Donald J. O'Barski. Many of the photographers signed the glass plates using their initials. For example, John P. Van Vorst signed his J.P.V.V.

Photography of Pullman activities began in the Detroit Shops (property of the Detroit Car & Manufacturing Co. which was purchased by Pullman in 1873 and operated as the Detroit Shops of Pullman) in the 1870s and expanded to include photographing the town of Pullman, steel car construction, shop accidents, workers, panoramic views, and in some instances, for company publications. In-plant photography was started with Wylie Dennison in 1888. Dennison was the first full-time Pullman photographer, and he created the Pullman Photographic Department. Dennison instituted the practice of recording each photograph, noting the negative number, description of the car, the type of view (typically one interior view and one exterior view) and lot number. All of Dennison's photography was done outside in the daylight.

The negative numbers assigned to the glass plates were identified with a "lot" number. The lot number identified the production order, and in later years, the plan number was added, designating the layout of the car. Photographing one car out of each new lot was the intital practice, but over-time, the Photographic Department began taking six or more views of the interior and exterior as well as end views.

Lot numbers include:

Lots 1 - 500 (Pullman Car Works - Chicago)

Lots 1 - 500 (Detroit Car Works)

Lots 500 plus (can be freight and passenger mixed)

Lots 1000 to 4999 (Pullman passenger equipment)

Lots 5000 to 5999 (Pullman freight equipment)

Lots 5000 + Haskell and Barker (Pullman overlap)

Lots 6000 to 7000+ (Pullman and P-S passenger)

Lots 8000 to 9999 (Pullman freight equipment)

Lots 10000+ (Pullman freight equipment)

Series 1, Original prints, circa 1880-1949, are arranged numerically by Pullman numbers. The original prints begin with number 7343 and end with number 33091. The photographs document Pullman cars, including freight, passenger, private, and street railway/rapid transit. Many of the images depict interior views of the cars, and there are some views of porters and passengers. There is some documentation of the workmen constructing the cars. The prints are primarily 8" by 10" black-and-white and were originally bound into books and backed on linen. The prints were unbound at some time. Many of the original prints bear an embossed stamp "Built by Pullman Car and Manufacturing Corporation Chicago." Some photographs are sepia-tone and there are no negatives for these prints.

Series 2, Copy prints, 1885-1955, consists of prints made from the glass plate negatives by the Smithsonian photographic services office. The copy prints were originally stored in loose binders but were re-housed into folders and arranged numerically according to the original Pullman Company number. The number is typically found in the lower right corner of the image. The copy prints are black-and-white and are either 5" x 7" or 8" x 10".

Series 3, Film negatives, 1917-1955, consists of film negatives (4" x 5" and 8" x 10") that are arranged numerically by Pullman numbers. In some instances, information on the enclosure includes the type of car (e.g. sleeper, freight), the name of the car if applicable, name of railroad company, geographical information, and date(s). In some instances, "repro," or "broken glass" are recorded. For negatives that did not conform to the Pullman numbering system, the container list provides additional information. For example, Haskell and Barker Car Company (Haskell and Barker merged with the Pullman Company in 1922) machine shop views, or Pullman cars in St. Paul, Minnesota are recorded in the collection inventory listing.

Series 4, Glass plate negatives, [circa 1882-1948], is divided into two subseries, Subseries 1, 6" x 8" negatives and Subseries 2, 8" x 10" negatives. The series consists of approximately 13,500 glass plate negatives arranged by Pullman Company negative number. The negatives document primarily Pullman cars, including freight, passenger, private and street railway/rapid transit. Many of the images depict interior and exterior views of the cars and some views of porters and passengers. The interior views include details such as seating, window treatments, lighting fixtures, bathroom fixtures, wood paneling, marquetry work, fabrics, floor treatments, and other furnishings. There is some documentation of the construction of the cars by workmen in the factory.

The negative numbers and lot numbers are etched on the glass plates. Overall the series is in good condition, although there are some broken plates which have been separated. The negatives are not inclusive and some plates are missing, or there are two copies. If plates are missing or additional copies exist, this is noted in the collection inventory. In some instances, plates are labeled 3937 and then 3937-A. This numbering distinguished two different views/angles of the same car.

Many of the envelope enclosures contain the negative number, sometimes preceed by the letter "P" (e.g. P9597), lot number (L4700), and in some instances, text describing the negative. Text typically includes the type of car (sleeper, freight), the name of the car if applicable, name of railroad company, geographical information, and date(s). If a copy print was created from the negative plate, the enclosure is stamped "printed." However, this practice was not consistent. Plates that were not printed are occasionally noted, but not with any consistency.

