Search Results

Creator:

Underwood & Underwood  Search this

Publisher:

American Stereoscopic Co.  Search this

H. C. White Co.  Search this

Killela, J.J.  Search this

Underwood, Bert, 1862-1943  Search this

Underwood, Elmer, 1859-1947  Search this

Photographer:

Ponting, Herbert George, 1870-1935  Search this

Underwood, Bert, 1862-1943  Search this

Underwood, Elmer, 1859-1947  Search this

White, Clarence W.  Search this

Extent:

160 Cubic feet

Type:

Collection descriptions

Archival materials

Stereographs

Photographs

Stereoscopic photographs

Lantern slides

Date:

1895-1921

Summary:

A collection of approximately 28,000 glass plate negatives showing views of a variety of subjects.

Scope and Contents:

The major part of the collection, series 1-4, contains nearly 28,000 glass plates, including original stereoscopic negatives, interpositives, and both negative and positive non-stereoscopic plates used to produce lantern slides and paper prints. The photographs were taken all over the world. The majority are from the Underwood & Underwood active files, but plates from other publishers are also included. Series 5 is a small collection of paper stereographs. Series 6 contains 4 Underwood & Underwood descriptive sales catalogs and 1 H. C. White & Co. catalog (numbers on the Underwood plates correspond to the numbers on catalog captions). Series 7 is apparatus--four stereoscopes.

The approximately 28,000 glass plates in this collection have not been completely inspected at this point due to handling problems associated with asbestos contamination of the collection. A preliminary survey, however, indicated that the selections of images cover the full range of subject matter encompassed by the "Underwood Travel System." The subject matter is most easily comprehended by consulting one of the Underwood sales catalogs which accompany the collection. The catalog captions are arranged geographically, for the most part, and generally represent an organized "tour" which could be purchased as a boxed set, complete with maps and guide book, although individual images could be purchased separately. The catalogs indicate that the Underwood files were continually updated, for extensive modifications in some of the sets can be seen from edition to edition, and actual inspection of published stereographs shows that alternate views with identical Underwood catalog numbers were substituted from time to time, and that new subjects (with new catalog numbers) were sometimes introduced into the sets and old subjects were retired. There are glass plate negatives as well as positives in this collection. The positive images were probably interpositives used for the production of duplicate negatives. Some of the original stereo negatives were cut apart and the images transposed; they were then bound with an additional glass support (in many cases the tape has deteriorated). Half stereo positives also appear in the collection: these probably were intended for use in lantern slide production. Frequently a drawer of plates contains several incarnations of a single image, including the original negative, a copy negative, an interpositive, and a positive lantern slide. In other cases a drawer may contain only a single mode, e.g., original negatives, while corresponding positives and/or lantern slides appear in separate drawers.

A small quantity of the Underwood & Underwood plates are not from the Travel System, but represent humorous and genre subjects which were cataloged and marketed separately. The work of several other publishers, usually without Underwood catalog numbers, is also represented, including H. C. White, American Stereoscopic Company, and J. J. Killela.

The arrangement of the collection seems to reflect a combination of permanent reference storage as well as active use files. The apparent anomalies or inconsistencies probably indicate the pulling of plates from permanent files into temporary work files, and the collection may consist of a combination of permanent storage and temporary working files. As the drawers do not appear to have been renumbered according to any easily discernible pattern, they have become intermixed and rearranged in storage. The contents of each drawer usually have been found in good order, however, and the plates were nearly always arranged numerically,usually with the low numbers at the rear of the drawer and the highest number at the front. As the plates have been rehoused, the reverse numerical order has been corrected. When all the plates have been rehoused and inventoried, consideration will be given to general collection rearrangement and renumbering of the containers, either strictly in numerical order or topically and/or geographically with a numerical sequence within each group.

The collection is in good condition for the most part, although conservation attention will be required. There is a certain amount of emulsion peeling or frilling at the edges of some plates, but this is a condition to which emulsions on glass frequently are prone. A few plates, bound in a sandwich arrangement between cover glass and acetate facing the emulsion, have suffered severe damage, peeling, and image losses through the apparent ferrotyping and sticking of emulsion to the plastic, probably under conditions of high humidity at some stage. There is surprisingly little glass breakage within the collection.

Most of the stereoscopic negatives and many of the positives are defaced with a double "XI' scratched into the emulsion of either the left or right side, as described above in the historical note. Of particular interest and presumed rarity are cards found interfiled with plates in many of the drawers. These cards, filed by Underwood (i.e., catalog) numbers, bear printing'or production dates and notes, along with the unique, chronological accession numbers which the company assigned to each plate, regardless of the "active" number which it might eventually receive. A check mark on a card usually refers to a plate actually in the collection and with which the card is found physically associated; additional accession numbers without check marks listed on the cards possibly refer to variant views which were discarded or may in fact be in the Keystone Mast Collection (pending further research). For ease of handling and in the interest of conservation, the cards have been separated from the plates within each drawer and are arranged as a group at the rear, but can still be located easily. Frequently when a plate and/or its original envelope does not bear both the "active" and accession numbers, the missing number can be located on one of these cards.

Photographers represented include Herbert G. Ponting and Clarence W. White. A photographer and/or publisher named J. J. Killela is also represented.

Arrangement:

This collection is arranged in seven series. Series 1, 2, and 3 are each divided into negative and positive subseries. Plates are arranged numerically in groups based on geographical and subject content. Controlled at the series level in the finding aid and at the item level in a computer database.

Series 1, H. C. White glass plates

Series 2, American Stereoscpopic Co. glass plates

Series 3, Underwood & Underwood glass plates

Series 4, Broken glass plates

Series 5, Original company catalogs

Series 6, Paper stereographs

Series 7, stereoscopes (viewers)

Biographical / Historical:

Underwood & Underwood was established at Ottawa, Kansas, by the young brothers Elmer and Bert Underwood in 1882. They initially operated as distributors for eastern photographers' stereographs to new markets in the West. Their activities included door to door canvassing with views by Charles Bierstadt, J. F. Jarvis, and Littleton View Co.(1) Underwood & Underwood, Publishers, opened a branch office in Baltimore in 1887.(2)

Soon Underwood & Underwood and other large stereograph publishers began recruiting college students to work as salesmen during summer months (1890). Underwood and Underwood claimed that their organization alone sent out as many as 3,000 college students in one Summer [sic]. With the other ... big companies each employing more than 1,000, it is easy to understand how the countryside of the Nation literally swarmed with stereograph salesmen throughout the summer months! ... The competition between the salesmen themselves was likewise aggressive, with no holds barred. Many successful business and professional men of today relate with considerable pride that they got their start on their careers in this practical and very effective school of salesmanship.(3)

The company moved its main office from Ottawa, Kansas to New York City (1891),(4) and gradually began to publish its own stereographs. Bert Underwood finally took photography lessons from M. Abel in Mentone, France during the same year.(5) B. L. Singley, erstwhile salesman for the Underwood & Underwood and James M. Davis & Co. firms, in 1892 formed the Keystone View Company of Meadville, Pennsylvania, which was to become Underwood & Underwood's chief competitor and imitator.(6)

Underwood & Underwood entered the education market (1895) by producing packaged sets of 100 or more stereographs with descriptive texts.(7) From 1897 the firm employed full time staff photographers as well as free lancers. By 1901 the Underwoods were publishing 25,000 stereographs per day (i.e.,total number of cards). Increasing production levels led them to gain control of the Jarvis, Bierstadt, and William H. Rau photoprinting facilities in 1897 1898.(8)

