Search Results

Creator:

Custom Craft  Search this

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

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

Scurlock, Addison N., 1883-1964  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:

200 Cubic feet

Type:

Collection descriptions

Archival materials

Dye transfer process

Studio portraits

Matrices, color separation

Photographs

Color separation negatives

Place:

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

Shaw (Washington, D.C.)

Washington (D.C.) -- African Americans

Date:

1888-1996

Summary:

The collection includes approximately 250,000 photonegatives, photoprints, color transparencies from the photographic business founded by Addison Scurlock in Washington, DC. Collection also includes business records and ephemera.

Scope and Contents:

Photographs includes portraits of famous African-American luminaries such as Booker T. Washington, W.E.B. DuBois, and many other artists, intellectuals, educators, entertainers, etc., as well as documentation of Washington, DC, including both the African-American community and national political life, and important photographs of Howard University; also commercial photography, including color materials.

Color separation materials include sets of black-and-white color-separation negatives, sets of matrices for the Kodak Dye Transfer process (full-color Dye Transfer prints are storied in a different series).

Business records: The photography studio records and Custom Craft records are in separate series, reflecting the fact that they were operated as separate businesses.

The collection includes all forms of photographs produced by the studio, such as prints in black-and-white and color, black-and-white and color negatives, color transparencies, black-and-white dye-transfer matrices, slides, etc.; as well as business documents, studio session ledgers, appointment books, business and personal correspondence, tax documents, and books, catalogs, and other publications. This material documents not only the photographic output of the business, both commercial and artistic, as well as the personal and business side of the enterprise.

Some photographs in the collection were not created by the Scurlocks. Some black-and-white and color prints seem to derive from assignments in the Capitol School of Photography, and are therefore student work. Also Custom Craft, the professional color processing service provided by the studio, made prints for other photographers, and samples for printing reference, as well as studio decor, have been retained in the collection. Custom Craft worked for such diverse photographers as artist Robert Epstein and well-known Washington photographer Fred Maroon, for example.

The collection numbers several hundred thousand photographic negatives, prints, and transparencies made by the Scurlocks and other staff photographers of the studio in its various Washington locations. The negatives are estimated at approximately 160,000-200,000 in number, and the prints of all sizes and types at nearly 57,000. The vast majority of the photographs are portraits of individuals, family groups, and organizations, as the primary business of the studio was portrait photography. They date primarily from the 1940s to 1990s. There are also a number of images, made for commercial clients, of building interiors and exteriors, and food. A small group of photojournalistic documentation also exists. The subjects also include architectural and industrial views, scenes in and around Washington, including children and street laborers, political events, social events, and 35mm slides of President Kennedy's funeral, 1964. There are also more personal artistic images, including still lifes with plants and flowers, and a few nudes; Robert's wartime service is also documented by his photographs, including European landscape photographs.

In addition to images taken by the Scurlock studio photographers, there are some prints, especially color, of images by other photographers who were clients, such as Fred Maroon, a prominent Washington photojournalist, and Robert Epstein, a teacher at the Corcoran School of Art. A print of one of Maroon's pictures had been displayed in the studio reception room at the time the studio was closed.

A large group of manuscript items, business documents, ephemera, and office and studio supplies constitutes a separate series from the photographs. An important adjunct to the photographs, a set of ledgers recording and identifying portrait sittings, highlights this group.

Nearly all of the photographs and documents stored in the studio and auxiliary storage locations were accepted for acquisition in order to form a complete history of this family business's production and operations over the better part of a century, whereas a selection of photographic apparatus and studio equipment was acquired by the Photographic History Collection: these items have been inventoried and catalogued separately.

Studio Portraits

The majority of the surviving photographic negatives and proof prints were made in connection with the studio's portrait work for a wide variety of clients. These portraits include images of famous people, such as political figures, entertainers, and noteworthy persons in a variety of fields, including scientists, writers, intellectuals, and academics. The majority of the figures depicted among both the famous and the not so famous are black. The greatest number of studio portraits, most of which are identified and dated, depict a general clientele who visited the studio for portrait sittings. Although the individual images in this vast quantity have limited research value in the usual sense, the aggregate represents a chronology spanning almost ninety years, which may be useful for demographic and genealogical information and as visual evidence of changing styles in clothing, hair, and accessories. It constitutes a panorama of a significant percentage of Washingtonians of the period, especially the black community.

