Publicity photograph for United Artists Corp. Front contains handwritten note and autograph; note: "From Louis Armstong, to [Milt Gabler?], Commodore Music Shop." Photographer unidentified.
Local Numbers:
AC0849.0000004.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Extent:
1 Photograph (Silver gelatin on paper, 4-13/16" x 3-1/4")
Type:
Archival materials
Photographs
Date:
1937
Scope and Contents:
Photograph taken at Brunswick Studio in connection with jam session for Milt Gabler's Commodore Records. Photographer unidentified.
Local Numbers:
AC0849.0000002.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Photograph taken at Brunswick Studio, jam session for Milt Gabler's Commodore Records.
Local Numbers:
AC0849.0000003.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Forty-one black and white photoprints, most of which are portraits of jazz, blues, Cajun, and zydeco musicians, plus a few additional subjects.
Scope and Contents:
These prints are all on fiber-based paper, unmounted. The subjects include jazz, blues, and zydeco musicians, politicians, and baseball players in action. All prints copyright 1994 by Alan Strauber, except as otherwise noted, and signed and dated on verso. All are 8" x 10" except for the 11" x 14" prints in box 2.
The majority of the photographs depict musicians in concert, but additional subjects include professional baseball players, politicians like Jerry Brown, and built structures in the American South and at Ellis Island.
Subjects include Marie Laveau's tomb, Aaron Neville, Irma Thomas, Dr. John, Michel Doucette, George Porter, Aretha Franklin, Willie Dixon, Koko Taylor, Johnny Copland, Clarence "Gatemouth" Brown, "Snooks" Eaglin, Robert Ward, Bo Diddley, Don Byron, Cajun dancers, David Duke, Jerry Brown, Boozoo Chavis, Terrence Simien, Chubby Carrier, C. J. Chevier, Dave Winfield, Rickey Henderson, Kenny Burrell, Robben Ford, Kenny Neal, Junior Wells, John Lee Hooker and Willie Dixon, a Mardi Gras "Indian," Walter "Wolfman" Washington, and Robert "Junior" Lockwood; Ellis Island; and "Little Wimp's Barbecue House."
Arrangement:
1 series.
Arranged topically.
Biographical / Historical:
Alan Strauber is a photojournalist whose work has been published in The New York Times, the Philadelphia Inquirer, Gannett Suburban Newspapers, Downbeat Magazine, and AKC Gazette, among others. His work is in the collections of Yad Vashem (Jerusalem, Israel), the Delta Blues Museum (Clarksdale, Mississippi), and the National Baseball Hall of Fame (Cooperstown, N.Y.). Among his special photographic interests are the photography of jazz musicians, professional baseball, and politicians; examples are contained in this collection. His e-mail address is
meandgi@sabbatai.com
He is also a poet and art critic. An article by Mr. Strauber, "Art entices eyes, ears at Whitney Museum" from the Poughkeepsie (N.Y.) Journal, April 11, 2002, is posted on the World Wide Web at http://cityguide.pojonews.com/fe/DayTrips/stories/dt_whitney_museum.asp.
Mr. Strauber is mentioned in on a genealogical site listing his family background, posted in the "Phair Family Circle" at http://www.geocities.com/hmshultz/phair.html.
Provenance:
Collection donated by Alan Strauber, 1994, December 21.
Restrictions:
Collection is open for research.
Rights:
Alan Staruber retains copyright. At the time of donation, the Archives Center of the National Museum of American History obtained standard museum rights from the photographer to exhibit these photographs, lend them to other qualified museums, and publish them in its own publication program. These rights do not entitle the Archives Center to provide reproduction permission to third parties, which must contact the photographer for further information.
Marian McPartland sitting at piano with Benny Carter standing behind. Photo credit at right edge: "Photo by Wayne Seidel, Vanguard Photography." Concord Records imprint at lower right.
Local Numbers:
AC0766-0000029.tif (AC Scan No.)
General:
Archives Center's Women in Jazz
In Box 2, Folder 11.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographer Leonard Nadel's supplemental material relating to and photographs of the Mexican braceros (manual laborers). They were photographed in California, Texas, and Mexico for the Ford Foundation's Fund for the Republic during the late 1950s and early 1960s in support of a report entitled Strangers in Our Fields by Dr. Ernesto Galarza.