The Keystone view Company created its own Educational Department in 1898. This division sustained the Keystone View Company past the period of the stereograph's popularity. In this year Underwood & Underwood reprinted Oliver Wendell Holmes's series on the stereograph and stereoscope which originally appeared in The Atlantic Monthly between 1859 and 1863. This eighty page booklet included testimonials from eminent scholars on the value of the stereograph in education. The company had been test marketing what itlater called "The Underwood Travel System." This consisted of a boxed set of stereo views of a country or region, a guide book describing the significance of the places shown, and a map showing their location and the viewpoints from which the stereographs were taken. Captions on the backs of the stereographs were sometimes printed in six languages.(9) As stereographs began to be used in schools as visual aids, the firm promoted its Travel System with endorsements from prominent educators, citing the usage of the system by various schools and universities.(10)

The H. C. White Company, which had manufactured stereoscopes for several decades, entered the stereo publication field in 1899.(11) Much of its production seemed to imitate Underwood & Underwood cards, including typography and the color of mount stock. Underwood & Underwood expanded into news photography by 1910 and gradually decreased its stereographic work. Few new stereo negatives were added to the file after 1912 except for a flurry of activity during the early war years, 1914 1916. The total number of Underwood & Underwood "titles" in stereo were from 30,000 to 40,000 (there might be a substantially larger number of actual negatives, since the files frequently were updated with newer views for old catalog numbers).(12)

Underwood & Underwood sold a portion of its negative file to the educational division of Keystone View Company in 1912,(13) and between 1921 1923 conveyed to this competitor their remaining stereo stock (presumably both cards and negatives) and rights.(14) In addition to its involvement as a news photographic agency, the company eventually opened portrait studios which flourished during the World war II years. A former Smithsonian employee, Vince Connolly, worked for Underwood & Underwood, which competed with Harris & Ewing in general portrait work during that period: he did portraiture and other photography, but says he was unaware of his employer's earlier stereo publishing activities.

Underwood & Underwood donated approximately 6000 negatives to the Section of Photography of the Division of Graphic Arts (1964). These photographs are primarily 4" x 5", captioned glass plate and film negatives. The subjects are news events and theatrical, sports, and political subjects of the early 20th century. In a letter to the Smithsonian of March 25, 1966 (in accession number 270586), Mrs. John M. Stratton described another collection of Underwood & Underwood photographs, stating that her husband had been a partner in Underwood & Underwood Illustrations and owned Underwood & Underwood News Photos. In November of the same year Mr. and Mrs. Stratton donated this collection of glass plates by Underwood & Underwood and other publishers to the Division of Photographic History (then the Section of Photography of the Division of Graphic Arts) . This material consists of both negative and positive stereographic plates, as well as non stereoscopic plates, chiefly copies made from the stereographs, with some catalogs, stereoscopes, and other material. The donor estimated 12,900 plates, but in 1983 the Smithsonian Institution inventory yielded a total of approximately 28,000 plates.

The Keystone View Company's stereoscopic production continued much later than Underwood & Underwood's. It was not until 1939 when declining interest in stereography led the firm to discontinue stereograph production and enter the field of visual optometrics. The stereoscopic negative collection, including material obtained from Underwood & Underwood and other firms, was placed in storage in concrete vaults. The Mast family of Davenport, Iowa, eventually purchased the collection in 1963, and in 1977 donated the collection to the University of California for its California Museum of Photography in Riverside. The University took physical possession of this vast collection in 1979.(15)

Many of the Underwood & Underwood plates donated by the Strattons (which were transferred to the Archives Center in 1983), in effect have been cancelled by having diagonal lines (double "X" marks) scratched into the emulsion of either the left or right image of each stereo pair (never both sides). These cancellation marks do not appear on the Underwood & Underwood plates in the Keystone Mast Collection in Riverside. This leads to several theories: (a) that these cancellations were in fact the reason that the Smithsonian plates were not purchased by Keystone in either 1912 or 1921, since Keystone clearly intended to use the Underwood material for stereograph production and the defaced plates would be of no value to them for this purpose; or (b), as stereo collector John Waldsmith suggests, that the cancellations were part of an agreement between Underwood & Underwood and Keystone: Keystone may have asked Underwood & Underwood to cancel one side of each stereoscopic plate not being sold to Keystone so that Underwood & Underwood would no longer be able to compete with Keystone in the stereo market. The defaced plates, as well as other material which Keystone did not purchase, apparently remained in Underwood custody and eventually were acquired by Mr. and Mrs. Stratton. The cancellation marks in the Smithsonian's collection are the subject of further conjecture. Edward Earle at Riverside feels that, since Underwood & Underwood sought to abandonded stereograph production much earlier than Keystone's departure from the field in order to enter the non stereoscopic lantern slide market, the cancellation may have served to indicate which side of each sterescopic pair should be converted to lantern slide production use; the existence of the 4" x 5" copy negatives and positives from stereographs in this collection seem to corroborate this. The Underwood & Underwood conversion from stereograph to lantern slide materials seems to coincide with the ascendance of lantern slide projection as visual aids in schools. The company apparently modified the type of photographic product which they published at least partially in recognition of this new educational trend.

NOTES

1. edward W. Earle, ed., Points of View: The Stereograph in America A Cultural @ Visual 'g . E!Ltory, Rochester, F.Y., Th Studies Workshop ress, 1979, p. 60; William Culp Darrah, The World of Stereographs, Gettysburg, Pa., 1979, p. 46.

2. Tbid., p. 62.

3. George E. Hamilton, Oliver Wendell Holmes, His Pioneer SLtuereoscope and Later Industry, New York, New )men Society, 1949, p. 17, quoted in Points of 1=e w:, 6 4 . P.

4. Points of View., p. 66.

5. Darrah, p. 47.

6. points of View, p. 66.

7. Ibid., p. 68.

8. Darrah, p. 47.

9. Points of View, p. 70.

10. Howard S. Becker, "Steteographs: Local, National, and International Art Worlds," in Points of View, p. 95. 11. points of View, p. 72.

12. Darrah, p. 48.

13. Darrah, p. 48, quoted in Points of View, P. 82.

14. Darrah, p. 48.

15. Chris J. Kenney, introduction to "Perspective and the Past: The Keystone Mast Collection," CMP Bulletin, Vol. 1, No. 2, 1982.

Related Materials:

California Museum of Photography, University of California--Riverside, Riverside, California 92521.

Underwood & Underwood stereographs in this collection and the Smithsonian Underwood & Underwood Collection originally were components of the same company file.

Provenance:

Collection donated by June Stratton (Mrs. John M.) on December 19, 1966.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Traveling sales personnel  Search this

Travel photography -- 1890-1930  Search this

Genre/Form:

Stereographs -- 1890-1930

Photographs -- Interpositives -- Glass -- 1890-1930

Photographs -- Black-and-white negatives -- Glass -- 1890-1930

Photographs -- 1900-1950

Stereoscopic photographs -- Glass -- 1890-1930

Lantern slides

Photographs -- 1890-1900

Citation:

Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0143

See more items in:

Underwood & Underwood Glass Stereograph Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86e358e26-e305-49a6-bf9b-f2d38d995ae0

EDAN-URL:

ead_collection:sova-nmah-ac-0143

Photographer:

Minor, Frank (photographer)  Search this

Creator:

Armstrong, W. L., Mrs.  Search this

Names:

Smithsonian Institution -- 1880-1890  Search this

Extent:

1 Cubic foot (2 boxes )

Type:

Collection descriptions

Archival materials

Wet collodion negatives

Aerial views

Photographs

Place:

Washington D.C. -- photographs -- 1860-1890

White House (Washington, D.C.)

Hains Point (Washington, D.C.) -- 1880-1980

Manassas (Va.) -- History -- Civil War, 1861-1865

Date:

1865-1885

Summary:

Glass plate negatives of views of Washington, D.C. and Richmond, Virginia.