Portraits of famous personages include George Washington Carver, Dr. Martin Luther King, Jr., Duke Ellington, Marian Anderson, Archbishop Desmond Tutu, Sammy Davis, Jr., Sugar Ray Leonard, Muhammad Ali, Mayor Walter Washington, and Presidents Kennedy, Johnson, Nixon, Ford, Reagan, Bush, and Clinton, Mayor Marion Barry, DC Council members, statesmen such as Ralph Bunche, and many other noteworthy figures. Of particular interest is a signed group portrait of the US. Supreme Court with Chief Justice Berger presiding. There are also large- format portraits of Justice Thurgood Marshall and J. Edgar Hoover.

Group portraits include both formal sittings and the informal documentation of banquets, convocations, and similar events. This material includes groups at Howard University; Dunbar High School; the Post Office Clerks' Banquet; the Bishops' Meeting of the AME Church; a YMCA camp, cira 1947 1949; the 23rd annual conference of the NAACP, 1932, etc.

Howard University

Several thousand black and white negatives and prints, 1930s-1960s, depict the people, facilities, and events of Howard University, with which the Scurlocks had a long business relationship. There are various portraits, including Howard University Medical School, represented by 850 negatives and 100 prints. A group of law school and medical school images numbers some 800 negatives and 200 prints. In addition, there are class portraits, as well as images of famous guests speaking at Howard convocations, such as President Herbert Hoover.

Wedding Photography

An important aspect of any portrait studio's output is wedding photography, and the Scurlock studio was no exception. Bridal portraits, group pictures of wedding parties, and the complete documentation of weddings, in both black and white and color, constitute a significant part of the collection. African-American weddings predominate and provide important insights into this aspect of the society.

Exhibitions

The studio's work was shown in special public exhibitions over the years, and several of these are included in toto. The most important was an extensive retrospective display of 121 prints of Addison's work, both vintage and posthumous, prepared by Robert for the Corcoran Gallery of Art in 1976. Others include: (1) a set of 32 black and white images made by Robert at the Ramitelli Air Base, Italy, while he was a major in the US Air Force during World War II; (2) a group of portraits from a Black History Month exhibit at Woodward and Lothrop; and (3) a set of sixteen vintage and modern prints which Robert displayed in an interview on the "Today" television show in the 1980s.

Commercial Work

This category includes architectural and industrial photography for commercial clients, food and still life photographs, etc. Much of this material is comparatively recent and was made in large format color, and includes transparencies and enlargements. It is possible that some of the prints represent Custom Craft work for other photographers rather than the camera work of Robert and George Scurlock. Thus far, prints by artist Robert Epstein have been identified as extra prints of his work from orders which he placed with the firm. At least one image by Fred Maroon has been identified.

A group of color prints constitutes copies of artworks, primarily in the National Portrait Gallery, for which the Scurlocks worked. Prints in 8" x 10", 11" x 14", 16" x 20" and 20" x 24" sizes are included, and undoubtedly negatives and transparencies corresponding to these subjects will be found.

Photojournalism

In addition to the formal studio portraits and pictures documenting formal events, the Scurlocks took candid photographs of the everyday life of their city, as well as extraordinary events of local and national significance, ranging from occasions such as John F. Kennedy's funeral and the 1968 riots to political rallies and demonstrations.

Capitol School of Photography

The collection includes a variety of materials, such as books and ephemera, which document the activities of the Capitol School of Photography, a sideline of the Scurlock business. Some of the photographs apparently represent student work. The most famous student of the school was Jacqueline Bouvier (later Jacqueline Kennedy Onassis), although no documentation of her association with the school has been located thus far. There are 45 photographs, circa 1950s, showing the photography lab, men retouching prints, students with cameras, etc.

