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Scurlock Studio Records, Subseries 4.10: Glass Plate Negatives

Creator:
Scurlock, Addison N., 1883-1964  Search this
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  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:
16 Boxes
The subseries contains glass plate negatives.
Type:
Collection descriptions
Archival materials
Color separation negatives
Photographs
Dye transfer process
Studio portraits
Matrices, color separation
Place:
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Washington (D.C.) -- Small business -- 20th century
Date:
1900-1949
Summary:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. 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). Subseries 4.10 consists of orders placed at the Scurlock Studio. The negatives depict individual portrait sittings and formal group portraits. An overview to the entire Scurlock collection is available here: Scurlock Studio Records
Scope and Contents note:
The materials document orders placed at the Scurlock Studio. The negatives depict individual portrait sittings and formal group portraits.
Arrangement note:
The system of arrangement of the subseries is unclear.
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. 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:
Subseries 4.10 forms part of Series 4, within 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.

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.
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 Americans -- History -- 20th century  Search this
African American entertainers -- 20th century  Search this
African American photographers  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
Portraits -- 20th century  Search this
Segregation  Search this
Politicians -- 20th century  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
Genre/Form:
Color separation negatives
Photographs -- 20th century
Dye transfer process
Studio portraits
Matrices, color separation
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618.S04.10
See more items in:
Scurlock Studio Records, Subseries 4.10: Glass Plate Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep821f1088d-e0c1-4cac-b6a4-0cecf639bc0d
EDAN-URL:
ead_collection:sova-nmah-ac-0618-s04-10
Online Media:

Scurlock Studio Records, Series 5: Color Negatives

Creator:
Scurlock, Addison N., 1883-1964  Search this
Scurlock Studio (Washington, D.C.)  Search this
Custom Craft  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Scurlock, George H. (Hardison), 1919-2005  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:
72 Boxes
Type:
Collection descriptions
Archival materials
Dye transfer process
Photographs
Color separation negatives
Studio portraits
Matrices, color separation
Place:
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1964-1994, undated
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 5 primarily consists of color negatives, but occasionally includes order forms, envelopes, and other photographic materials associated with the order. An overview to the entire Scurlock collection is available here: Scurlock Studio Records
Scope and Contents:
Materials primarily consist of color negatives, but also include order forms and envelopes. Photographs associated with the order were move to series two color photographs. 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, DC. The series is arranged into two subseries: Subseries 5.1: Clients, and Subseries 5.2: Subjects.
Arrangement:
Arranged in 2 subseries.

5.1: Color negatives arranged by client

5.2: Color negatives arranged by subject
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. 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:
Portraits -- 20th century  Search this
Politicians -- 20th century  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
Segregation  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
African American entertainers -- 20th century  Search this
African Americans -- History -- 20th century  Search this
African American photographers  Search this
Genre/Form:
Dye transfer process
Photographs -- 20th century
Color separation negatives
Studio portraits
Matrices, color separation
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618.S05
See more items in:
Scurlock Studio Records, Series 5: Color Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep80833a56c-f5cc-4478-a9a9-039af8b1f63f
EDAN-URL:
ead_collection:sova-nmah-ac-0618-s05
Online Media:

Kenneth R. Harding Collection

Creator:
Harding, Kenneth R.  Search this
Names:
Democratic National Committee.  Search this
Democratic National Congressional Committee.  Search this
Democratic National Convention (1932 : Chicago, Ill.).  Search this
United States. Congress. House  Search this
Former owner:
National Museum of American History (U.S.). Division of Politics and Reform  Search this
Extent:
2 Cubic feet (6 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Programs
Date:
circa 1924-1981.
Scope and Contents note:
This collection primarily documents Kenneth R. Harding's work as an executive at the Democratic National Congressional Committee and in the position of Sergeant at Arms of the United States House of Representatives. The collection includes photographs of politicians and foreign dignitaries, programs, printed materials, scrapbooks, correspondence, and campaign memorabilia. Materials are arranged in four series.

Series 1: Professional, 1924-1981, undated, contains pamphlets, records, correspondence, and photographs documenting Harding's work with the Democratic National Congressional Committee and as the Sergeant at Arms of the House of Representatives. Materials are arranged alphabetically by subject.

Series 2: Elections, 1937-1978, undated, contains printed documents and statistical analyses for various locations and election cycles. Much of this was probably collected during Harding's work with the Democratic National Congressional Committee. Materials are arranged chronologically.