The 6" by 8" glass plates numbered 82-4130 to 82-4167, represent numbers assigned by the Office of Photographic Services, Smithsonian Institution. Previously labeled "Pullman" on the enclosures, the plates primarily document engines and passenger cars for the New York, New Haven, & Hartford Railroad, 1870-1890 and undated. The plates do not have Pullman negative numbers etched in the lower left or right corners and it is unclear if these plates belong to this collection.

Series 5, Indices, 1990 and undated include bound, typescript indices to the Pullman negatives. Created by the National Museum of American History, Division of Transportation (now known as the Division of Work and Industry), the indices include listings by railroad, private cars, freight cars, street cars and rapid transit, and Pullman negatives. The indices provide the name of the railroad/railway (e.g. Chicago & Alton), type of car (e.g. coal car or box car), number, lot, remarks (e.g. baggage area), year, type of view (e.g. exterior or interior) and frame number (for the laser disc).

One index is a supplemental guide listing sepia tone prints for which no negative exists in our collection. The indices for the negative listings on laser discs one and two are available. However, the actual lasers discs are missing.

References

Horn, Don. "The Pullman Photographers," Railroad Heritage, No. 7, 2003, pp. 5-13.

Arnold, Rus. "This Negative File was a Sleeper." Technical Photography. May 1970, pp. 21-XX.

Pullman State Historic Site, http://www.pullman-museum.org/theCompany/timeline.html (last accessed April 18, 2011)

Arrangement:

The collection is arranged into five series.

Series 1, Original prints, 1904-1949

Series 2, Copy prints, 1885-1955

Series 3, Film negatives, undated

Series 4, Glass plate negatives, circa 1882-1948

Series 5, Indices, 1990 and undated

Biographical / Historical:

Recognizing a market for luxurious rail travel, George M. Pullman, who had earlier experimented with sleeping car construction and was wealthy from the provisioning and transporting of Colorado miners in the early 1860s, incorporated the Pullman's Palace Car Company in 1867. By the 1870s his operations were already national and included the operation of sleeping cars under contract with the nation's railroads, the manufacture of cars at the Detroit Works, and the creation of subsidiary firms serving Great Britain and Europe. In the three decades before the turn of the century, the prosperous company grew enormously and included a much heralded model company town adjacent to the new car works at Pullman, Illinois. Acclaim turned to condemnation following the nationwide strike that originated at the Pullman Car Works in 1894. Pullman died in 1897, two years before his company absorbed its last major competitor, the Wagner Palace Car Company, which had been financed by the Vanderbilts.

The Pullman's Palace Car Company entered the twentieth century with a new name, the Pullman Company, and a new president, Robert Todd Lincoln. An extremely profitable virtual monopoly, the Pullman Company began replacing its wood cars with safer all steel bodied models (heavyweights) in its newly segregated manufacturing department and at the same time (1906) came under the regulation of the Interstate Commerce Commission. From 1918 to 1920, the United States Railroad Administration, citing the war emergency, assumed control of the operating arm of the firm, renamed the Pullman Car Lines for the duration of federal control.

The Pullman Company reached its peak during the 1920s, manufacturing new heavyweight cars at a rapid pace. Seeking to expand its freight car production, Pullman merged with the Haskell and Barker Car Company in 1922. Edward F. Carry and his Haskell and Barker associates assumed the presidency and other executive positions in the enlarged Pullman Company. More reorganization took place in 1924, when the Pullman Company Manufacturing Department became a distinct firm, the Pullman Car and Manufacturing Corporation, and in 1927, when a parent or holding company, Pullman Incorporated, was created to oversee the two subsidiary firms. In 1929, following Carry's death, President David A. Crawford engineered the merger of the Pullman Car and Manufacturing Corporation with the Standard Steel Car Company, forming the Pullman-Standard Car Manufacturing Company.