Personal Photographs

A few photographs of the Scurlock family are included in the collection in various forms and formats, including enlarged portraits of Addison and Robert. A self portrait of Addison and Mamie Scurlock is included in the Corcoran Gallery of Art exhibition series. Other photographs which represent personal artistic expression, such as a few nude studies and floral and plant still lifes, are included.

Series 6 consists of photographic materials including color transparencies, slides, film, and proofs but occasionally includes notes, forms, and envelopes associated with the orders.

Series 1: Black and White Photographs:

Dates -- 1888-1993

Extent -- 105 boxes

Contents -- Series 1: Black and White Photographs: The materials are almost entirely black and white photographs, but in the subseries of clients, there may also be job envelopes, order materials, and other photographic material types that were included in the overall order. The series is arranged into two subseries, clients and subjects, and both are arranged alphabetically. The subseries clients documents the orders made by clients of the Scurlock Studio and individuals who were or could be identified but may or may not have actually placed an order at the Studio. The majority of the photographs in the clients subseries are formal portrait sittings but there are photographs of events, organizations, and businesses. The subseries subjects are photographs that were grouped into categories because no known client or individual in the image could be identified. The subjects cover a broad array of subjects but the majority of the subjects include unidentified people in formal portrait sittings and groups. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 1.1: Clients Black and white photographs1.2: Subjects Black and white photographs

Series 2: Color Photographs:

Dates -- 1930-1995

Extent -- 113 boxes

Contents -- Series 2: Color Photographs: The series color photographs consists of color photographs and hand-colored photographs, but there are also order envelopes and materials, and other photographic material types that were part of the order. The subseries are arranged as clients, subjects, weddings, and hand-colored photographs. Clients are arranged alphabetically by last name or the first word of an organization's name. Not all individuals, organizations, or businesses necessarily represent a client of the Scurlock Studio; if an individual or organization could be identified, the photograph was placed under the identified person or organization even if ther were not a known client of the Studio. The majority of the photographs are individual portrait sittings but also included are family portraits, businesses, organizations, and informal images. The subjects are arranged alphabetically, and document images of non-humans and humans that could not be connected to a known client. Weddings and hand-colored are arranged in alphabetical order with clients preceeding subjects. The were a large subject of the overall collection and the majority of weddings are color photographs but also included in the subseries are black and white and hand-colored photographs of weddings. The hand-colored photographs largely reflect the same subject matter of the subseries clients and subjects. In addition, not all photographs in this subseries were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 2.1: Clients Color photographs2.2: Subjects Color photographs2.3: Weddings2.4: Hand-colored photographs

Series 3: Framed Prints:

Dates -- circa 1979

Extent -- 3 boxes

Contents -- Series 3: Framed Prints: The series framed prints includes three framed color photographs. The framed prints are arranged by the size, from smallest to largest, of the frame. The photographs are of two important political figures: Washington, D. C., Mayor Marion Barry and Senator Edward Brooke.

Series 4: Black-and-White Silver Gelatin Negatives:

Dates -- 1900-1994

Extent -- 320 boxes

Contents -- Series 4: Black-and-White Silver Gelatin Negatives: The material type of the series is black and white silver gelatin negatives. The negatives are arranged into twelve subseries. 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. 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

Series 5: Color Negatives:

Dates -- 1964-1994

Extent -- 72 boxes

Contents -- Series 5: Color Negatives: The series color negatives primarily of color negatives but it also includes order envelopes and materials. The series is arranged into two subseries: clients and subjects. The subseries clients is arranged by job number, and the materials document the orders placed by clients of the Scurlock Studio and identified persons and organizations. The negatives depict individual portrait sittings, groups, and informal poses. The subseries subjects is arranged in alphabetical order, and the materials document negatives that could not be connected to a client of the studio. The negatives represent subjects such as art, buildings, commercial ventures of the Scurlock Studio, and unidentified people. 5.1: Color negatives arranged by client5.2: Color negatives arranged by subject