Scope and Contents:
The collection is divided into three series. Each series is arranged chronologically.
Series 1: Scrapbooks, 1950-1968, contains scrapbooks of clippings of magazine articles and newspaper stories written by Nadel and others as well as magazines and newspaper articles making use of his photographs. The material is from a variety of specialty and mainstream publications and varies in subject matter. The scrapbooks are not only focused on Nadel's work for the Ford Foundation's Fund for the Republic but also offer a broad sampling of his work throughout the 1950s and 1960s. Material in the scrapbooks are arranged in rough chronological order. There is also a sample custom cover from one of the scrapbooks.
Series 2: Photographs, 1956-1960, undated, contains photographs printed from his negatives of the braceros. This series also contains a complete run of 8" x 10" contact sheets from his negatives of the bracero. The negatives themselves are in this series but not available for research per donor request. There are photographs ranging in size from 8" x 10" to large format photographs (10 1/2" x 13 1/2") that are keyed to frames on the contact sheets for easy reference. Negatives are arranged chronologically and captions are keyed to the negative numbers. These images have been digitized and may be found by searching "Nadel" on the collections section of the National Museum of American History website or by contacting the Archives Center.
Series 3: Publications and Supplemental Materials, 1956-2006, undated, contains correspondence, copies of Strangers in Our Fields, the publication making use of Nadel's bracero photographs, and other publications citing Nadel's work or based on it. This series also contains correspondence and written material from Evelyn De Wolfe Nadel, wife of Leonard Nadel; material relating to Nadel's photographic archive and captions for a selection of the bracero photographs. There is a selection of assorted loose news clippings.
Arrangement:
This collection is divided into three series:
Series 1: Scrapbooks, 1950-1968
Series 2: Photographs, 1956-1960, undated
Series 3: Publications and Supplemental Materials, 1956-2006, undated
Biographical / Historical:
Primarily known as a freelance photographer and photojournalist, Leonard Nadel (1916-1990) was born in Harlem, New York to Austro-Hungarian immigrant parents. He attended the City College of New York. Entering the Army during World War II, he trained at the Army Signal Corps Photographic Center. During the war he served in Australia, New Guinea, and the Philippines. After the war he returned to New York and received his master's degree in education from Teachers College, Columbia University. He moved to Los Angeles, California and studied at the Art Center College of Design.
In Los Angeles, Nadel photographed both the Pueblo del Rio and Aliso Village housing projects. He was also hired by the Housing Authority of the City of Los Angeles (HACLA) to document living conditions in the city's slums and their new post-World War II housing projects. Nadel continued his employment with HACLA until 1953, when he resigned because his HACLA colleague, Frank Wilkinson, was blacklisted by the House Committee on Un-American Activities (HUAC) and forced to resign.
Between 1953 and 1980 Nadel worked as a freelance photographer for such publications as the Los Angeles Times, Harvester News, Life, Business Week, and other major publications. His work with the Ford Foundation's Fund for the Republic resulted in his work documenting the bracero program. These photographs were taken by Leonard Nadel in connection with a survey of braceros done by Ernesto Galarza for the Fund for the Republic in 1956 in support of the publication, Strangers in Our Fields. During World War II, the United States and Mexico entered an agreement to alleviate the US labor shortage created by the war by importing Mexican workers. This arrangement outlasted the end of the war and by the time of Nadel's photographs nearly half a million Mexican contract workers, in the common vernacular of the time known as "drybacks," were legally imported to the United States annually working on short term labor contracts predominately in agriculture. These workers were also known as braceros, in Spanish translated as "manual laborer".
Nadel wrote of his work with the braceros, "I covered 5,000 miles during a circuit that took me from California to Mexico to Texas. It would have been easy enough just to turn over to the Fund the finished collection of photographs from the 2,000 images I took in attempting to accurately document the story of Strangers in Our Fields. But the conditions I had witnessed stirred me deeply. I felt that it was as much my responsibility to help 'sell' the picture story."