During the first three decades of the twentieth century Pullman sought to impede the unionization of its workers by offering new benefits, including a pension plan in 1914, a death benefit plan in 1922, and a plan of group insurance in 1929. F. L. Simmons' Industrial Relations Department, created in 1920, also directed the formation of company-sponsored occupationally-based unions under the plan of employee representation. A. Philip Randolph's Brotherhood of Sleeping Car Porters and other unions would not successfully organize company workers until the New Deal Railway Labor Act of 1934 forbade corporate interference in union matters. The Depression marked the end of Pullman prosperity. Both the number of car orders and sleeping car passengers declined precipitously. The firm laid off car plant and service workers, reduced fares, and introduced such innovations as the single occupancy section in an effort to fill its cars. During this decade the firm built fewer new cars, but it added air conditioning to its existing heavyweights and remodeled many into compartment sleepers.

In 1940, just as orders for lightweight cars were increasing and sleeping car traffic was growing, the United States Department of Justice filed an anti-trust complaint against Pullman Incorporated in the U. S. District Court at Philadelphia (Civil Action No. 994). The government sought to separate the company's sleeping car operations from its manufacturing activities. In 1944 the court concurred, ordering Pullman Incorporated to divest itself of either the Pullman Company (operating) or the Pullman-Standard Car Manufacturing Company (manufacturing). After three years of negotiations, the Pullman Company was sold to a consortium of fifty-seven railroads for around forty million dollars. Carroll R. Harding was named president of this new Pullman Company. The new Pullman Company started out optimistically in 1947 with good passenger traffic figures, but the years following brought steady and marked decline. Regularly scheduled lines were cancelled; all shops except St. Louis and Chicago were closed; employees were furloughed, and major railroad owners such as the New York Central and Pennsylvania Railroad totally or partially withdrew from service. On January 1, 1969, at the age of 102, the Pullman Company ceased operation, though it maintained a small central office staff to wind up affairs and handle an equal pay-for-equal-work lawsuit (Denver Case) that continued in the courts until 1981.

John H. White (1933-), historian and curator, collected the Pullman photographs in 1969. White was born in Cincinnati, Ohio, and graduated with a bachelors of arts in history from Miami University Ohio in 1958. Shortly after receiving his degree, He joined the staff of the Smithsonian Institution as Assistant Curator of the Division of Transportation, Department of Science and Technology, Museum of History and Technology. White later became Associate Curator of the Division, 1961-1966, Curator, 1967-1985, and Senior Historian, 1986-1989. White specialized in land transportation, particularly the history of railroads.

White worked closely with Arthur Detmers Dubin (1923-) to acquire the Pullman photographs for the museum. Dubin was an avid train enthusiast and collector, and he frequently used the Pullman "archives" for his own research on railroads. Dubin was born in Chicago, Illinois and began his architectural education at the University of Michigan in 1941 but his education was interrupted by World War II, and he served with distinction in the United States Army until 1946. After completing his studies in 1949, Dubin joined his father's and uncle's architectural firm, Dubin and Dubin, as a second--eneration architect. The leadership of the firm soon passed to Arthur and his brother, Martin David, and in 1965 they were joined by John Black and in 1966 by John Moutoussamy. Arthur's life--ong interest in trains and transportation and their implications for architecture is evident in transit stations commissions and service on transportation--elated advisory boards (Dubin was a member of the Illinois Railroad Commission), as well as in his writings and personal collections.

In July, 1966, Dubin contacted then Vice President of Public Relations at Pullman-Standard E. Preston Calvert about the history and future of the photographic negative plates. Dubin appealed to Calvert to preserve these materials. Dubin and White were also in contact by correspondence and in June, 1967, White contacted Calvert also, stating that the Chicago Historical Society or Illinois State Historical Society should be offered the plates as a first option. Failing a local Illinois repository accepting the materials, White indicated that the Smithsonian would accept the negatives.

During the spring of 1968, White, working with Dubin and Nora Wilson, editor of the company's publications, coordinated a visit by White to Chicago to examine the photographic negatives at the Pullman Car Works factory in south Chicago. In April 1968, White examined the vast collection of glass plate negatives (approximately 20,000). From April, 1968 to August, 1969, Pullman-Standard and the Smithsonian negotiated acquisition details, including shipping and related costs. In August, 1969, White returned to complete the task of sorting the glass plates, discarding broken plates, and weeding repetitive views. He selected approximately 13,500 glass plates. Views of Pullman towns were donated to the Chicago Historical Society. Dubin appraised the photographic plates and film negatives, presumably on behalf of Pullman-Standard, and estimated the plates to be worth between $54,000 and $67,500 dollars.

References

Historical note courtesy Martha T. Briggs and Cynthia H. Peters, Guide to Pullman Company Archives, The Newberry Library, Chicago, 1995.