Series 3: Photographs, 1949-1980s, contains photographs of various figures, including United States presidents and foreign and domestic dignitaries. Most date from the period in which Harding worked as Sergeant at Arms of the House of Representatives. Materials are arranged alphabetically by subject.

Series 4: Clippings, 1956-1981, contains newspaper clippings. Although some mention Harding directly, many do not. Materials are arranged chronologically.
Arrangement:
The collection is arranged into four series.

Series 1: Professional Materials, 1924-1981, undated

Series 2: Elections, 1937-1978, undated

Series 3: Photographs, 1949-1980s

Series 4: Newspaper Clippings, 1956-1981
Biographical/Historical note:
Kenneth R. Harding was born in Medina, New York, to Victor Hunt Harding and Edith Falk Harding on March 28, 1914. Having foregone an undergraduate degree, Harding moved straight into law school, receiving his J.D. in 1937 from The George Washington University Law School. Shortly after finishing law school, in 1938, he married his first wife, Jane Wedderburn Harding.

In 1938, Harding took a position as a bank examiner in San Francisco, California. In the years before World War II, however, he was drawn away from that work to serve with the United States Navy. After this period and a 10-year stretch in the Air Force Reserve, he retired with the rank of colonel.

After retiring from military service, Harding transitioned into political work. Following in the footsteps of his father, a political science professor at Stanford University and former regional campaign manager for President Franklin Delano Roosevelt, Harding took a position at the Democratic National Congressional Committee, of which his father was Chief Executive. In the aftermath of his father's death, he was, having worked with the Committee for eight years, promoted to Chief Executive. In this position, which he held from 1954-1972, he distinguished himself as a leader in the Democratic campaign effort. With a reputation for knowing the situation of almost any race, he was responsible for distributing funds to candidates to support their election efforts. He served during the tenure of four House Speakers. During this time, he also took up work as the Assistant Sergeant at Arms for the House of Representatives, his father having held a similar post for two brief periods.

Upon election to the position of House Sergeant at Arms (on October 1, 1972), Harding stepped away from his role at the Democratic National Congressional Committee. In his new position, he served as the chief officer responsible for the maintenance and security of the House side of the Capitol Building and all House office buildings, serving, ex officio, as co-chief of the Capitol Police. In this role, he worked to ban self-guided tours of the Capitol Building and to prohibit vendors from setting up near the Capitol Reflecting Pool. Concurrent with these duties, he was also responsible for maintaining the decorum of the House of Representatives, greeting officials upon arrival and escorting them to the appropriate chambers. In this role, he met and worked with a large number of national and international politicians and heads of state, including the presidents in office during his tenure.

Upon retirement in February of 1980, he moved to Ormund Beach, Florida. He passed away in 2007.
Provenance:
Collection donated by Harding to the Daytona Beach Community College in 1980. In 1998 the College returned the collection to the donor because of space reasons. Harding then donated the collection to the Division of Political History, National Museum of American History. The Division transferred the archival portion of the collection to the Archives Center in 2005.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Politicians  Search this
Elections  Search this
Presidents -- United States  Search this
Political campaigns  Search this
Genre/Form:
Photographs -- 1950-2000
Scrapbooks -- 20th century
Programs
Citation:
Kenneth R. Harding Collection, circa 1924-1981, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0885
See more items in:
Kenneth R. Harding Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85f75796a-2612-482e-9758-9e2ef6f4ccfb
EDAN-URL:
ead_collection:sova-nmah-ac-0885

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
Online Media:

Gardner Cox papers, 1920-1995

Creator:
Cox, Gardner, 1906-1988  Search this
Massachusetts Art Commission  Search this
Subject:
Forbes, Edward Waldo  Search this
Saint-Gaudens, Augustus  Search this
Shaw, Robert Gould  Search this
Morison, Samuel Eliot  Search this
Stevens, Austin  Search this
Driver, Phoebe Barnes  Search this
American Academy in Rome  Search this
Saint Botolph Club (Boston, Mass.)  Search this
Putnam & Cox, (Boston, Mass.)  Search this
Portraits (Firm: New York, N.Y.)  Search this
Museum of Fine Arts, Boston. School  Search this
Boston Arts Festival  Search this
Type:
Interviews
Sketchbooks
Sound recordings
Citation:
Gardner Cox papers, 1920-1995. Archives of American Art, Smithsonian Institution.
Topic:
Portrait painting -- 20th century -- Massachusetts  Search this
Politicians -- Portraits  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8156
(DSI-AAA_SIRISBib)210327
AAA_collcode_coxgard
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210327