Scope and Contents:

11 8" x 10" and 10 4" x 5" glass photonegatives, some marked "1885", one marked "1865" and "Libby Prison"), but most seem from ca. 1885; silver gelatin except two silver collodion plates, one of which bears the "1865." The large plates were stored in a nineteenth-century wooden, grooved plate box (now stored separately). Images depict buildings and sites in Washington, D.C., including: aerial or bird's-eye views possibly taken from the (unfinished?) Washington Monument; the Manassas Panorama building with the completed (capped) Monument visible in the background; Washington street scenes, especially Pennsylvania Avenue; the Smithsonian castle; the U.S. Capitol; the White House; and dredging operations to create Hains Point.

Biographical / Historical:

Photographer(s) and circumstances of creation unknown.

Provenance:

Collection donated by Mrs. W. L. Armstrong, February 3, 1986.

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:

Streets -- Washington (D.C.)  Search this

United States Capitol (Washington, D.C.) -- 1880-1890  Search this

Washington Monument (Washington, D.C.) -- 1880-1890  Search this

Waterfronts -- Washington (D.C.)  Search this

Dredging -- 1880-1890 -- Washington (D.C.)  Search this

Cycloramas -- 1880-1890  Search this

Cities and towns -- 1880-1890  Search this

Capitols -- 1880-1890  Search this

Buildings -- 1880-1890 -- Washington (D.C.)  Search this

Architecture -- 1880-1890 -- Washington (D.C.)  Search this

Libby Prison -- 1880-1890  Search this

Paintings -- 1880-1890  Search this

Panoramas -- 1880-1890  Search this

Genre/Form:

Wet collodion negatives

Aerial views -- 1880-1890 -- Washington (D.C.)

Photographs -- Black-and-white negatives -- Glass -- Collodion -- 19th century

Citation:

W. L. Armstrong Washingtoniana Glass Negative Collection, 1865-1885, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0183

See more items in:

W. L. Armstrong Washingtoniana Glass Negative Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82ed09348-d357-44a7-b496-9fe006dfb69f

EDAN-URL:

ead_collection:sova-nmah-ac-0183

Collector:

Armstrong, W. L., Mrs.  Search this

Names:

Libby Prison  Search this

Collection Photographer:

Minor, Frank (photographer)  Search this

Collection Creator:

Armstrong, W. L., Mrs.  Search this

Extent:

1 Item (Silver gelatin on glass., 8.0" x 10.1")

Container:

Box 1, Folder 1

Type:

Archival materials

Photographs

Place:

Virginia -- 19th century

Richmond (Va.)

Confederate States of America

United States -- History -- Civil War, 1861-1865

Date:

1865

Scope and Contents:

Confederate prison in Richmond, Virginia. Small group of men and soldiers standing amid six tents in foreground. Glass plate is slightly chipped around the edge.

Local Numbers:

AC0183-0000001.tif (AC Scan No.)

Restrictions:

Unrestricted research use on site by appointment. Glass plates must be handled with cotton gloves.

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:

Tents  Search this

Soldiers -- Civil War  Search this

Civil War, 1861-1865  Search this

Prisons  Search this

Prisoners of war  Search this

Genre/Form:

Photographs -- 1860-1870 -- Black-and-white negatives -- Glass

Collection Citation:

W. L. Armstrong Washingtoniana Glass Negative Collection, 1865-1885, Archives Center, National Museum of American History.

See more items in:

W. L. Armstrong Washingtoniana Glass Negative Collection

W. L. Armstrong Washingtoniana Glass Negative Collection / 8" x 10" negatives, silver gelatin unless identified as collodion / Libby Prison / Richmond / 1865 (on negative), with soldiers and tents in foreground, prison building in background. Collodion, but copied from another photograph. Sky area opaqued; left edge ragged and broken. SI neg. no. 86 353.

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep87db1ad43-6e23-45db-8af0-f67f3ec4fdad

EDAN-URL:

ead_component:sova-nmah-ac-0183-ref537

Creator:

Perkins, James Secor  Search this

Gilbreth, Frank Bunker, 1868-1924  Search this

Gilbreth, Lillian Moller, 1878-1972  Search this

Extent:

5 Cubic feet (19 boxes)

5 Cubic feet (19 boxes)

Type:

Collection descriptions

Archival materials

Videotapes

Betacam sp (videotape format)

Motion pictures (visual works)

Date:

1907-2000

bulk 1911-1924

Summary:

The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Also included are slides dcoumenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Scope and Contents:

The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. As scientific managers, the Gilbreth's introduced new techniques to analyze work, the workplace, and work practices with the goal of eliminating waste to maximize productivity. The collection illustrates these new techniques and their application to a wide variety of studies. The collection is diverse and provides insight into understanding how Gilbreth approached his studies. Also included are slides documenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Series 1, Background Information, 1892-1997, includes biographical materials about Frank B. Gilbreth; copies of some of Frank Gilbreth's patents, 1892-1916; and printed materials, 1907-1997, that contain articles, newspaper and magazine clippings about Frank and Lillian Gilbreth and time and motion study generally. Black-and-white photo prints of Gilbreth or work Gilbreth documented from collections held at Purdue University and Ohio State University are included.

Series 2, Glass plate stereo slides, 1910-1924, consists of approximately 2,250 glass stereo slides photographed by Frank B. Gilbreth and others and intended for viewing through an optical viewing machine. Some are positive black and white, positive color, and negative black and white. The subject matter of the slides covers the work undertaken by Frank Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Many of the images serve as documentation for the studies the couple performed as they were hired by firms in an attempt to provide solutions to the problems of inefficiency. Also included are the Gilbreth Family, their travels, residences, and friends.

The slides are numbered sequentially. For example, a glass plate slide numbered 318949.001 will have a corresponding photoprint 318949.001 in Series 3, Photoprints of glass plate slides. Note: not all glass plate slides have corresponding photoprints. Additionally, there are Office of Photographics Services, Smithsonian Institution negative numbers assigned to many of the photo prints.

Some subject categories include:

Frank B. Gilbreth: working in motion laboratories, on factory inspections, seated in offices, with family and friends, in World War I uniform, watching and monitoring shop operations.

Lillian M. Gilbreth: with family, during university graduation ceremonies, traveling and working with Frank and observing office workers.

Gilbreth Family: family on the road in an automobile, at home seated around the dinner table, in the parlor, in the garden, and with friends and relatives.

Gilbreth ship travel: contains views on steamer voyages to Europe, deck scenes, arrivals, departures, ship officers and crew, and other passengers.

Automobile assembly study: internal and external views of a warehouse/factory, including large piles or rows of metal car frames and other parts.

Benchwork study: images of a male worker standing or sitting in a chair while filing an object secured in a vice at a workbench.

Betterment: images of efforts whcih contributed to industrial betterment (the Gilbreth chair, employee library, and the home reading box).

Bricklaying study: view of men wearing overalls and caps, shoveling, and men laying bicks.

Business and apparatus of motion study: views of lectures, meetings, film showings, demonstrations, charts, drawings, motion models, charts amd some equipment.

Disabled study: views of partially blind World War I veterans, amputees using special tytpewriter, assembling machinery, use of cructhes, and a one armed dentist.

Factory bench work: table-top machines assembly operations, hand tools, orderly arrangement of parts prior to and during assembly and a variety of bench vises.

Factory documentation: various images of the interior and edterior of factories including heavy machinery.

Golfing study: various cyclegraphs of a man swinging a golf club.

Grid boards: back drops used by Gikbreth to isolate and measure worker motions. This includes walls, floors, desktops, and drop cloths divided into grids of various densities and scales.