Art Institute of Chicago, Chicago Area Architects Oral History Project http://www.artic.edu/aic/resources/resource/734?search_id=1 (last accessed on February 23, 2011)

John H. White papers, 1959-1989, Record Unit 007384, Smithsonian Institution Archives, Washington, D.C.

Telephone conversation of Alison Oswald, archivist, with John H. White, April 14, 2011.

Related Materials:

Materials in the Archives Center

Pullman Palace Car Company Materials, 1867-1979 (AC0181)

John H. White, Jr. Railroad Reference Collection, 1880s-1990 (AC0523)

Materials in Other Organizations

•Art Institute of Chicago

•Bombardier Corporation

•California State Railroad Museum

•Chicago History Museum

•Arthur Dubin Collection at Lake Forest College

•Illinois Railway Museum

•Indiana University Northwest's Calumet Regional Archives

Pullman-Standard Railroad Car Manufacturing Company Personnel Records—Personnel Record Series CRA 314 This index of employee names was created from the original personnel cards housed at Indiana University Northwest's Calumet Regional Archives from the Indiana locations. Although the records are not complete from the Michigan City plant for the entire period from 1912 to the 1970's, there may be information that will assist researchers with finding key details of a family member. The Hammond Pullman plant was merged with the Haskell Barker Company of Michigan City in 1922.

•Newberry Library, Chicago

The Pullman Company archives at the Newberry Library consists of 2,500 cubic feet of records from the Pullman Company and Pullman heirs. The collection is comprised of business archives of the Pullman Palace Car Company from 1867 and includes records of the entire firm up to the 1924 split into operating (sleeping car operation, service, and repair) and manufacturing companies. From 1924 to 1981 the records chronicle the activities of the operating company only.

•Pennsylvania State Archives

•Pullman State Historic Site

•Pullman Technology (Harvey, Illinois)

•Smithsonian Institution Archives

•South Suburban Genealogical & Historical Society (South Holland, Illinois)

Provenance:

The collection was donated by Pullman-Standard Company, through Nora Wilson, editor of employee publications for the Department of Public Relations and Advertising, on October 8, 1969.

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:

Copyright held by the Smithsonian Institution.

Topic:

Freight cars  Search this

Railroads -- Dining-car service  Search this

Roomette car  Search this

Hospital cars  Search this

Dining cars  Search this

Hotel car  Search this

Sleeping cars (Railroads)  Search this

Local transit  Search this

Genre/Form:

Glass plate negatives

Photographs -- Black-and-white negatives -- Acetate film -- 1890-1900

Photographs -- Black-and-white negatives -- Acetate film -- 1900-1950

Citation:

Pullman Palace Car Company Photographs, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

John and Ellen Thompson provided financial support for processing the collection.

Identifier:

NMAH.AC.1175

See more items in:

Pullman Palace Car Company Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85e54d13d-eb5a-4971-8e39-ecfe85039ed4

EDAN-URL:

ead_collection:sova-nmah-ac-1175

Photographer:

Salo, Sheila  Search this

Extent:

0.2 Cubic feet (1 box)

Type:

Collection descriptions

Archival materials

Photographs

Place:

Canada

Chicago (Ill.)

Date:

1973-1979

Summary:

This collection contains photographs of North American Rom Gypsies by donor Sheila Salo; also copy prints, negatives, and slides made from material in other collections.

Scope and Contents:

This collection contains photographs of North American Rom Gypsies by donor Sheila Salo; also copy prints, negatives, and slides made from material in other collections. The photographs by Ms. Salo are Kodak color prints, while the copy photographs are all black-and-white prints, negatives, and a slide. Most of the copy negatives and prints were made from a series of photographs taken in Chicago, 1928, of settlement houses, including Hull House, with some Mexican subjects. Captions have been typed on the backs of most of the color and black-and-white prints by Ms. Salo.

The collection is divided into two series: (1) Color photoprints by Sheila Salo; and (2) Black-and-white copy photographs. Formats include: color photographic prints (4" x 6" and 3-1/2" x 5"), black-and-white photographic copy prints (3-1/2 x 5"), 35mm negatives, a slide, and a 4" x 5" copy negative. The color prints depict Gypsies and Gypsy community events in Illinois; Ontario; Ste.-Anne-de-Beaupré, Quebec; Mississippi; Louisiana; and New Jersey. The subject emphasis is on wedding and saint's day celebrations, and memorial services for the deceased.