Nadel's photographs were the subject of the National Museum of American History (NMAH) exhibition, "Bittersweet Harvest: The Bracero Program, 1942-1964" in 2009-2010. Nadel's photographs are featured in NMAH's "America on the Move" exhibit. This quote from the "America on the Move" exhibition website gives the history of the photographs as well as the bracero program.
"In 1956, Leonard Nadel was hired by the Fund for the Republic, an anti-McCarthy liberal spin off of the Ford Foundation, to document the Bracero Program. In the 1990s, the Smithsonian Institution acquired the Nadel images. The collection contains 64 captioned photographic prints and 1730 original 35mm negatives (with corresponding contact sheets). The images document life in Mexico, men's experiences of crossing the border, and work and life in the US.
"The Bracero Program came into existence in 1942. Growers argued that labor shortages in the United States resulting from World War II required the recruitment of Mexican nationals. Mexico saw the program as a contribution to the war effort. Although the program began as a temporary war measure, it became a fixture of agricultural work landscape until it was finally terminated in 1964.
"Over the course of its lifetime, the Bracero Program became the largest and most significant U.S. labor guest worker program of the 20th century. In all, over 4.5 million contracts were awarded through the twenty-two years of the program. Despite the well-intentioned contracts, the program did not escape controversy. Some point out the widespread abuses of many of the contract's protective provisions and the violation of the legal rights and civil liberties of the braceros while others describe the program as an opportunity for Mexican nationals to make a living and improve the conditions of their families. Regardless of one's opinion of the program, it had a profound effect on Mexican American settlement patterns in the U.S. and numerous Latino families have ancestors who were involved in the Bracero Program."
Nadel married Los Angeles Times staff writer Evelyn De Wolfe in August 1961. She was Brazilian by birth and after their marriage she resigned from the Times and collaborated with Nadel on many projects that covered both national and international subjects. Nadel died in 1990.
Related Materials:
Materials in Other Organizations
The collections of the Los Angeles Public Library and the Southern California Library for Social Studies and Research each contain photographic images made by Leonard Nadel during the time he worked for The Housing Authority of the City of Los Angeles (HACLA). The Photo Collection of the Los Angeles Public Library contains approximately 290 copy negatives and corresponding black-and-white copy prints made from original materials held by HACLA. The Housing Authority of the City of Los Angeles Photograph Collection, held at the Southern California Library for Social Studies and Research, contains 225 black-and-white photographs produced by HACLA, forty-two of which were taken by Nadel.
The Getty Research Institute, Special Collections, Los Angeles, California, contain 8.75 linear feet (14 boxes) of Leonard Nadel photographs and other material relating to housing and urban redevelopment in Los Angeles, 1947-1998. The collection is described as, "Consisting primarily of photographic material by Leonard Nadel from 1947 to 1957, the collection records early efforts by the Housing Authority of the City of Los Angeles (HACLA) to promote integrated public housing for the city's growing multi-ethnic population, and also documents several areas of the city that the Community Redevelopment Agency (CRA) had targeted for commercial revitalization. Nadel's black-and-white negatives, contact prints and two unpublished photographic books form the bulk of the collection, supplemented by handwritten notes and related documents."
Provenance:
The collection was purchased with funds from the Jackson Fund in 2000. All rights were transferred to the National Museum of American History in 2000-2001.
Restrictions:
This collection is open for research use. Photographic negatives are not available for research at the donor's request, but contact sheets of the negatives are available in the collection. Some images are restricted for publication, but may be viewed in the Archives Center's reading room.
Gloves must be worn when handling unprotected photographs, negatives, and slides.
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.
This collection documents the District Curators Jazz Arts Festivals held in Washington, D.C. between 1993 and 1998 and the Kennedy Center's Mary Lou Williams' Women in Jazz Series, 1996-2000. The subjects of the District Curators Festivals include the Steve and Iqua Colson Sextet, Sonny Sharrock Band, Don Bryon Quartet, David Sanchez, David Murray, Danilo Perez Trio, Reggie Workman, Andrew White, Wayne Shorter, Roy Hargrove, Sonny Sumter, and the Roy Haynes Quartet. Subjects of the Kennedy Center's Series include Jerri Allen, Dorothy Donogan, Dottie Dodgion, the Maria Schneider Jazz Orchestra, Shirley Scott, Ann Patterson and the all-women band "Maiden Voyage," Roberta Piket, Vanessa Reuben, Jamie Baum, Chris Connor, Claire Dale, Sherrie Maricle and "Diva," and Marian McPartland.