Handwriting and cyclegraphs: finger lights moving in patterns of script.

Ladders: include step ladders and painters' ladders shown in use near shelving.

Light assembly study: wide variety of images ranging from cyclegraphs of women working, to the factory floor as well as tools and machinery.

Materials handling study: different angles of an empty cart, a cart oiled high with boxes, and a man pushing a cart illustrating different body positions.

Military study: illustrate work on the Army foot meausring machine, gun parts, men holding a rifle.

Motion models: images of simple wire motionmodels.

Needle trade study: views of textile machinery and workers.

Office study: various shots inside of an office with tables, desks, drawers, files, and typewriters. Some of the images are cyclegraphs of femal and male workers performing tasks, such as writing, both tin the context of an office as well as in front of a grdidded background. There are several close-ups of an organizer containing penciles, paperclips, pins and rubberbands.

Packing: methods of placing and arranging goods in boxes, such as soap packing.

Panama-Pacific Exposition 1915: contains views of statuary, fountains, and architecture of the exposition held in San Francisco.

Pure light cyclegraphs: no workers or grids visible only finger lights in motion.

Rubber stamping study: hand movements and access to ink pads and stamps.

Scenic views: views of buildings, landscapes, street scenes, and fountains from around the world documenting Gilbreth's travels.

Shoe making study: laboratory studies of shoe assembly operations with an emphasis on workers access to component pieces.

Shop machinery: various shots of machines and workers working with machines.

Signage: include organizational flow charts, shop floor plans, route maps, office layouts, numbering systems, exhibit display boards illustrating Frank Gilbreth's efficiency studies and techniques.

Stacking: views of the art and science of stacking boxes, clothing, equipment, containers, and vertical storage without shelves.

Stock bins: consists of storage pips, paper, other raw materials, shelves, and corridoe shots.

Storage: images illustrate contrast between old techniques and new.

Surgical and dental studies: thester views of surgeons, assistants, nurses, hand motions in grasping, placing surgical instruments, dental work and self inspection of teeth.

Tool cribs: storage of hand tools in shops with an emphasis on easy access and easy inventorying.

Typing study: various views of femaile s under observation using Remington typewriters.

Series 3, Photoprints of glass plate slides, 1910-1924, consist of black and white photoprints of the glass plate slides depicting the fields of motion study, shop efficiency, and factory organization. Also included are the Gilbreth Family, their travels, residences, and friends.

Series 5, Stereographs,1911-1914,

Series 6, Audio Visual Materials, 1968, 2000, and undated, is divided into three subseries: Subseries 1, Audio visual documentation, 1968 and undated; Subseries 2, Moving Images, 1968 and undated; and Subseries 3, Audio Recordings, 1980, 1990,. 2000 and undated. The series contains several formats: 7" open reel-to-reel audio tape, 1/2" VHS, Beta Cam SP, DVD, audio cassette, one inch audio tape, and 16 mm film.

Subseries 1, Audio visual documentation, 1967-1968 and undated, consists of supplemental documentation for the film, "The Original Films of Gilbreth The Quest for the One Best Way." Specifically, there are brochures and other printed materials detailing what the film is about and how copies may be obtained. This subseries also contains a copy of the book Cheaper by the Dozen, 1948. The book was written by Frank Bunker Gilbreth, Jr. and Ernestine Gilbreth Carey and tells the biographical story of Frank Bunker Gilbreth and Lillian Moller Gilbreth, and their twelve children. The book was adapted to film by Twentieth Century Fox in 1950.

Subseries 2, Moving Images, 1967, consists of one title, "The Original Films of Gilbreth The Quest for the One Best Way." The film materials consist of the film's production elements: 16 mm black and white negative A-roll; 16mm black-and-white negative B-roll; and the optical track negative. Each is 800 feet in length.

The film presents a summary of work analysis films which were taken by Frank B. Gilbreth between 1919 and 1924 showing a number of industrial operations from which the motion study was developed. Demonstrates motion and fatigue study, skill study, plant layout and material handling, inventory control, production control, business procedures, safety methods, developing occupations for the handicapped, athletic training and skills, military training, and surgical operations as researched and developed by Gilbreth. Points out that Gilbreth created entirely new techniques on how to improve industrial efficiency, while at the same time significantly improving conditions for the workers. The film was produced by James S. Perkins in collaboration with Dr. Ralph M. Barnes and with commentary by Liilian M. Gilbreth and James S. Perkins. The film was presented on December 3, 1968 at the American Society of Mechanical Engineers Annual Meeting in New York. The formats for this title include: 16 mm, Beta Cam SP, and DVD. Additionally, there is a one inch audio tape recording for the film.

Subseries 3, Audio Recordings, 1980, 1990, 2000 and undated consist of a Smithsonian radio program titled "Inside the Smithsonian, Cheaper by The Dozen," from 1980 and an recording of Ernestine Gilbreth Casey discussing Gilbreth Family photographs from 2000. Hosted by [Ann Carroll?], "Inside the Smithsonian, Cheaper by The Dozen," featured Fred and Bill Gilbreth discussing their parents Frank and Lillian, Gilbreth, and the book Cheaper by the Dozen. The radio program coincided with the 100th Anniversary of the American Society of Mechancial Engineers (founded 1880)of which Lillian Gilbreth was the Society's first female member and showcased a single case exhibition at the Museum of History and Technology (now the National Museum of American History) titled "Frank and Lillian Gilbreth: Motion Engineers." Inside Smithosnian Radio was a weekly program produced by the Office of Telecommunications. The recording of Ernestine Gilbreth Carey was recorded on July 9, 2000 and documents Ms. Carey's identification and discussion of Gilbreth Family photographs. David Ferguson assisted in the discussion. A hard copy index to the photographs Ms. Carey discusses is available.

Arrangement:

The collection is arranged into six series.

Series 1: Background Materials, 1892-1997

Subseries 1.1: Frank B. Gilbreth, undated

Subseries 1.2: Frank B. Gilbreth patents, 1892-1916

Subseries 1.3: Printed Materials, 1907-1997

Series 2: Glass Stereo Slides (Positive), 1910-1924 and undated

Series 3: Photo prints of glass stereo slides, 1910-1924 and undated

Subseries 3.1: Photo Print Books, 1-9, undated

Subseries 3.2: Photo prints (duplicates), undated

Series 4: Stereo Autochromes, undated

Series 5: Stereograph Cards, 1911-1914

Series 6: Audio Visual Materials, 1968, 1990, 2000 and undated

Subseries 6.1, Audio visual documentation, 1968 and undated

Subseries 6.2: Moving images, 1968 and undated

Subseries 6.3: Audio recordings, 1980, 1990, 2000, and undated

Biographical / Historical:

Frank Gilbreth is best known for his work on the efficiency of motion. Working with his wife and professional partner Lillian Moller Gilbreth, he applied modern psychology to his work with management. His innovative motion studies were used on factory workers, typists and the disabled. Gilbreth established the link between psychology and education to be succesful management.

Frank Gilbreth was born in Fairfield, Maine on July 7, 1868. His parents, John and Martha Bunker Gilbreth were New Englanders. John Gilbreth ran a hardware business, but died when Frank was only three. Bearing the responsibilty of raising her children alone, Martha moved the family twice in search of quality education for her children. Ultimately she decided to school the children herself. In 1885, Frank graduated from English High School in Boston. Despite gaining admission into the Massachusetts Institute of Technology, Frank opted to enter the work world immediately as a bricklayer's apprentice with Whidden and Company, building contractors in Boston.