Arrangement:

Collection arranged into one series. Roughly chronological.

Series 1: Color Photoprints by Sheila Salo, 1973-1979

Series 2: Copy Photographs, Black-and-White

Historical:

Most of the color photographs were taken by Sheila Salo in 1973-1979: (a) Canada, 1973, 1976, and 1977 as part of research supported by contracts from the National Museums of Canada; and (b) taken in Illinois, Louisiana, Mississippi, and New Jersey through 1979. Sheila Salo and her husband Matt are historians of Gypsy culture; Ms. Salo also processed and wrote the register for the the Carlos de Wendler-Funaro Gypsy Research Collection. The Salos have personal contacts among Gypsy groups, and they made these photographs to document Gypsy customs, clothing, and rituals.

Provenance:

Collection donated by Matt and Sheila Salo, [1990?].

Restrictions:

Collection is open for research.

Rights:

Copyright restrictions. No reproduction permitted without permission from the photographers. Several images are specifically restricted against any reproduction at all, although they are available for exhibition. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Gypsies -- 1970-1980 -- United States  Search this

Gypsies -- 1970-1980 -- Canada  Search this

Hull House (Chicago, Ill.)  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1970-1980

Photographs -- Color photoprints -- 1970-1980

Photographs -- Black-and-white negatives -- Acetate film -- 1970-1980

Citation:

Sheila Salo Gypsy Photographs, 1973-1979, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0357

See more items in:

Sheila Salo Gypsy Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f47e27b3-6db5-4efe-90e7-8e562b60eb7f

EDAN-URL:

ead_collection:sova-nmah-ac-0357

Photographer:

Miner, John  Search this

Collector:

Schiedt, Duncan P., 1921-2014  Search this

Creator:

Eastman Kodak Company (film manufacturer)  Search this

Names:

Tribune Company  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Collection Photographer:

Schiedt, Duncan P., 1921-2014  Search this

Extent:

1 Item (3-1/4" x 2-1/2".)

Culture:

African Americans -- 1950-1960  Search this

Type:

Archival materials

Photographs

Place:

Illinois

Chicago (Ill.)

Scope and Contents:

Possibly taken in Chicago because the newspaper on the piano is the Chicago Tribune. Box 2, John Miner Negatives "M to Z" ("Billy Strayhorn" envelope). Made on Kodak Safety Film 470.

Local Numbers:

AC1323-0000012.tif (AC Scan No.)

Collection Restrictions:

Collection is open for research.

Collection Rights:

Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Occupation:

Jazz musicians -- 1950-2000 -- United States  Search this

Topic:

Piano  Search this

Genre/Form:

Photographs -- 1950-1960 -- Black-and-white negatives -- Acetate film

Collection Citation:

Duncan Schiedt Jazz Collection, 1900-2012, Archives Center, National Museum of American History

Sponsor:

Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Duncan P. Schiedt Photograph Collection

Duncan P. Schiedt Photograph Collection / Series 2: Photographic Materials / 2.2: Artist Files Photographs / Strayhorn, Billy

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8feea64b8-859d-455b-a3ac-def1e079f83a

EDAN-URL:

ead_component:sova-nmah-ac-1323-ref7840

Creator:

Dodd, Sharon Donovan  Search this

Donovan, Christine  Search this

Donovan, James F. Jr., Dr.  Search this

Donovan, Marion (Marion O'Brien), 1917-1998 (inventor)  Search this

Rabinow, Jacob, 1910-  Search this

Walters, Barbara  Search this

Names:

Keko Corporation.  Search this

Saks Fifth Avenue.  Search this

Extent:

7 Cubic feet (17 boxes, 2 map folders)

Type:

Collection descriptions

Archival materials

Advertising mail

Birth certificates

Clippings

Correspondence

Color prints (photographs)

Dye diffusion transfer prints

Marriage certificates

Patent drawings

Photographs

Publications

Publicity photographs

Scrapbooks

Sketches

Videotapes

Date:

1949-1999

Summary:

Correspondence, patents, photographs, newspaper clippings, and subject files about various inventors and ideas. Collection documents women inventors, American culture, 1950s-1970s, and products designed for women and the home. Donovan's papers offer a near complete invention record, including both successes and failures, as well as patent and trademark correspondence.

Scope and Contents:

The Donovan papers offer a near complete invention record, including both successes and failures, and include correspondence, photographs, patents, newspaper clippings, and subject files about various inventions and ideas. This collection documents direct marketing techniques for products designed especially for women and the home. It may be useful for researchers interested in women inventors and entrepreneurs, American culture from the 1950s through the 1970s, and advertising history.