William Benton papers, 1940-1983

Creator:
Benton, William, 1900-1973  Search this
Subject:
Marsh, Reginald  Search this
Wood, Grant  Search this
Bohrod, Aaron  Search this
Dalí, Salvador  Search this
Dean, Abner  Search this
Der Harootian, Koren  Search this
Ernst, Jimmy  Search this
Hebald, Milton  Search this
Hirsch, Joseph  Search this
Johnson, Ben  Search this
Kent, Rockwell  Search this
Kleinholz, Frank  Search this
Levine, Jack  Search this
Poor, Henry Varnum  Search this
Rosenberg, James N. (James Naumburg)  Search this
Sachs, Hella Moravic  Search this
Vereisky, Orest G.  Search this
Albright, Ivan  Search this
Benton, Thomas Hart  Search this
Biddle, George  Search this
Bishop, Isabel  Search this
Citation:
William Benton papers, 1940-1983. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- United States  Search this
Art, Modern -- 20th century -- History -- United States  Search this
Art, American  Search this
Theme:
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Patronage  Search this
Record number:
(DSI-AAA_CollID)8883
(DSI-AAA_SIRISBib)211068
AAA_collcode_bentwill
Theme:
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211068

John S. Monagan papers relating to Naum Gabo, 1969-1982

Creator:
Monagan, John S., 1911-  Search this
Subject:
Gabo, Naum  Search this
Citation:
John S. Monagan papers relating to Naum Gabo, 1969-1982. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- Connecticut -- Middlebury -- Photographs  Search this
Sculpture, Modern -- 20th century -- United States -- Photographs  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)10631
(DSI-AAA_SIRISBib)214190
AAA_collcode_monajohn
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214190

Robert Hale

Artist:
Marcella Comès Winslow, 1905 - 2000  Search this
Sitter:
Robert Hale, 29 Nov 1889 - 30 Nov 1976  Search this
Type:
Painting
Date:
mid 20th century
Topic:
Robert Hale: Male  Search this
Robert Hale: Law and Crime\Lawyer  Search this
Robert Hale: Politics and Government\Legislator  Search this
Robert Hale: Politics and Government\Politician  Search this
Robert Hale: Military and Intelligence\Army\Officer\General\Lieutenant  Search this
Robert Hale: Politics and Government\US Congressman\Maine  Search this
Robert Hale: Military and Intelligence\Army  Search this
Portrait  Search this
Credit Line:
Owner: UNLOCATED
Object number:
UNL00506
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm43240cb12-5ab4-497e-af7d-91a653bb4489
EDAN-URL:
edanmdm:npg_UNL00506