Smart and skilled, Gilbreth worked his way up in the company. He learned the trade quickly and soon was promoted to supervisor, foreman, and finally to the position of superintendent. To further his edcuation, he went to night school to study mechanical drawing.

At the age of 27, Gilbreth embarked upon his first business venture. He started his own contracting firm. His firm developed a fine reputation for quality work at a very rapid pace. He invented tools, scaffolding, and other contraptions to make the job easier. His company goals included the elimination of waste, the conservation of energy, and the reduction of cost. His work included canals, factories, houses, and dams. His clients came from all parts of the United States, and he performed some work in England.

In 1903, Frank Gilbreth met Lillian Moller (1903-1972) and married her on October 19, 1904. Lillian graduated from the University of California, Berkeley with a BA (1900) and MA (1902). She later earned a Ph.D from Brown University (1915), earning a dissertation titled The Psychology of Management. Lillian's academic work, large family and integral role in Frank's consulting business kept her busy. Her contributions to the business led to a greater understanding of an individual's welfare in the work world. This becamme a key idea to increasing productivity through scientific management techniques.

Working together, the couple became leaders in the new field of scientific management. They published books, gave lectures, and raised tweleve children together: Anne, Mary (1906--912), Ernestine, Martha, Frank Jr., William, Lillian, Frederick, Daniel, John, Robert and Jane. Some of Gilbreth's books include Fields System (1908); Concrete System (1908); Bricklaying System (1909; Motion Study (1911); and Primer of Scientific Management (1911). Gilbreth co-authored with Lillian: Time Study (1916); Fatigue Study (1916); Applied Motion Study (1917); and Motion Study for the Handicapped (1919).

It wasn't long before Gilbreth moved away from construction. Together with his wife, they focused on the link between psychology and motion. With her strong psychological background, and his interest in efficiency, the Gilbreth's opened the School of Scientific Management in 1913. The school was in session for four years. Numerous professional attended the school, and soon the Gilbreth's had established a reputation as consultant's to the new field of scientific management.

In 1912, Frank won a contract with the New England Butt Company in Providence, Rhode Island. There he installed his system of scientific management in a factory setting for the first time. Contracts with the Hermann-Aukam handkerchief manufacturing company in New Jersey and the Auergessellschaft Company in Germany followed. Using motion study, Gilbreth studied and reoganized the factories, attempting to find "the one best way" to do work.

Gilbreth traveled to Germany to continue his work was a scientific manager. He visited factories and hospitals, working to improve procedures and eliminate waste. Using micro-motion study and the chronocyclegraph procedure, he analyzed and dissected motion, discovering therblings, the seventeen fundamental units of any motion. World War I slowed Gilbreth's progress abroad, so he focused his consulting business on firms n the United States.

After World War I, Gilbreth's business thrived. in 1920, the American Society of Mechanical Engineers instituted its Management Division, something Gilbreth had been demanding for years. He was now a famous American engineer, gaining financial rewards as as professional honors.

Frank Gilbreth died suddenly of a heart attack on June 14, 1924, still in the middle of three contracts. He was honored after his death in 1944 by the American Society of Engineers and the American Management Association with the Gant Gold Medal. After Frank's death, Lillian moved the family to California where she continued to work on efficiency and health in industry issues. She was a respected buiness woman and was hired by several companies to train employees, study working conditions, and reduce fatigue. She lectured at several universities (Newark College of Engineering and the University of Wisconsin), and joined the faculty at Purdue University in 1935 as the first woman professor in the engineering school.

Frank and Lillian Gilbreth often used their large family (and Frank himself) as guinea pigs in experiments. Their family exploits are lovingly detailed in the 1948 book Cheaper by the Dozen, written by Frank Jr. and Ernestine Gilbreth Carey.

Related Materials:

Material in Other Institutions

Purdue University, Archives and Special Collections

Frank and Lillian Gilbreth papers, 1869-2000

The Gilbreth Papers documents the professional and personal lives of Frank Gilbreth and Lillian Gilbreth. The collection consists of personal papers, letters, correspondence, photographs, and other memorabilia that Lillian Gilbreth collected during her life regarding her youth, marriage, family, and career.

Collection of materials related to Lillian Gilbreth, 1964-2006

One folder of items relating to the life of Lillian Gilbreth, and her family, collected by her granddaughter, Lillian (Jill) Barley and Nancy Weston. Materials include clippings relating to the Lillian Gilbreth postage stamp (1984); obituaries and memorial programs for Peter Barney, Ernestine Carey, Lillian Gilbreth, Anne Gilbreth Barney, Charles Carey, and Frank Gilbreth Jr.; programs and photographs relating to Lillian Gilbreth's visit to Athens in 1964; and biographical information on Lillian Gilbreth.

Cornell University, Kheel Center for Labor-Management Documentation and Archives

Frank Gilbreth Papers on Microfilm, Collection Number: 5424 mf

Selected papers pertaining to industrial engineering. Original materials are held by Purdue University. Microfilm copied purchased from Purdue University in April 1968.

Provenance:

The collection materials were donated by several individuals: New Jersey Institute of Technology (1975); Frank B. Gilbreth, Jr., (1980); Ernestine Gilbreth Carey (1995); Daniel B. Gilbreth (1998); and James Secor Perkins in 2001.

Restrictions:

Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Series 2: Glass Stereo Slides are restricted. Boxes 3-9 were digitized in 2021. Researchers must use digital copies. 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:

Motion study  Search this

Machinery industry  Search this

Machine shops  Search this

Industrial management  Search this

Industrial films  Search this

Industrial engineering  Search this

Genre/Form:

Videotapes

BetaCam SP (videotape format)

Motion pictures (visual works) -- 1930-1950

Citation:

Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0803

See more items in:

Frank and Lillian Gilbreth Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a48e652d-6387-4a23-98c0-299772c454d5

EDAN-URL:

ead_collection:sova-nmah-ac-0803

Publisher:

Underwood & Underwood  Search this

H.C. White Co.  Search this

Photographer:

Leigh, W. H. (artist)  Search this

Collection Creator:

Underwood & Underwood  Search this

Extent:

1 Item (3 3/4" x 7")

Type:

Archival materials

Photographs

Stereoscopic photographs

Local Numbers:

RSN 5844

Video number 04606

General:

Currently stored in box 1.1.31 [161], moved from [151].

Copy and Version Identification Note:

833

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

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

Topic:

Children  Search this

Palms  Search this

Trees  Search this

Genre/Form:

Photographs -- 1900-1910 -- Black-and-white negatives -- Glass

Stereoscopic photographs

Collection Citation:

Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.

See more items in:

Underwood & Underwood Glass Stereograph Collection

Underwood & Underwood Glass Stereograph Collection / Series 1: H. C. White glass plates / 1.1: H.C. White Negatives / RSN Numbers 5743-5845

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8452428f5-7e35-4d14-98eb-c26a984e5739

EDAN-URL:

ead_component:sova-nmah-ac-0143-ref5784

Publisher:

Underwood & Underwood  Search this

H.C. White Co.  Search this

Photographer:

Leigh, W. H. (artist)  Search this

Collection Creator:

Underwood & Underwood  Search this

Extent:

1 Item (3 3/4" x 7")

Type:

Archival materials

Photographs

Stereoscopic photographs

Local Numbers:

RSN 5845

Video number 04607

General:

Currently stored in box 1.1.31 [161], moved from [151].

Copy and Version Identification Note:

838

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

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

Topic:

Bamboo  Search this

Children  Search this

Trees  Search this

Genre/Form:

Photographs -- 1900-1910 -- Black-and-white negatives -- Glass

Stereoscopic photographs

Collection Citation:

Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.