Series 1: Personal Papers and Biographical Materials, 1917-1999

Subseries 1.1: Biographical Materials, 1917-1999 includes newspaper clippings, biographical materials, and memorabilia relating to Marion Donovan's early life, family, and social activities. Note: Original clippings have been photocopied, and researcher copies are available.

Subseries 1.2: Magazine Publications, 1953-1999 includes original magazines which featured articles on Marion Donovan.

Series 2: The Boater, 1949-1995

Includes United States and foreign patents, notes, clippings, correspondence, photos, press releases and scrapbooks that document the invention of the Boater diaper cover.

Series 3: Other Ideas and Inventions, 1941-1993

Subseries 3.1: Marion Donovan's Subject Files, 1941-1995 are arranged chronologically and contain advertisements, articles, correspondence, sketches, notes, United States and foreign patents, photo materials, press releases, publications, and some artifacts documenting her ideas and inventions.

Subseries 3.2: Barbara Walters' Television Special, Not For Women Only, [1975] features an episode highlighting "Inventors and Invention," with a panel that includes Marion Donovan, Jacob Rabinow, and Henry Kloss, demonstrating their inventions.

Series 4: Dentaloop, 1979-1996

Subseries 4.1: Manufacturing Files, 1979-1996 contains files relating to the manufacture and packaging of DentaLoop, and includes photo materials, correspondence with various manufacturers including Johnson & Johnson, clippings, craft materials, and reports.

Subseries 4.2: Patents and Patent History, 1985-1996 contains files kept by Marion Donovan documenting the patent history of her and others' dental inventions.

Subseries 4.3: Marketing Files, 1989-1995 includes a substantial mailing list compiled over the years by Marion Donovan Associates, various order forms, advertising drafts, press releases, correspondence with Procter & Gamble, photo materials, personalized questionnaire responses, and a "How-To" videotape demonstration.

Arrangement:

The collection is divided into 4 series.

Series 1: Personal Papers and Biographical Material, 1999

Series 2: The Boater, 1949-1999

Series 3: Other Ideas and Inventions, 1941-1993

Series 4: DentaLoop, 1979-1996

Biographical / Historical:

Twentieth-century inventor, Marion O'Brien Donovan (1917-1998), made a career of designing solutions to everyday, domestic problems. Her career is framed by her invention in 1949 of the "Boater," a diaper cover made of surplus parachute nylon, and her invention in 1993 of DentaLoop, individual precut circles of two-ply dental floss. As an inventor and entrepreneur, Donovan created products that addressed problems in personal health, beauty, and household needs.

Marion O'Brien was born into a family of inventors on October 15, 1917, in South Bend, Indiana. Marion's father, Miles O'Brien, with his identical twin brother John, developed an industrial lathe for manufacturing gun barrels and founded the South Bend Lathe Works in 1906. After her mother died when she was seven, Marion spent a majority of her time at her father's factory, even inventing a "tooth powder" while in elementary school. She graduated with a B.A. in English from Rosemont College in 1939, and worked briefly for both Harper's Bazaar and Vogue. In 1942, she married James F. Donovan and moved to Westport, Connecticut.

A Connecticut housewife and mother of two in 1946, Donovan was unsatisfied with the options available to her to keep her babies dry. To her, cloth diapers "served more as a wick than a sponge," and rubber pants assured a nasty case of diaper rash. Looking for a way to hold the dampness in without keeping air out, she experimented by clipping a panel from her shower curtain, sewing a moisture-proof diaper cover, and replacing safety pins with snaps. Three years later, she introduced the "Boater." Donovan's attempts to sell her idea to leading manufacturers failed, but her product became an instant sensation and commercial success when she began selling the Boater at Saks Fifth Avenue in 1949. In 1951, Donovan sold both her company, Donovan Enterprises, and her diaper patents to children's clothing manufacturer Keko Corporation, for one million dollars.

Marion Donovan's interest in design and invention manifested itself in a Master's degree in architecture which she received from Yale University in 1958, at age forty-one. According to her obituary, she was one of three women in her graduating class. In the decades that followed, Donovan would go on to invent "The Ledger Check," a combined check and record-keeping book; "The Big Hang-Up," a garment hanger and closet organizer; and "The Zippity-Do," an elasticized zipper pull.