Correspondence, Abbott H. Thayer to the Beaches, Dewing, Endicott, the Kings

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Names:
Beach, Ella  Search this
Beach, Moses Sperry, 1822-1892  Search this
Beach, Violet  Search this
Bloede, Gertrude  Search this
Dewing, M. O. (Maria Oakey), 1855-1927  Search this
Endicott, William Crowninshield, 1826-1900  Search this
King, Dr. Samuel T.  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Thayer, Emma B., 1850-1924  Search this
Collection Creator:
Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this
Extent:
10 Items (Letters, written in ink)
Type:
Archival materials
Correspondence
Date:
1891-1915
Scope and Contents:
This folder is an amalgamation of letters written by Abbott H. Thayer to various people, mostly relatives. The recipients include Moses Beach, Ella Beach, Violet Beach, Maria Oakey Dewing, Gertrude Bloede, and Dr. Samuel T. King.
Arrangement:
Organized alphabetically by recipient.
Biographical / Historical:
Abbott Handerson Thayer was born in Boston, Massachusetts on August 12, 1849 to a distinguished family. He moved from Boston to Brooklyn during his childhood, where he attended the National Academy of Design. Thayer often used his wife, Kate Bloede Thayer, her sister Gertrude, and his three children Mary, Gerald and Gladys as models. He also used Clara A. May as a model. His subjects included ethereal angels, landscapes, women, children, and flowers. When Kate died, Thayer's entire outlook on art and life changed. It had been Kate's family that introduced Thayer to the sense of idealism that comes from a German family who had immigrated to the United States. He had learned about the romanticism surrounding art and literature from the Bloedes, all of which encouraged the artist to paint perfectly beautiful figures. Later in life, Thayer established a permanent household in Dublin, New Hampshire, with his new wife, Emma Beach. He loved to paint the surrounding mountains and birds. Interestingly, Charles Lang Freer was one of Thayer's patrons.
Kate Bloede (1846-1890) was Abbott Thayer's first wife, who tragically died following a long battle with depression. Abbott used Kate as a model during his painting career. The couple lived in Paris, where their first two children were born. Upon their return to New York, the Thayers had three more children. In May 1888, Kate developed "melancholia," or depression, following the death of her father, Gustav Bloede. She was admitted to Bloomingdale Hospital, where she was treated for six months. Although her family visited her often, she did not respond well. Abbott transferred Kate to McLean Asylum in the winter of 1888, and then to a sanitorium in 1890. Pulmonary complications developed and Kate died on May 3, 1891. Animosities between Abbott and the Bloede family developed soon after Kate's death.
Emma Beach was Abbott Thayer's second wife, whom he married four months to the day after Kate Bloede's death. She met the couple during the summer of 1881, when they were vacationing in Nantucket. Beach was the daughter of Moses Beach, the former owner of the New York Sun. She was an art student, and over the next few years she visited the Thayers often, developing a close relationship with the children. Emma actually helped Thayer transfer Kate to the McLean Asylum. On July 27, 1891, Abbott wrote to Emma, imploring her to move in permanently with the family for the sake of the children. Her family was quite against this proposal, but the two were married in Nantucket on September 3, 1891. This caused problems between Abbott and the Bloedes, particularly offending Gertrude Bloede and Indie Bloede King, Kate's sisters.
Violet and Ella Beach were Emma Beach's sisters.
Dr. Samuel T. King was Abbott's brother-in-law, the husband of Indie Bloede. Thayer was quite close with King, and therefore it was King to whom he wrote in an attempt to patch things over with the Bloede family, especially Gertrude Bloede. This relationship later deteriorated, with King supporting his wife as opposed to Thayer.
Gertrude Bloede was Kate's sister and was married to Dr. King. It was Gertrude who was most offended when Thayer quickly remarried after Kate's death, and it was Gertrude whom Abbott attempted to reach out to after she refused to speak to him. Gertrude lived a double life as a poet. She published several pieces under the name "Stuart Sterne" in the 19th century.
William Endicott was an American politician from Massachusetts who served as Secretary of War and was influential on the Board on Fortification. Following his retirement, he returned to Boston, was overseer of Harvard College (his Alma mater) and president of the Peabody Academy of Science and Peabody Education Fund. It appears that Thayer's letter responds to a request from Endicott that Abbott participate in a mural in Massachusetts.
Maria Oakey Dewing was the wife of Thomas Wilmer Dewing, an American painter at the turn of the century. Maria herself was an artist who painted mostly flowers, although she began by painting figures. She studied art at the Cooper Union in New York City.
Local Numbers:
FSA A2009.06 1
Other Archival Materials:
Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, American  Search this
Genre/Form:
Correspondence -- 19th century
Correspondence -- 20th century
Collection Citation:
The Brumbaugh Collection of Artist Letters. FSA.A2009.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A2009.06, Series FSA A2009.06 1
See more items in:
The Brumbaugh Collection of Artist Letters
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc38f3c7164-7bff-44a3-a374-6ac0c276aced
EDAN-URL:
ead_component:sova-fsa-a2009-06-ref5

Huey Long

Author:
Graham, Hugh Davis  Search this
Physical description:
vii, 184 pages 21 cm
Type:
Books
Biography
Biographies
Place:
United States
États-Unis
Date:
1970
20th century
20e siècle
Topic:
Politicians  Search this
Politiciens  Search this
Call number:
CT275.L872 G7
CT275.L872G7
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_3214

Pauline Morton Sabin

Artist:
Philip Alexius de László, 1869 - 1937  Search this
Sitter:
Pauline Morton Sabin, 23 Apr 1887 - 27 Dec 1955  Search this
Medium:
Oil on canvas
Dimensions:
Sight: 73.7 x 59.7 cm (29 x 23 1/2")
Frame: 94.6 × 80.3 × 7 cm (37 1/4 × 31 5/8 × 2 3/4")
Stretcher: 76.5 × 63.5 × 2.4 cm (30 1/8 × 25 × 15/16")
Type:
Painting
Date:
1926
Topic:
Costume\Jewelry\Earring  Search this
Costume\Jewelry\Necklace\Pearl  Search this
Pauline Morton Sabin: Female  Search this
Pauline Morton Sabin: Politics and Government\Politician  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of her granddaughter, Sheila Morton Smith Cochran
Object number:
NPG.2017.57
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Exhibition:
20th Century Americans: 1900-1930 (re-installation 2012)
On View:
NPG, South Gallery 322
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4035913a3-980a-4718-9681-b4577a0e9c2a
EDAN-URL:
edanmdm:npg_NPG.2017.57

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

Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
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
Note:
Cold Storage
Type:
Collection descriptions
Archival materials
Matrices, color separation
Photographs
Dye transfer process
Color separation negatives
Studio portraits
Place:
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1928-1994
Scope and Contents:
The materials document the orders placed by the clients of the Scurlock Studio. The photographs primarily depict individual portrait sittings but there are also portraits of children, groups, and other subjects.
Arrangement note:
The negatives are arranged by job number.
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. 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:
Subseries 4.5 forms part of Series 4, within 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.