See more items in:

Underwood & Underwood Glass Stereograph Collection

Underwood & Underwood Glass Stereograph Collection / Series 1: H. C. White glass plates / 1.1: H.C. White Negatives / RSN Numbers 5743-5845

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8dcfb6ade-ddd9-4abc-911c-e9c21b8d0f78

EDAN-URL:

ead_component:sova-nmah-ac-0143-ref5785

Publisher:

Underwood & Underwood  Search this

Barnes Crosby and Co.  Search this

H.C. White Co.  Search this

Photographer:

Crosby & Co.  Search this

Collection Creator:

Underwood & Underwood  Search this

Extent:

1 Item (3-3/4" x 7".)

Type:

Archival materials

Color separation negatives

Photographs

Stereoscopic photographs

Place:

New York (N.Y.)

Date:

1908

Local Numbers:

RSN 77

General:

Company catalog card included.

Currently stored in box 1.1.1 [162], moved from [158]. Orig. no. 29-C.

"3 color stereo only / copyright April '08, Crosby & Co." on envelope.

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

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

Topic:

Church buildings -- New York  Search this

Color photography -- 1890-1920  Search this

Genre/Form:

Color separation negatives

Photographs -- 1900-1910 -- Black-and-white negatives -- Glass

Stereoscopic photographs

Collection Citation:

Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.

See more items in:

Underwood & Underwood Glass Stereograph Collection

Underwood & Underwood Glass Stereograph Collection / Series 1: H. C. White glass plates / 1.1: H.C. White Negatives / RSN Numbers 1-108

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a837b3f0-3811-45f5-a980-9445d34eb9e0

EDAN-URL:

ead_component:sova-nmah-ac-0143-ref952

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Names:

Cardozo High School (Washington, D.C.)  Search this

Subseries Creator:

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

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

Extent:

1 Item

Container:

Box 3, Folder 14

Type:

Archival materials

Photographs

Banquet camera photographs

Date:

circa 1934-1935

Scope and Contents:

Scan Number: 618ns0177544pg.tif

No ink on negative. No manufacturer's mark on film edge.

General:

From original negative Box 5893524A.

Subseries Restrictions:

Collection is open for research.

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

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

Subseries Rights:

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

Topic:

Portraits, Group -- 1930-1940 -- Washington (D.C.).  Search this

Students -- 1930-1940  Search this

Schools -- 1930-1940 -- Washington (D.C.).  Search this

Gymnasiums -- 1930-1940  Search this

Genre/Form:

Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film

Banquet camera photographs -- 1930-1940

Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film

Subseries Citation:

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

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 4.12: Banquet Negatives

Scurlock Studio Records, Subseries 4.12: Banquet Negatives / 4.12: Banquet Negatives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8819867ee-c827-4601-8f1f-f687e79d54ba

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-12-ref161

Donor:

Burggraf, Harold L.  Search this

Creator:

Burggraf, Charles J., 1862-1928  Search this

Extent:

2.1 Cubic feet (2 boxes, 1 oversize folder)

Type:

Collection descriptions

Archival materials

Wills

Deeds

Scrapbooks

Photographs

Newspapers

Place:

Johnstown (Pa.)

Pennsylvania

Date:

1880-1989.

Scope and Contents:

Documents, photographs, scrapbooks and photograph albums, relating to Charles J. Burggraf, a photographer active in Johnstown, Pennsylvania at the time of the 1889 flood. Some documents, such as a will, deeds, a baptismal certificate, and similar things, predate the flood. Many of the photographs are studio portraits taken by Burggraf. A few photographs depict flood damage, and the albums and scrapbooks relate to the flood Also included are 1989 newspapers commemorating the 100th anniversary.

Arrangement:

1 series.

Biographical / Historical:

Photographer, Johnstown, Pennsylvania.

Provenance:

Donated to the Archives Center in 2011 by Harold Burggraf, the great-nephew of Charles Burggraf.

Restrictions:

Collection open for research 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:

Floods -- Pennsylvania  Search this

Disasters -- Pennsylvania  Search this

Floods  Search this

Genre/Form:

Wills

Deeds

Scrapbooks

Photographs -- 19th century

Newspapers

Photographs -- Black-and-white negatives -- Glass -- 19th century

Citation:

Charles J. Burggraf Johnstown Flood Collection, 1880-1989, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1250

See more items in:

Charles J. Burggraf Johnstown Flood Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep89c515e34-d7e8-492b-aa93-8f612688925c

EDAN-URL:

ead_collection:sova-nmah-ac-1250

Photographer:

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

Creator:

Eastman Kodak Company (film manufacturer)  Search this

Names:

Howard University. School of Medicine  Search this

Johnson, Mordecai W. (Mordecai Wyatt), 1890-1976  Search this

Subseries Creator:

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

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

Extent:

1 Item (Silver gelatin on cellulose acetate film sheet., [4" x 5"].)

Container:

Box 52

Culture:

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

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Washington (D.C.) -- 1960-1970 -- Photographs

Date:

1960 April

Scope and Contents:

Subject/Sitter: council banquet

Group of men and women standing around a table laid with bowls of punch, plates and punch glasses. The man holding a filled punch glass in the center of the photograph is Howard University President Mordecai Johnson. No ink on negative. Ink on envelope: caption and "(Mr. Fleming, guest speaker)". "KODAK - SAFETY -- FILM" edge imprint.

Subseries Restrictions:

Collection is open for research.

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

Subseries Rights:

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

Topic:

Dinners and dining  Search this

Table setting and decoration  Search this

Evening dress  Search this

Dinners and dining  Search this

Genre/Form:

Photographs -- 1960-1970 -- 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 4.6: Black and white negatives in cold storage arranged by client

Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and White Negatives Part 1

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a8003ad0-7d35-4dd5-9b74-198e46e03bc7

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-06-ref14347

Photographer:

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

Creator:

Eastman Kodak Company (film manufacturer)  Search this

Names:

Howard University. School of Medicine  Search this

Subseries Creator:

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

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

Extent:

1 Item (Silver gelatin on cellulose acetate film sheet., [4" x 5"].)

Container:

Box 52

Culture:

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

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Washington (D.C.) -- 1960-1970 -- Photographs

Date:

1960 April

Scope and Contents:

Subject/Sitter: council banquet

Group of four women standing around a table laid with a punchbowl, punch glasses, plates and a plate of canapes. No ink on negative. Ink on envelope: caption and "(Mr. Fleming, guest speaker)". "KODAK - SAFETY -- FILM" edge imprint.

Subseries Restrictions:

Collection is open for research.

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

Subseries Rights:

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

Topic:

Dinners and dining  Search this

Table setting and decoration  Search this

Evening dress  Search this

Evening gowns  Search this

Dinners and dining  Search this

African American women -- 1960-1970  Search this

Genre/Form:

Photographs -- 1960-1970 -- 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 4.6: Black and white negatives in cold storage arranged by client

Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and White Negatives Part 1

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8eacfc6a1-0901-498b-bf6d-54066cbc47b1

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-06-ref14350

Subseries Creator:

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

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

Container:

Box 53

Type:

Archival materials

Date:

1961 March

Scope and Contents note:

Subject/Sitter: glass carving on fine arts building

Subseries Restrictions:

Collection is open for research.

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

Subseries Rights:

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

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 4.6: Black and white negatives in cold storage arranged by client

Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and White Negatives Part 1

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88fb53045-09f0-42c2-bdb9-1b2805b220ff

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-06-ref14544

Subseries Creator:

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

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

Container:

Box 9

Type:

Archival materials

Date:

Undated

Scope and Contents note:

Subject/Sitter: Glass of ice cream soda

Subseries Restrictions:

Collection is open for research.