Series 6: Color Transparencies, Slides, and Other Formats:

Dates -- 1922-1994

Extent -- 40 boxes

Contents -- Series 6: Color Transparencies, Slides, and Other Formats: The series color transparencies, slides, and other formats consists of black and white and color transparencies, color slides, film, proofs, and order materials. The materials are arranged into four subseries: transparencies, slides, film, and proofs. The subseries are arranged by clients, in alphabetical order by last name, and then subjects, in alphabetical order. The materials document the orders placed at the Scurlock Studio by clients and identified individuals and organizations, and materials that could not be identified and are categorized by subjects. The subjects represented in the materials are primarily individual, family, and group portraits, and events and places. Cut but unmounted slides were typically placed in the subseries transparencies but a small number of cut but unmounted slides are included in the slides. The subseries proofs only contains a form of proof used by the Scurlock Studio that has a fugitive image, and other types of proofs printed on low quality paper or are water-marked and have a lasting image were included in the series Black and White Photographs and Color Photographs if the proof was either black and white or color. 6.1: Transparencies6.2: Slides6.3: Film6.4: Proofs

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

Dates -- 1955-1957

Extent -- 7 boxes

Contents -- Series 7: Black-and-White Color Separation Negatives and Matrices: The materials in the series are black-and-white color separation negatives and a booklet about how to process black-and-white color separation negatives. The materials are arranged into three subseries: clients, subjects, and the booklet. The materials document orders placed at the Scurlock Studio by clients and individuals and organizations that could be identified but not connected to a specific order. The materials also document negatives categorized by subjects because there was no known client or identifiable individual or organization. The subjects represented are individual portrait sittings and groups, and unidentified people. 7.1: Clients Black-and-White Color Separation Negatives 7.2: Subjects Black-and-White Color Separation Negatives Booklet

Series 8: Scurlock Studio Business Records:

Dates -- 1907-1996

Extent -- 66 boxes

Contents -- Series 8: Scurlock Studio Business Records: The series Scurlock Studio Business Records contains paperwork pertaining to the administration of the business, the financial documentation of the business, the reocrds of sales, the advertising signs and promotions of hte business, the files kept on employees, and other materials kept at the Scurlock Studio. The series is arranged into six subseries: administrative file, financial, sales, advertising and marketing, employee and personnel, and office files. Each subseries is arranged differently according to the types of materials predominantly found in the subseries or in chronological order. The subjects represented in the series are mostly related to the financial records of the Scurlock Studio kept and the invoices of sales records. A wide variety of other subjects relating to the the business records of the Scurlock Studio can also be found including: session registers, construction plans, advertisements for specific holidays, and product information sent to the Studio. Some materials found in this series may be marked Scurlock Studio and Custom Craft, the color division of the Scurlock Studio, and were placed with this series because the Scurlock Studio was the primary business. Other materials with an unclear origin of either the Scurlock Studio or Custom Craft were placed in this series. 8.1: Administrative Files8.2: Financial8.3: Sales8.4: Advertising and Marketing8.5: Employee and Personnel8.6: Office Files

Series 9: Custom Craft Business Records:

Dates -- 1951-1994

Extent -- 57 boxes

Contents -- Series 9: Custom Craft Business Records: The series Custom Craft Business Records consists of paper documents relating to the administrative, financial, sales records, employee and personnel, and other files about the affairs of the Custom Craft business's day-to-day operations. The materials are arranged into five subseries: administrative, financial, sales, employee and personnel, and office files. The materials within a subseries are ordered by types of documents that consisted of a large number of materials listed first and materials with few documents following the grouped materials in chronological order. The materials document the day-to-day business of Custom Craft. The subjects represented are documents relating to the administration of the business, journals kept to document finances, the order invoices, the files kept about employees, product information, and materials accumulated in the office. Some documents may list both the Scurlock Studio and Custom Craft and were kept with the business records of Custom Craft if the materials appeared to fit the activities, color photography, of that business. Other documents relating to the business affairs of Custom Craft may be in the series Scurlock Studio Business Records because these documents did not clearly indicate which business the documents belonged to; in these cases, the materials were put in the series Scurlock Studio Business Records because the business was the primary business of the Scurlocks. There business records seem to indicate that there was not always a clear differentiation between the two businesses. 9.1: Administrative9.2: Financial9.3: Sales9.4: Employee and Personnel9.5: Office files