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.
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 photographers  Search this
Politicians -- 20th century  Search this
Portraits -- 20th century  Search this
African Americans -- History -- 20th century  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
African American entertainers -- 20th century  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
Segregation  Search this
Genre/Form:
Matrices, color separation
Photographs -- 20th century
Dye transfer process
Color separation negatives
Studio portraits
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618.S04.05
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c0c764e4-3c14-483e-b091-7fb65c6649da
EDAN-URL:
ead_collection:sova-nmah-ac-0618-s04-05
Online Media:

La Ligne Aérienne France-Afrique-Amérique du Sud [Victor Cambon] Publication

Extent:
0.05 Cubic feet (1 folder, 1 booklet, 1 photograph)
Type:
Collection descriptions
Archival materials
Date:
1920s; publication circa 1926
Summary:
This collection consists of a circa 1926 French-language booklet written by French author Victor Cambon entitled La Ligne Aérienne France-Afrique-Amérique du Sud (The France-Africa-South America Airline) and possibly intended to be an investment prospectus for the early French airline Lignes Aériennes Latécoère. The publication, heavily illustrated with aerial photographs, discusses postal (air mail) routes operated by Lignes Aériennes Latécoère linking France via Spain to North Africa, details of Pierre-Georges Latécoère's proposed idea of a France-Africa-South America air route, and reference to test flights made in 1925 over the South American portion of the proposed route.
Scope and Contents:
This collection consists of a circa 1926 French-language booklet (11 x 8.5 inches, 28 pages) written by Victor Cambon entitled La Ligne Aérienne France-Afrique-Amérique du Sud (The France-Africa-South America Airline) and possibly intended to be an investment prospectus for Lignes Aériennes Latécoère. The cover features a color illustration of a stylized Latécoère LAT 15 airliner in flight over a partial globe marked with a postal route linking several cities in France, Africa, and South America. The first part of the publication provides an introduction detailing the amount of time it took for mail delivery between France and South America via ship as of 1925 and how that time would be greatly reduced if Pierre-Georges Latécoère's ideas of a France-Africa-South America air route were to be put into action. A map detailing the route and distances between France and Buenos Aires, Argentina is included; a dotted line indicates a special ship route connecting the Cape Verde islands and the islands of Fernando de Noronha off the coast of Brazil. The author provides a history of Latécoère's successful France-Morocco air mail route (started September 1, 1919, between Toulouse and Casablanca via Spain) and France-Dakar route (started June 1, 1925, to continue service on to Dakar, Senegal) as proof of the commercial viability of the concept. A section on the technical organization of Lignes Aériennes Latécoère provides information on the routes, aircraft, engines, repair facilities and procedures then in use by the manufacturer and its airline, and features several photographs of Latécoère aircraft including the LAT 15, LAT 17, and LAT 21; views of the airfield at Toulouse, France; and photographs of noted passengers on the France to Morocco route (Ligne Aérienne France-Maroc) including King Albert I of Belgium, French politicians Laurent Eynac and Paul Painlevé, Marshal Philippe Pétain and Marshal Hubert Lyautey. The second part provides more detailed information on the proposed France-Africa-South America air route, with references to test flights made over the South American portion of the route. The publication includes numerous aerial photographs of locations along the air portion of the route: Toulouse and Carcassonne, France; Barcelona, Alicante, Granada, Peñíscola, and Málaga, Spain; Gibraltar; Tangier, Rabat, and Casablanca, Morocco; Dakar, Senegal; Recife (Pernambuco), Bahia, São Paulo, Porto Alegre, Pelotas, and Rio de Janeiro, Brazil; Montevideo, Uruguay; and Buenos Aires, Argentina. The publication also contains a heavily retouched black and white aerial print photograph of Carcassonne, France, circa early to mid-1920s.
Arrangement:
No arrangement.
Biographical / Historical:
Following the end of World War I, French aircraft designer and builder Pierre-Georges Latécoère (1883--1943) became interested in creating an air network linking France with cities in Africa and South America. In September 1919, Lignes Aériennes Latécoère (often referred to at the time simply as "La Ligne" or "The Line") initiated service between the Latécoère base at Toulouse, France, with Casablanca, Morocco (then a French protectorate) via several intermediate stops along Spain's Mediterranean coast. In June 1925 service was extended across the Spanish colony of Rio de Oro to Dakar, Senegal (then French West Africa). Although Latécoère did not yet have an aircraft capable of making the South Atlantic crossing between Africa and South America, he went ahead with test flights in 1925 from Rio de Janeiro, Brazil, to Buenos Aires, Argentina (with six stops enroute), and to Recife, on Brazil's northeast coast (with three stops). The proposed air route would encompass five legs: France, through Casablanca to Saint-Louis-du-Sénégal by airplane; Senegal to the Cape Verde islands off the coast of Africa by seaplane; Cape Verde to the islands of Fernando de Noronha off the coast of Brazil via a special fast surface ship; Fernando de Noronha to Recife by seaplane; and Recife to Rio and Buenos Aires by airplane. Latécoère obtained financial support in Brazil from wealthy French banker Marcel Bouilloux-Lafont (1871--1944), who increased his stake in the business until he took over Lignes Aériennes Latécoère in 1927, renaming it Compagnie Générale Aéropostale (better known simply as Aéropostale) to reflect its strong investment in air mail service. Latécoère returned to aircraft design and manufacturing, with the company becoming most famous in the 20th century for its numerous seaplane models. Still active in the 21st century as the aerospace subcontractor Groupe Latécoère, the company is now known for manufacturing aircraft equipment and substructures such as doors and fuselage sections.