The collection is organized into four series: Series One, District Curators Jazz Arts Festival Contact Sheets (1993-1998); Series Two, District Curators Jazz Arts Festival Prints (1993-1998), and Series Three, Kennedy Center's Women in Jazz Series (1996-2000).
Series 1, Contact Sheets (1993-1998), is comprised of seventy-one 11x14-inch black-and-white contact sheets of 10 photo shoots of the District Curators Jazz Arts Festivals, 1993-1998. The contact sheets provide an overall context for the shoots. Each contact sheet has been numbered by the photographer, indicating its place among the contact sheets for the shoot, e.g., 1/7, 2/7, etc. The contact sheets are arranged chronologically by event date. N.B.: The photographer has numbered the contact sheets for the "Jazz Arts, July 1997" shoot 1/17 through 16/17. The contact sheets for the "Trane was Spiritual, September 1997" shoot are numbered 1/8 through 7/8.
Series 2, Prints (1993-1998, undated), is comprised of fifty-one 5x7-inch black-and-white images printed on 8x10-inch paper. The prints in Series Two are largely of frames from the contact sheets in Series One. A small number of prints in this series are not taken from the contact sheets and are undated. Each print in the series has been numbered by the photographer. For each print, the container list gives the photographer's number in brackets as well as the contact sheet from which the image is taken. The series is arranged chronologically.
Series 3, Kennedy Center's Mary Lou Williams' Women in Jazz Series Contact Sheets (1996-2000), contain fifty-six 8x10-inch black-and-white contact sheets of photo shoots of the Women in Jazz series. The photographs focus on female performers both on and off stage. All contact sheets are arranged chronologically by year.
Arrangement:
Collection arranged into four series.
Series 1:District Curators Jazz Arts Festivals Contact Sheets, 1993-1998
Series 2: District Curators Jazz Arts Festivals Prints, 1993-1998, undated
Series 3: Kennedy Center's Mary Lou Williams "Women in Jazz" Contact Sheets, 1996-2000
Series 4: Kennedy Center's Mary Lou Williams "Women in Jazz" Exhibition Prints, 1994-2001
Series 5: Kennedy Center Jazz Programming, 1996-2000
Biographical / Historical:
Jeffrey Kliman was born in Everett, Massachusetts, March 5, 1942, son of Harry Kliman, one half of the Herschel & Lewis tap-dancing, roller skating team that worked on Broadway and the "Metro Circuit" between 1930 and 1937. Jeffrey Kliman's mother was Janette "Netty" Harris. Reared in middle-class Massachusetts, Jeffrey encountered an eclectic range of music that included opera -- his grandfather sang in the chorus of the Metropolitan Opera in the 1920s—the "race music" of Wolfman Jack, and the Symphony Syd Turin gospel radio show where he first heard the music of Dizzy Gillespie. In 1956 he took a job in the record department of Boston's Lechmere Department Store and listened to the music of Count Basie, Gerry Mulligan, Duke Ellington, and Stan Kenton.
Between 1959 and 1963 Kliman attended the University of Massachusetts as a pre-veterinary major. In 1960 he hosted a two-hour jazz radio show for WMUA, the university's radio station. Failing grades forced him to withdraw from the veterinary program. Eventually Kliman completed a degree as a film and TV major. He left for New York City in February, 1964, to begin a career in television advertising. In 1965 he borrowed a 35mm camera and began taking photographs of various musicians who played at the Fillmore. Kliman did free-lance work by night as a photographer for Rolling Stone, Family Circus, and Zigot while he continued to work by day as a producer for Dolphin Productions.
Kliman worked predominantly in advertising until 1986, when he relocated to Baltimore, Maryland, to start a new career as photographer of jazz musicians. "Anytime I saw jazz I would go and shoot -- Left Bank, DC Jazz Curators, street events." Currently he works as a free-lance photographer for Jazz Times and Down Beat. His primary interest is photographing up-and-coming jazz musicians performing in the Baltimore/Washington region.