Series 10: Capitol School of Photography:

Dates -- 1948-1954

Extent -- 4 boxes

Contents -- Series 10: Capitol School of Photography: The series Capitol School of Photography consists of paper documents, photographs, and transparencies. The materials are arranged in chronological order and document the administration of the Capitol School of Photography and the students. The subjects represented are administrative documents, student files, photographs by students, photographs of students and the space used for the School, and transparencies of the same subjects.

Series 11: Washington Stock:

Dates -- 1981-1994

Extent -- 2 boxes

Contents -- Series 11: Washington Stock: The series Washington Stock consists of order materials, orders, and published materials. The materials are arranged chronologically and document the orders placed for Washington Stock and how the materials were used and published. The subjects represented are orders, standard forms used by Washington Stock, and published materials.

Series 12: Background Materials and Publications:

Dates -- 1902-1995

Extent -- 18 boxes

Contents -- Series 12: Background Materials and Publications: The series Background Materials and Publications is composed of paper documents, published materials, and materials from exhibitions. The materials are arranged into four subseries: historical and background information, Scurlock images, reference materials, and exhibition materials. The materials document the Scurlocks, published Scurlock images, published materials lacking Scurlock images, exhibitions of Scurlock images, and other exhibitions of related material. The subjects represented are largely materials related to the Scurlocks' photography and personal interests. Images were placed in the subseries Scurlock images if the photograph was credited to the Scurlocks or was a photograph known to have been taken by the Scurlocks; it is possible that uncredited and less well known images taken by the Scurlocks are present in the subseries reference materials. 12.1: Historical and Background Information12.2: Scurlock Images12.3: Reference Materials12.4: Exhibition Materials

Arrangement:

The collection is divided into 12 series.

This collection was processed with numerous changes in arrangement and numbering of boxes. Original box numbers have been retained in this finding aid for cross-reference purposes and to assist anyone with a record of photographs according to the original box numbers.

Biographical / Historical:

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).

The turn of the twentieth century saw a mass exodus of African Americans from the South to northern cities in search of better employment opportunities and fairer racial treatment. Although many considered Washington to be the northern-most southern city, it still offered opportunities for African Americans leaving seasonal agricultural work and racial oppression in the South. In Washington, African Americans found stable employment with the U.S. government. In addition, Howard University offered African Americans teaching opportunities, college education, and professional training as doctors, dentists, nurses, lawyers, and ministers. By 1900 a substantial African-American middle class existed in Washington. Despite the fact that Washington was a historically and legally segregated city (and would remain so into the 1960s), this middle class population continued to grow and prosper.

After graduation from high school, Addison Scurlock moved from Fayetteville, North Carolina, to Washington, D.C., with his family in 1900. With a keen interest in photography, he sought out an apprenticeship at the white-owned Moses Rice Studio on Pennsylvania Avenue. The Rice brothers (Amos and Moses) had been in Washington working as photographers since the 1860s and had one of the more prominent and better studios in the city. There Addison learned portrait and general photography. In 1904, he left Rice and began his photographic career at his parents' home. By 1911, when he opened the Scurlock Studio, he had already captured the likeness of Booker T. Washington (1910; see Appendix B), most likely his most well-known portrait. Scurlock quickly identified his market: a self-sufficient African-American community which included students, graduates, and educators affiliated with Howard University; poets; writers; intellectuals; musicians and entertainers; politicians; socialites; fraternal and religious organizations and their leaders. The Scurlock Studio, located at 900 U Street, N.W., became a fixture in the midst of the thriving African-American business community. As with his white counterparts on Pennsylvania Avenue and F Street, N.W., Addison Scurlock inspired passers-by with window displays of his photographs of national leaders and local personalities.