French engineer and journalist Victor Cambon (1852-1927) graduated from and was later a professor at the École Centrale des Arts et Manufactures in Paris, France. Cambon was a prolific author who published articles and books predominantly on agricultural issues, French economic and colonial problems, and German industrial power, and at one time served as the editor of the scientific journal La Nature.
Provenance:
Unknown (found in collection), 2010, NASM.XXXX.0938
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Topic:
Aeronautics  Search this
Airlines  Search this
Air mail service  Search this
Aerial photography  Search this
Airplanes  Search this
Citation:
La Ligne Aérienne France-Afrique-Amérique du Sud [Victor Cambon] Publication, Acc. NASM.XXXX.0938, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.XXXX.0938
See more items in:
La Ligne Aérienne France-Afrique-Amérique du Sud [Victor Cambon] Publication
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg2b1300e99-8ee0-4385-820a-e612f449e6f0
EDAN-URL:
ead_collection:sova-nasm-xxxx-0938
Online Media:

WANN Radio Station Records

Donor:
Blum, Morris  Search this
Creator:
WANN Radio Station (Annapolis, Maryland)  Search this
Extent:
13 Cubic feet (32 boxes and 12 oversize folders)
Type:
Collection descriptions
Archival materials
Awards
Certificates
Business records
Sales records
Posters
Photographs
Correspondence
Audiotapes
Place:
Carr's Beach
Annapolis (Md.)
Maryland -- 20th century
Date:
1940-1999
Summary:
The collection documents the creative, technical and political aspects of managing WANN Radio Station in Annapolis, Maryland during the mid-Twentieth Century. Key areas of research include black radio stations; Annapolis African American communities; marketing to Black communities; political activism through media; Black-Jewish community relationships; church, community and media activism.
Scope and Contents:
The collection primarily documents the highly-segregated era of radio broadcasting and WANN's position within this historical context. It contains an extensive photographic history documenting the rise of the radio station. Other materials include programming timetables, forum broadcasts, and advertisement segments aired during the station's prime. Documents chronicling the station's business and regulatory history, including correspondence with fans, publicity materials, advertising, certificates and awards and sales reports are also included among these materials. There are newspaper clippings documenting political events and church programs covered by the radio station. Land survey maps for the placement of new station and broadcasting towers are also found among these materials. Morris Blum was involved with the Federal Communications Commission and there is a significant amount of material relating to the Emergency Broadcasting System including tutorials and regulations. Materials relating to Blum's personal life include local Jewish community and organization activities, naval history and a few family papers. Photographs and programming for WANN's sister radio station WXTC can also be found among these materials. In the early 1990s, WANN radio station became Bay Country 1190 in a move to be more profitable. There is a small amount of material relating to this new programming format. WANN radio is significant because the radio station became a place to discuss controversial topics concerning the African American community. Segregation, racial discrimination, and challenging political misrepresentation were all a part of WANN's programming. Blum and his staff did not avoid confronting what were at the time radical issues of racial justice and equality. Members of Congress, politicians and community organizers all appeared periodically on WANN radio. In addition to its talk radio format, WANN radio also played Rhythm and Blues, Gospel music, and hosted numerous dance parties and concerts at Carr's Beach. Blum hired a racially diverse staff, creating pathways to professional careers. Charles "Hoppy" Adams, who eventually became WANN's first executive vice president, began his career as a highly popular radio personality. Adams hosted the Carr's Beach dance parties and concerts featuring many young artists, including James Brown and Sarah Vaughn. The success of the radio station's hiring practices, relevant programming, social activities and political awareness makes it a valuable resource of information for both the Washington DC metropolitan area and the nation as a whole.
Arrangement:
The collection is arranged into twelve series.