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

Subseries Rights:

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

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 4.6: Black and white negatives in cold storage arranged by client

Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and White Negatives Part 1

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep860888075-2f6f-4793-94b6-9ddb72c6d29d

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-06-ref2718

Photographer:

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

Creator:

Eastman Kodak Company (film manufacturer)  Search this

Names:

Hotel 2400  Search this

Plymouth Congregational Church (Washington, D.C.)  Search this

Subseries Creator:

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

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

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

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

Extent:

1 Item (Silver gelatin on cellulose acetate film sheet., [4" x 5"].)

Culture:

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

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Washington (D.C.) -- 1960-1970 -- Photographs

Date:

March 1960

Scope and Contents:

Group of men and women seated at rows of long dining tables laid with plates, cups and saucers, glasses and floral displays. There are large windows with gathered drapes along one wall. No ink on negative. Ink on envelope: caption. "KODAK - SAFETY -- FILM" edge imprint.

Subseries Restrictions:

Collection is open for research.

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

Subseries Rights:

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

Topic:

Dinners and dining  Search this

Table setting and decoration  Search this

African American churches  Search this

Genre/Form:

Photographs -- 1960-1970 -- 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 4.6: Black and white negatives in cold storage arranged by client

Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and White Negatives Part 1 / Plymouth Congressional United Church of Christ

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8bcabcbaa-eaac-473a-802b-3a2d636e78d1

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-06-ref27448

Publisher:

Underwood & Underwood  Search this

Photographer:

Barker, George, 1844-1894  Search this

Collection Creator:

Underwood & Underwood  Search this

Extent:

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

Culture:

Sioux  Search this

Type:

Archival materials

Photographs

Date:

1894

Local Numbers:

RSN 16452

General:

Currently stored in box 3.1.53 [61].

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

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

Topic:

Indians of North America  Search this

Tents  Search this

Genre/Form:

Photographs -- 1890-1900 -- Black-and-white negatives -- Glass

Collection Citation:

Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.

See more items in:

Underwood & Underwood Glass Stereograph Collection

Underwood & Underwood Glass Stereograph Collection / Series 3: Underwood & Underwood glass plates / 3.1: Underwood and Underwood Negatives / RSN Numbers 16393-16474

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84ad55429-b3a6-4528-b082-8cfb7408e73f

EDAN-URL:

ead_component:sova-nmah-ac-0143-ref12887

Creator:

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

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

Custom Craft  Search this

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

Scurlock, Addison N., 1883-1964  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

320 Boxes

The material type of the series is black and white silver gelatin negatives.

Type:

Collection descriptions

Archival materials

Photographs

Dye transfer process

Color separation negatives

Matrices, color separation

Studio portraits

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

1900-1994

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 4 materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

The materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. The subjects represented are individual portrait sittings, organizations, events, businesses, commercial ventures of the studio, and Washington, D. C.

Arrangement:

Arranged in 12 subseries.

4.1: Black-and-White negatives

4.2: Black and white negatives in freezers arranged by job number

4.3: Black and white negatives in freezer storage arranged by client

4.4: Black and white negatives in freezer storage arranged by subject

4.5: Black and white negatives in cold storage arranged by job number

4.6: Black and white negatives in cold storage arranged by client

4.7: Negatives in cold storage arranged by client with index cards

4.8: Negatives in cold storage arranged by subject

4.9: Black and white negatives for publication

4.10: Glass Plate Negatives

4.11: Customcraft Negatives

4.12: Banquet Negatives

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

This series forms part of the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

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

Rights:

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

Topic:

African American entertainers -- 20th century  Search this

African American photographers  Search this

African Americans -- History -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Segregation  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Dye transfer process

Color separation negatives

Matrices, color separation

Studio portraits

Citation:

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

Sponsor:

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

Identifier:

NMAH.AC.0618.S04

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8607c1270-9c2c-4109-a459-9b8eaaab35d1

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04

Creator:

Cary Instruments.  Search this

Hawes, Roland C., 1908-1999  Search this

Names:

Applied Physics Corporation.  Search this

Aviv & Associates, Inc.  Search this

Beckman Instruments, Inc.  Search this

National Technical Laboratories.  Search this

Varian Associates.  Search this

Beckman, Arnold O.  Search this

Cary, Howard  Search this

Duffield, Jack J.  Search this

George, Kenyon  Search this

Extent:

14.5 Cubic feet

14.5 Cubic feet (44 boxes)

Type:

Collection descriptions

Archival materials

Blueprints

Correspondence

Diazo prints

Drawings

Pencil works

Photographic prints

Photographs

Date:

1908-1997

1908-1997

Summary:

The papers document the career of Roland C. Hawes (1908-) who worked in the field of immunnassay, spectrophotometry, scientific apparatus and instruments industry, and administrative duties at Applied Physics Corporation/Cary Instruments. The papers include correspondence, handwritten notes and sketches, memorandum reports, catalogs, printed material, patent documents, drawings, blueprints (original and diazo copies), and photographs.

Scope and Contents:

Correspondence, handwritten notes and sketches, memorandum reports, catalogs, printed material, patent documents, drawings, blueprints (original and diazo copies), and photographs document Hawes's work in the field of immunnassay, spectrophotometry, scientific apparatus and instruments industry, and administrative duties at Applied Physics Corporation/Cary Instruments.

Arrangement:

The collection is arranged into seven series.

Series 1, Personal files, 1938-1997

Series 2, Research files, A-Z, 1913 (1927-1990)

Series 3, Piness Laboratories, 1920-1979

Series 4, Beckman Instruments, Inc., 1939-1974

Series 5, Cary Instruments, 1937-1992

Series 6, Consulting work, 1908-(1939-1992)

Series 7, Professional activities, 1949-1996

Biographical/Historical note:

The career of Roland C. Hawes, born Oct. 4, 1908, Riverside, California, began in chemical analysis and led him into the scientific apparatus and instruments industry, where he worked in the field of spectrophotometry. B.S., chemistry, California Institute of Technology, 1930. He died in 1999.

Related Archival Materials:

Materials at Other Organizations

Office Of History, National Institutes of Health

Images of Applied Physics Corp. Vibrating Reed Electrometer, Model 31 (89.0001.206); Applied Physics Corp. Cary Vibrating Reed Electrometer, Model 31-V (89.0001.208); and Applied Physics Corp. Cary Recording UV-Vis Spectrophotometer, Model 14 (90.0010.001).

California Institute of Technology Archives

Arnold Orville Beckman: oral history, 1978

Papers of Arnold O. Beckman, 1919-1989

Provenance:

This collection was donated by Roland C. Hawes on September 9, 1997.