Marion Donovan was involved in every aspect of product development, serving as creator, designer, manufacturer, and marketer. Often, designing the product also meant designing the machinery that could construct the product to her unique specifications. While working on the development of DentaLoop, for example, she and second husband, John Butler, traveled to a factory in Germany to explore floss-producing machinery ideas. Donovan also went to great lengths to market her floss product. Between the years 1991 and 1995, in collaboration with daughter Christine, she launched her largest promotional campaign, marketing DentaLoop directly to hundreds of dental professionals and pharmacists all over the country. Always envisioning improvements, she continued to correspond with companies specializing in oral hygiene products until her husband suffered a stroke, and she focused her attentions on caring for him. Following his death in July, Marion O'Brien Donovan Butler died four months later on November 4, 1998.

Related Materials:

Artifacts were donated to the National Museum of American History in March of 2000. The "Boater" diaper cover (1949), a key chain bracelet, and "The Zippity-Do" (1970) were donated to the American Costume Collection of Social History Collection (now Division of Cultural and Community Life). "DentaLoop" (1993) materials were donated to the Science, Medicine, and Society Division (now Division of Medicine and Science).

Provenance:

Ms. Donovan's daughters, Christine Donovan and Sharon Donovan Dodd, and son, Dr. James F. Donovan, Jr., donated the collection to the Archives Center, March 2000.

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:

advertising  Search this

Diapers  Search this

Dental hygiene -- 20th century  Search this

Inventions -- 20th century  Search this

Inventors -- 20th century  Search this

Trademarks  Search this

Women in advertising  Search this

Women architects  Search this

Women inventors -- 20th century  Search this

Women in marketing  Search this

Women in technology  Search this

Women inventors  Search this

Genre/Form:

Advertising mail

Birth certificates

Clippings -- 20th century

Correspondence -- 20th century

Color prints (photographs)

Dye diffusion transfer prints

Marriage certificates

Patent drawings -- 20th century

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Photographs -- Black-and-white negatives -- Acetate film -- 1900-2000

Publications

Publicity photographs

Scrapbooks -- 20th century

Sketches

Videotapes -- 1970-1980

Citation:

Marion O'Brien Donovan Papers, 1949-1996, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0721

See more items in:

Marion O'Brien Donovan Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fa6d63ec-f8d8-4873-b5b6-5c2c009aa946

EDAN-URL:

ead_collection:sova-nmah-ac-0721

Photographer:

Scurlock Studio (Washington, D.C.)  Search this

Creator:

Defender (film manufacturer)  Search this

Names:

Butler, Hattie  Search this

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Extent:

1 Item (Silver gelatin on cellulose acetate film sheet., 7 x 5".)

Container:

Box 312

Culture:

African Americans -- Washington (D.C.)  Search this

Type:

Archival materials

Retouching

Photographs

Place:

Washington (D.C.) -- African Americans

Date:

1938 June 18

undated

Scope and Contents:

Job Number: 40706

Full-length studio portrait of a young African American woman, standing beside a chair. She wears a light-colored short-sleeved blouse and a skirt. Retouching pencil and ink on negative. Defender Safety Base edge imprint.

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 women  Search this

Genre/Form:

Retouching -- Pencil

Photographs -- 1930-1960 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88d1c1951-968c-4a7e-b47e-359746119070

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref10429

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Creator:

Defender (film manufacturer)  Search this

Names:

Cameron, Jos. F., Lt.  Search this

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Extent:

1 Item

Container:

Box 292

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans -- 1930-1950

Date:

March 5, April 12 [ca. 1940]

Scope and Contents:

Job Number: 48104

Caption on negative: "48104 Lt. Jos.[?] F. Cameron 3 8x10 reg." Man and woman, man in military uniform. "Mar. 5" and "Apr. 12" without year written on original envelope. Retouching on faces. "Defender Safety Base" edge imprint.

General:

Box 618.004.065

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 military personnel  Search this

Uniforms, Military -- 20th century.  Search this

Portraits, Group -- 1930-1950 -- Washington (D.C.).  Search this

Genre/Form:

Photographs -- 1930-1950 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e2a9703e-fe85-4039-b121-cdb381379189

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref10991

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Creator:

Defender (film manufacturer)  Search this

Names:

Campbell, Raymond, 1st Lt.  Search this

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Extent:

1 Item

Container:

Box 292

Type:

Archival materials

Portraits

Photographs

Place:

Washington (D.C.) -- African Americans -- 1930-1950

Date:

July 3, October 18 [ca. 1940]

Scope and Contents:

Job Number: 48734

Caption on negative: "48734 1st Lt. Raymond Campbell 2 8x10 reg. 2 in frame" Profile portrait of man in military uniform. "July 3" and "Oct 11" without year written on original envelope. In original envelope "Defender Safety Base" edge imprint.