Series 1: Photographic Materials, 1947-1996, undated

Series 2: Correspondence, 1947-1999

Series 3: Programming, 1947-1989

Series 4: Publicity, 1946-1999, undated

Series 5: Advertising and Marketing, 1947-1999, undated

Series 6: Engineering and Construction, 1947-1999, undated

Series 7: Office Files, 1953-1999, undated

Series 8: Communications and Emergency Management, 1946-1999, undated

Series 9: Awards and Recognition, 1940s-1999, undated

Series 10: WXTC Radio Station, 1959-1979, undated

Series 11: Morris Blum Papers, 1954-1997, undated

Series 12: Audiovisual Materials, 1953-1998
Separated Materials:
"Several artifacts were donated to the Museum's Division of Cultural History (now Division of Cultural and Community Life) in 2000. The associated accession numbers for the WANN Radio Station artifacts are as follows:

2000.0165-7,775 include sound recordings, two turntable pads, a microphone, and a studio wall clock, all used at the radio station from 1948-1995.

2002.0319-22 include eight name tags worn by on-air personalities at personal appearances, five pieces of equipment, three banners, two gold records, two public service award plaques, a pith helmet, and two T-shirts also from 1948-1995. "
Provenance:
The collection was donated by Morris Blum in July 2002.
Restrictions:
Collection is open for research. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
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:
Radio stations -- Maryland  Search this
African American radio stations  Search this
Radio audiences  Search this
Radio broadcasting  Search this
Ethnic radio programs  Search this
advertising -- 20th century  Search this
Genre/Form:
Awards
Certificates
Business records -- 20th century
Sales records
Posters -- 20th century
Photographs -- 20th century
Correspondence -- 20th century
Audiotapes
Citation:
WANN Radio Station Records, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0800
See more items in:
WANN Radio Station Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82fcb85dc-b516-4152-8091-10c4d8fc4b63
EDAN-URL:
ead_collection:sova-nmah-ac-0800
Online Media:

Scurlock Studio Records, Series 1: Black and White Photographs

Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Scurlock, Addison N., 1883-1964  Search this
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  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:
106 Boxes
Type:
Collection descriptions
Archival materials
Matrices, color separation
Photographs
Dye transfer process
Color separation negatives
Studio portraits
Place:
Shaw (Washington, D.C.)
Washington (D.C.) -- Small business -- 20th century
Washington (D.C.) -- African Americans
Date:
1888-1993
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 1 primarily consists of black and white photographs, but also includes job envelopes, order forms, correspondence, notes, and other photographic materials such as negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records.
Scope and Contents note:
Materials are almost entirely black and white photographs, but also include job envelopes, order forms, correspondence, notes, and other photographic material types that were included in the overall order. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photographs by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. The series is arranged into two subseries: Subseries 1.1: Clients, and Subseries 1.2: Subjects.
Arrangement note:
Arranged in 2 subseries.