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:

Engineers -- 20th century  Search this

Inventions -- 20th century  Search this

Inventors -- 20th century  Search this

Scientific apparatus and instruments industry  Search this

Scientific apparatus and instruments industry -- California  Search this

Spectrophotometry  Search this

Spectrum analysis  Search this

Genre/Form:

Blueprints

Correspondence -- 1930-1950

Diazo prints

Drawings -- 20th century

Pencil works

Photographic prints

Photographs -- Black-and-white negatives -- Glass -- 1890-1920

Citation:

Roland C. Hawes Papers, 1908-1997, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0617

See more items in:

Roland C. Hawes Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep81c2f26da-b32d-4b6f-91f5-221c716b2bd7

EDAN-URL:

ead_collection:sova-nmah-ac-0617

Creator:

Downtown Gallery (New York, N.Y.)  Search this

Subject:

Stella, Joseph  Search this

Stieglitz, Alfred  Search this

Storrs, John Henry Bradley  Search this

Sunami, Soichi  Search this

Spencer, Niles  Search this

Stasack, Edward  Search this

Steichen, Edward  Search this

Steig, William  Search this

Van Vechten, Carl  Search this

Varian, Dorothy  Search this

Walters, Carl  Search this

Webb, Electra Havemeyer  Search this

Tam, Reuben  Search this

Tannahill, Robert Hudson  Search this

Tseng, Yu-ho  Search this

Valente, Alfredo  Search this

Pippin, Horace  Search this

Pattison, Abbott L. (Abbott Lawrence)  Search this

Rattner, Abraham  Search this

Pollet, Joseph C.  Search this

Osborn, Robert Chesley  Search this

Pascin, Jules  Search this

Crawford, Ralston  Search this

Shahn, Ben  Search this

Sheeler, Charles  Search this

Siporin, Mitchell  Search this

Siegel, Adrian  Search this

Reynal, Kay Bell  Search this

Ray, Man  Search this

Saklatwalla, Beram K.  Search this

Rockefeller, Abby Aldrich  Search this

O'Keeffe, Georgia  Search this

Zorach, William  Search this

Zorach, Marguerite  Search this

Zerbe, Karl  Search this

Zajac, Jack  Search this

Yavno, Max  Search this

Wilde, Isabel Carleton  Search this

Weber, Max  Search this

Adams, Ansel  Search this

Breinin, Raymond  Search this

Broderson, Morris  Search this

Laurent, Robert  Search this

Brook, Alexander  Search this

Bry, Doris  Search this

Burlin, Paul  Search this

Carlen, Robert  Search this

Cikovsky, Nicolai  Search this

Coleman, Glenn O.  Search this

Klein, Carl  Search this

Kuniyoshi, Yasuo  Search this

Karfiol, George  Search this

Karolik, Maxim  Search this

Lawrence, Jacob  Search this

Lea, Wesley  Search this

Lane, William H.  Search this

Lewandowski, Edmund  Search this

Marin, John  Search this

Levi, Julian E. (Julian Edwin)  Search this

Levine, Jack  Search this

Nakian, Reuben  Search this

Newman, Arnold  Search this

Maya, Otto  Search this

Morris, George L. K.  Search this

Dove, Arthur Garfield  Search this

Dole, William  Search this

Doi, Isami  Search this

Davis, Stuart  Search this

Fredenthal, David  Search this

Felix Landau Gallery  Search this

Halpert, Samuel  Search this

Halpert, Edith Gregor  Search this

Guglielmi, Louis  Search this

Garbisch, Edgar  Search this

Karfiol, Bernard  Search this

Demuth, Charles  Search this

Hartley, Marsden  Search this

Cahill, Holger  Search this

Hart, George Overbury  Search this

Harnett, William Michael  Search this

Our Gallery (New York, N.Y.)  Search this

American Folk Art Gallery  Search this

Boris Mirski Gallery (Boston, Mass.)  Search this

Ernest Brown & Phillips  Search this

Type:

Video recordings

Photographs

Motion pictures (visual works)

Citation:

Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.

Topic:

Fraktur art  Search this

Art -- Collectors and collecting -- United States  Search this

Art, Modern -- 20th century -- New York (State) -- New York  Search this

Printmakers -- United States  Search this

Sculptors -- United States  Search this

Art, Modern -- 20th century -- United States  Search this

Artists -- United States  Search this

Weather vanes  Search this

Chalkware  Search this

Figureheads of ships  Search this

Folk art  Search this

Theme:

African American  Search this

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)6293

(DSI-AAA_SIRISBib)221206

AAA_collcode_downgall

Theme:

African American

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_221206

Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Donor:

Tibbetts, Eleanor Sears  Search this

Extent:

44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs. )

Type:

Collection descriptions

Archival materials

Negatives

Blueprints

Albums

Plans (drawings)

Lantern slides

Date:

1899-1964

Summary:

The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.

Scope and Contents note:

The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears. Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.

In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.

The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.

Arrangement note:

The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered. Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.' The collection is arranged into 3 series: 1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums) 2) Plans and Drawings 3) Monographs

Biographical/Historical note:

Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.

Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.

During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.

Related Archival Materials note:

The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.

Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.

Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.

The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.

Provenance:

Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.

Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Photographers  Search this

Landscape architects  Search this

Gardens -- United States  Search this

Gardens -- Switzerland  Search this

Gardens -- Scotland  Search this

Gardens -- Italy  Search this

Gardens -- Germany  Search this

Gardens -- France  Search this

Gardens -- England  Search this

Genre/Form:

Negatives

Blueprints

Albums

Plans (drawings)

Lantern slides

Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS

See more items in:

Thomas Warren Sears photograph collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb68e184341-59d2-4612-8886-4cc747c92bfe

EDAN-URL:

ead_collection:sova-aag-srs

Photographer:

Rausch, William, 1862-1900  Search this

Extent:

1 Photographic album (Photographic album, silver gelatin or collodion prints, H x W x D: 49.53 x 35.56 x 10.16 cm (19 1/2 x 14 x 4 in.) )

300 Gelatin silver prints (Inside album, Contemporary half morocco, oblong folio, silver gelatin or collodion prints , 155 x 205 mm (6.1 x 8.07 in. ); 290 x 370 mm (11.4 x 14.5 in.); or smaller)

Culture:

Ndebele (Matabele)  Search this

Type:

Collection descriptions

Archival materials

Photographic albums

Gelatin silver prints

Photographs

Place:

Bulawayo

Date:

c. 1986-1900

Content Description:

Oversize photographic album of approximately 300 photographic views and scenes of Rhodesia (Zimbabwe), silver gelatin or collodion prints, mostly mounted 4 images per page recto and verso on card sheets, mostly all signed and captioned in the negative. Photographs by William Rausch of Bulawayo, including images of daily life, landscapes, ancient ruins, dams and rail construction, mining and trading in Rhodesia and preparations of troops involved in the Second Matabele War (c. 1896). The album contains rare images of the ruins of Great Zimbabwe before it was excavated.

Biographical / Historical:

William Rausch was born in Cape Colony, South Africa in 1862. His earliest photos date from 1895, after he moved to Bulawayo and established himself as a photographer. He is one of four photographers listed in Matabeleland during this time: C. Hines, C. H. Newberry, J. Parkin, and W. Rausch. Rausch died of pneumonia at Memorial Hospital on 24 September, 1900. H. A. de Beers was appointed as executor and his estate was finalised 24 January 1901.

Rausch took these photographs between 1896 – 1900 during the 'Scramble for Africa' when European nations were vying for control of the continent and its resources. In Southern Africa, Cecil John Rhodes, a British businessman, mining magnate (De Beers diamond company) and Prime Minister of the Cape Colony (1890 – 1896) was establishing British control in Rhodesia (the region now known as Zimbabwe), which was named after him. The photos by Rausch captured the British troops fighting in the Second Matabele War, which pitted the British against the local Matabele tribe. In March 1896, the Matabele revolted against the authority of the British South Africa Company, owned by Cecil Rhodes. The Mlimo, spiritual leader of the Ndebele, convinced his people that the 4,000 settlers were responsible for the drought, locust plagues and the cattle disease ravaging the country at the time. Bulawayo came under siege but British troops were sent to defend the major settlements, with war raging on until October 1897. The photographs show British military operations, preparations of troops, high powered artillery, armored engines and trains.

Provenance:

Museum purchase

Restrictions:

Collection is closed until processed. Contact Archives staff for more information.

Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rhodesia  Search this

Imperialism -- England  Search this

Genre/Form:

Photographs -- Black-and-white negatives -- Glass -- Collodion -- 19th century

Identifier:

EEPA.2019-008

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo75a6be6b3-9711-49f0-9635-0d33269e964e

EDAN-URL:

ead_collection:sova-eepa-2019-008