Provenance:
The first portion of this collection was donated to the Archives Center by Jeffrey Kliman on December 22, 1997.
Restrictions:
Unrestricted research use on site by appointment. Unprotected photographs must be handled with cotton gloves.
Rights:
Jeffrey Kliman retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz musicians -- American -- 1990-2000 Search this
Anderson singing into microphone. Made in either Charlie's Place or Blues Alley, Washington, D.C.
Local Numbers:
AC1219-0000002.tif (AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "Gift of the Artist: Photographers as Donors," November 11, 2011-Feburary 29, 2012. David Haberstich, curator.
Collection Restrictions:
Collection is open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Pat and Chuck Bress retain copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Roach is shown playing the drums in a recording studio. Title, signature, date in lower margin.
Arrangement:
Box No. 1.
Local Numbers:
AC0445-0000009.tif (AC Scan No.)
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Title under image, left; signed under image, right.
Local Numbers:
AC0445-0000006.tif (AC Scan)
00044504.tif (AC Scan, duplicate)
General:
In Box 1, Folder 29.
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Lester Young is holding his saxophone. Title, date, signature in lower margin.
Local Numbers:
AC0445-0000010.tif (AC Scan No.)
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Title under image at left, signed at lower right? Print probably made ca. 2000. Dated from an Internet resource.
Local Numbers:
00044508.tif (AC Scan)
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Papers, oral history, and transcripts relating to Emiliano Martinez, a Cuban immigrant.
Scope and Contents:
Papers and photographs related to the immigration experience of Cuban refugee Martinez: a story from the Washington Post, March 12, 1984; a 45-minute cassette recording of an interview (in Spanish) by Richard E. Ahlborn with Martinez; a transcription in Spanish of the interview; six photographs of the hut taken by a zoo photographer; a covering memorandum from Ahlborn; a copy of Martinez's earnings from the sale of cans; and a diagram of his hut. Ahlborn, a curator in the Division of Community Life, was assisted by Juana Martin, a social worker.
Biographical / Historical:
The story of Emiliano Martinez, a Cuban refugee, was publicized as an example of the ingenuity and survival skills of recent immigrants to this nation. Martinez fled Cuba in one of the freedom flotillas of 1980. After a year in a refugee camp at Fort Chaffee, Arkansas, he arrived in Washington, D.C. in April 1981. He shared apartments with other Cuban refugees until October 1982. Using his carpentry skills, he constructed a hut on undeveloped land at the National Zoo, where he lived from December 1982 until March 1984. He then moved into a boarding house in the Adams-Morgan neighborhood. He made his livelihood by selling aluminum cans to a Safeway grocery store for an average of sixty-five dollars a month.
Provenance:
Collection donated by Emilio Martinez.
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.
1 Item (Silver gelatin on paper., approx. 8" x 6".)
Container:
Box 16 (Series 7), Folder 4
Box 17 (Series 7), Folder 1
Type:
Archival materials
Photographs
Photographs
Date:
1968 - 1968
Scope and Contents:
Photographer unidentified.
Arrangement:
Series 7, Box No. 7, Folder 10.
Local Numbers:
AC0301-0000029.tif (AC Scan No.)
Series Restrictions:
Unrestricted research access on site by appointment. Unprotected photographs must be handled with 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Jazz musicians -- 1950-2000 -- United States Search this
Unrestricted research access on site by appointment. Unprotected photographs must be handled with 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Jazz musicians -- 1950-2000 -- United States Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 20th century
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
1 Item (Silver gelatin on paper., approx. 9-1/2" x 7-1/2".)
Type:
Archival materials
Photographs
Scope and Contents:
Profile view; the man wears a cap.
Arrangement:
Series 7, Box No. 1,Folder 25.
Local Numbers:
AC0301-0000027.tif (AC Scan No.)
Series Restrictions:
Unrestricted research access on site by appointment. Unprotected photographs must be handled with 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Unrestricted research access on site by appointment. Unprotected photographs must be handled with 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Unrestricted research access on site by appointment. Unprotected photographs must be handled with 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