General:

Box 618.004.076

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 military personnel  Search this

Uniforms, Military -- 20th century.  Search this

Genre/Form:

Portraits -- Men

Photographs -- 1930-1950 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83b92b8eb-4208-4ee8-8656-b542447b65ff

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref11019

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Creator:

Defender (film manufacturer)  Search this

Names:

Campbell, Ualtei  Search this

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Extent:

1 Item

Container:

Box 293

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans -- 1930-1950

Date:

November 24, December 7 [ca. 1940]

Scope and Contents:

Job Number: 49349

Caption on negative: "49349 Miss Ualtei [?] B. Campbell 3 8x10 reg." Bust portrait of woman. "fix hair and fill in tooth see proof" written on envelope. "Nov. 24" and "Dec. 7" without year written on original envelope. Retouching on face and hand. "Defender Safety Base" edge imprint.

General:

Box 618.004.076

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 -- 1930-1950  Search this

Portraits -- African American women  Search this

Genre/Form:

Photographs -- 1930-1950 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep833f4036b-c498-40a6-9609-4a3dd72f2601

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref11023

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Creator:

Defender (film manufacturer)  Search this

Names:

Carroll, Robbie J.  Search this

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Extent:

1 Item

Container:

Box 293

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans -- 1930-1950

Date:

November 24, December 7 [ca. 1940]

Scope and Contents:

Job Number: 49348

Caption on negative: "49348 Miss Robbie J. Carroll 3 8x10 reg." Bust portrait of woman wearing watch. "even up hair to be mailed" written on envelope. "Nov. 24" and "Dec. 7" without year written on original envelope. Retouching on face and hand. "Defender Safety Base" edge imprint.

General:

Box 618.004.076

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 -- 1930-1950  Search this

Portraits -- African American women  Search this

Genre/Form:

Photographs -- 1930-1950 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ded92497-78fb-4ef7-8df9-754b84b55704

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref11549

Photographer:

Scurlock Studio (Washington, D.C.)  Search this

Creator:

Eastman Kodak Company (film manufacturer)  Search this

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Extent:

1 Item (Silver gelatin on cellulose acetate film sheet., 7"x 5".)

Container:

Box 312

Culture:

African Americans -- Washington (D.C.)  Search this

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Date:

1939 May 19

undated

Scope and Contents:

Job Number: 41814

Portrait of African American woman wearing light-colored dress. Retouching pencil and ink on negative. Defender Safety Base edge imprint.

Subseries Restrictions:

Collection is open for research.

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

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Portraits -- African American women  Search this

African American women  Search this

Genre/Form:

Photographs -- 1930-1960 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82a72cdfe-c280-40b2-8eb1-d6f3b23f6a7f

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref11558

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Creator:

Agfa (Firm)  Search this

Names:

Carter, M. H.  Search this

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Extent:

1 Item

Container:

Box 293

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans -- 1930-1950

Date:

December 14, January 4 [ca. 1940]

Scope and Contents:

Job Number: 49444

Caption on negative: "49444 Mrs. M. H. Carter 6 8x10 reg." Portrait of 3 men and 3 women, one man seated in military uniform. "Dec. 14" and "Jan. 4" without year written on original envelope. Retouching on faces. "Agfa Safety Film" edge imprint.

General:

Box 618.004.076

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 military personnel  Search this

Uniforms, Military -- 20th century.  Search this

Portraits, Group -- 1930-1950 -- Washington (D.C.).  Search this

Genre/Form:

Photographs -- 1930-1950 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86cfe94b8-b0f9-4e15-bb5f-cb2b030586cc

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref11624

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Container:

Box 318

Type:

Archival materials

Date:

undated

Scope and Contents note:

Job Number: 41376

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.

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8cfc34238-85ea-43f5-8224-4de44382d13e

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref12431

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Container:

Box 318

Type:

Archival materials

Date:

undated

Scope and Contents note:

Job Number: 41376

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.

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e9164840-3fa8-447e-96a5-3c5c2bd1ad0c

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref12436