1.1: Clients Black and white photographs

1.2: Subjects Black and white photographs
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:
Politicians -- 20th century  Search this
Portraits -- 20th century  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
Segregation  Search this
African American photographers  Search this
African American entertainers -- 20th century  Search this
African Americans -- History -- 20th century  Search this
Genre/Form:
Matrices, color separation
Photographs -- 20th century
Dye transfer process
Color separation negatives
Studio portraits
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618.S01
See more items in:
Scurlock Studio Records, Series 1: Black and White Photographs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8016336ae-23ec-4512-a76c-c1faa872aae0
EDAN-URL:
ead_collection:sova-nmah-ac-0618-s01
Online Media:

A savage song racist violence and armed resistance in the early twentieth-century U.S.-Mexico borderlands Margarita Aragon

Author:
Aragon, Margarita (Sociologist)  Search this
Physical description:
1 online resource
Type:
Electronic resources
History
Place:
United States
États-Unis
Date:
2021
20th century
20e siècle
Topic:
Racism--History  Search this
African Americans--Social conditions  Search this
Mexican Americans--Social conditions  Search this
Racisme--Histoire  Search this
Noirs américains--Conditions sociales  Search this
Américains d'origine mexicaine--Conditions sociales  Search this
SOCIAL SCIENCE--General  Search this
Race relations  Search this
Racism  Search this
Relations raciales  Search this
Call number:
E184.A1 .A73 2021 (Internet)
Restrictions & Rights:
1-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1162443

Ira B. Allen

Artist:
Unidentified Artist  Search this
Copy after:
William Wood, 1808 - 1894  Search this
Former attribution:
Archibald Robertson, 8 May 1765 - 6 Dec 1835  Search this
Sitter:
Ira B. Allen, 1751 - 1814  Search this
Medium:
Watercolor on ivory
Dimensions:
8.8cm x 7cm (3 7/16" x 2 3/4")
Type:
Painting
Date:
early 20th century
Topic:
Exterior\Sky  Search this
Miniature  Search this
Ira B. Allen: Male  Search this
Ira B. Allen: Natural Resource Occupations\Pioneer\Frontiersman  Search this
Ira B. Allen: Politics and Government\Government official\Colonial government official  Search this
Ira B. Allen: Politics and Government\Politician  Search this
Ira B. Allen: Politics and Government\State Legislator\Vermont  Search this
Portrait  Search this
Credit Line:
Owner: Smithsonian American Art Museum
Object number:
1941.5.3
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm431985aab-1f6f-43e0-90f2-0e87cb1c151c
EDAN-URL:
edanmdm:npg_1941.5.3

Robert Livingston

Artist:
Frederick William Wright, 1867 - 1946  Search this
Copy after:
Unidentified Artist  Search this
Sitter:
Robert Livingston, 1654 - 1728  Search this
Medium:
Oil on canvas
Dimensions:
76.2 x 63.5cm (30 x 25")
Type:
Painting
Date:
early-mid 20th century
Topic:
Costume\Hair Accessory\Wig  Search this
Robert Livingston: Male  Search this
Robert Livingston: Business and Finance\Businessperson\Merchant  Search this
Robert Livingston: Politics and Government\Politician  Search this
Robert Livingston: Natural Resource Occupations\Agriculturist\Landowner  Search this
Portrait  Search this
Credit Line:
Owner: New-York Historical Society
Object number:
1952.278 NYHS
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm428c5e1db-8613-4c28-8ce6-79dd5f6afc35
EDAN-URL:
edanmdm:npg_1952.278_NYHS

Jay Cook

Artist:
Alfred Bendiner, 23 Jun 1899 - 19 Mar 1964  Search this
Sitter:
Jay Cook  Search this
Medium:
Pencil on wove paper
Dimensions:
Sheet (Accurate): 35.9 x 27.6cm (14 1/8 x 10 7/8")
Type:
Drawing
Date:
20th century
Topic:
Jay Cook: Male  Search this
Jay Cook: Politics and Government\Politician  Search this
Portrait  Search this
Credit Line:
Owner: Woodmere Art Museum
Object number:
1986.14.1
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4b3c04bd8-8044-4e76-a3fc-2d0e65424eda
EDAN-URL:
edanmdm:npg_1986.14.1

Governor David L. Lawrence

Artist:
Nat Youngblood, born 1916  Search this
Sitter:
David Leo Lawrence, 1889 - 1966  Search this
Medium:
Watercolor and gouache on paper
Dimensions:
30.5 x 25.4cm (12 x 10")
Type:
Painting
Date:
20th century
Topic:
Costume\Dress Accessory\Eyeglasses  Search this
David Leo Lawrence: Male  Search this
David Leo Lawrence: Politics and Government\Politician  Search this
David Leo Lawrence: Politics and Government\Governor\Pennsylvania  Search this
David Leo Lawrence: Politics and Government\Public official\Mayor\Pittsburgh, PA  Search this
Portrait  Search this
Credit Line:
Owner: Westmoreland Museum of Art
Object number:
1987.91 WMA
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm46e38bb8c-6923-4c69-96c9-606387b11306
EDAN-URL:
edanmdm:npg_1987.91_WMA

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