During the 1930s, Addison Scurlock's two sons Robert and George apprenticed in the studio. In addition to portrait and general photography, the sons learned the techniques of retouching negatives and photographic prints, hand-coloring, hand-tinting, and mat decoration. George concentrated on the commercial side of the business while Robert concentrated on the portrait side. The Scurlocks' work changed with the times. From the early 1900s until Addison's death in 1964, the Scurlock Studio was the official photographer of Howard University. In the 1930s the studio began a press service and prepared newsreels on African American current events for the Lichtman Theater chain, which offered some of the few non-segregated venues in the city. Their press service supplied the African-American press with newsworthy photographs of current events, personalities, and social, political, and religious life. Clients included the Norfolk Journal and Guide, Amsterdam News, Pittsburgh Courier, Cleveland Call and Post and the Washington Tribune and Afro-American. George and Robert ran the Capitol School of Photography from 1948 to 1952. Included among their students were African-American veterans under the G.I. Bill, Ellsworth Davis, who later worked as a Washington Post photographer and Bernie Boston of the Los Angeles Times. Perhaps their best-known student was the young Jacqueline Bouvier.

In 1952 Robert opened Washington's first custom color lab. Capitalizing on his knowledge of color processing, Robert was asked to take color portraits of both noted and ordinary individuals. In addition, the studio offered color views of important Washington landmarks and monuments. By the 1960s, Robert added magazine photography to his list of talents, publishing images in Life, Look, and Ebony. Robert continued photographing Washingtonians at his studio until his death in 1994.

According to George Scurlock, the Scurlock studio never had substantial competition in the African American community. Some Washington residents remember it differently, however. Dr. Theodore Hudson, a retired Howard University professor, recalled two other black photographers: Sam Courtney and a man named Sorrell. He said Courtney photographed events in the African American community...?

The collection represents the most comprehensive record of any long-lived, let alone African-American, photography studio, in a public institution. Other twentieth century studio collections exist, such as Robinson Studio, Grand Rapids; Hughes Company, Baltimore, Md. Among African American studio collections in public institutions are James Van Der Zee (New York City, 1912-80s), P.H. Polk (Tuskegee), and the Hooks Brothers (Memphis, Tenn., 1910-1975). The Scurlock Collection covers a greater time period and provides greater depth of coverage of African-American events and personages.

A number of articles have been written about the Scurlock family. Jane Freundel Levey, editor of Washington History magazine, believes that the family went beyond the artful use of light, shadow, and composition. She wrote, "Perhaps the most distinctive hallmark of the Scurlock photograph is the dignity, the uplifting quality of the demeanor of every person captured by photographs who clearly saw each subject as above the ordinary."

Constance McLaughlin Green, one of the leading historians of Washington, D.C., talks about African-American Washington as "the Secret City," a separate world with institutions of its own that remained virtually unknown to the white majority. Addison Scurlock and his sons captured that world on film and in doing so, documented that world in the course of running his business and perfecting his art. Steven C. Newsome, director of the Maryland Commission on Afro-American History and Culture stated that The Scurlocks' photograph "Gave us connections. They tell stories. They let us remember."

The collection includes photographs of the nationally famous Booker T. Washington, W.E.B. DuBois, Paul Laurence Dunbar, Mary McLeod Bethune, Mary Church Terrell, Marian Anderson; the locally or regionally important: P.B.S. Pinchback, Judge Miflin Gibbs, Col. Jim Lewis, Ernest Just, Anna J. Cooper; and actors, artists, vaudevillians, and musicians such as Fredi Washington, Madame Lilian Evanti, Oakley & Oakley, and Duke Ellington.

Sources

George Scurlock. Interview conducted by David Haberstich and intern Lora Koehler at Mr. Scurlock's apartment, Aug. 2003.

Theodore Hudson, conversation with David Haberstich in the Archives Center, 2 February 2004.

Jane Freundel Levey, "The Scurlock Studio," Washington History, 1989, p. 44.

Robert S. Scurlock, "An Appreciation of Addison N. Scurlock's Photographic Achievements," The Historic Photographs of Addison N. Scurlock. Washington, D.C.: The Charles Sumner School Museum and Archives, 1986 (exhibition catalog).

Materials at Other Organizations:

The Historical Society of Washington, DC holds Scurlock-related materials.

The Charles Sumner School Museumn and Archives holds Scurlock-related materials.

Materials in the National Museum of American History:

Cameras and other photographic apparatus, studio furniture, and miscellaneous ephemera from the Scurlock studio are in the History of Photography Collection (now Division of Work and Industry). An adding machine from the studio is in the Museum's mathematics collection. See accessions 1997.0293 and 2010.0157.

Provenance:

The Museum purchased the Scurlock Studio Records from the Estate of Robert S. Scurlock, through Judge Marjorie Lawson in 1997. During the period of negotiation between the museum and Robert Scurlock's heirs, his widow Vivian and brother George, the collection was on loan to the Museum and was housed primarily in a closed exhibition area on the second floor. Staff of the Archives Center took physical possession of the collection long before the transfer to the Museum was final. The studio records and photographs were housed principally in the 18th Street studio and in two rental storage facilities. The primary move of the collection to the Museum occurred in September 1995. An additional pickup occurred on February 12, 1996 (on tags). There was probably one additional pickup from the studio by David Haberstich and Caleb Fey on an unrecorded date.

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.

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:

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

Segregation  Search this

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

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

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

African American entertainers -- 20th century  Search this

African American photographers  Search this

Genre/Form:

Dye transfer process

Studio portraits

Matrices, color separation

Photographs -- 20th century

Color separation negatives

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

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep852403536-424e-4026-9305-7c0938436f63

EDAN-URL:

ead_collection:sova-nmah-ac-0618

Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Collection Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Extent:

1 Negatives (photographic) (b&w, 4x5 in.)

Type:

Archival materials

Negatives (photographic)

Black-and-white negatives

Place:

Africa

Suriname

Date:

1929

Local Numbers:

1986-29-006-2

General:

Title source: Archives staff, not provided by photographer.

Citation source: Dr. Christraud Geary, Museum of Fine Arts, Boston.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

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

Topic:

Portrait photography  Search this

Genre/Form:

Black-and-white negatives

Identifier:

EEPA.1986-029, Item EEPA 1986-290495

See more items in:

Melville Herskovits photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo753855a2f-21c0-4b7c-af46-9e5678587b01

EDAN-URL:

ead_component:sova-eepa-1986-029-ref508

Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Collection Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Extent:

1 Negatives (photographic) (b&w, 4x5 in.)

Type:

Archival materials

Negatives (photographic)

Black-and-white negatives

Place:

Africa

Suriname

Date:

1928

Local Numbers:

1986-29-075-2

General:

Title source: Archives staff, not provided by photographer.

Citation source: Dr. Christraud Geary, Museum of Fine Arts, Boston.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

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

Topic:

Portrait photography  Search this

Genre/Form:

Black-and-white negatives

Identifier:

EEPA.1986-029, Item EEPA 1986-290564

See more items in:

Melville Herskovits photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo76bfa0abb-c285-435e-b951-85e8c8f9be42

EDAN-URL:

ead_component:sova-eepa-1986-029-ref510

Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Collection Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Extent:

1 Negatives (photographic) (b&w, 4x5 in.)

1 Slides (photographs) (col.)

Type:

Archival materials

Negatives (photographic)

Slides (photographs)

Black-and-white negatives

Place:

Africa

Suriname

Date:

1929

Scope and Contents:

Melville J. Herskovits's guide, Rogalli, in his garden in Paramaribo, Suriname, 1929.

Local Numbers:

1986-29-087-2

General:

Title source: Archives staff, not provided by photographer.

Citation source: Drs. Richard and Sally Price, The College of William and Mary.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

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

Topic:

Portrait photography  Search this

Genre/Form:

Black-and-white negatives

Identifier:

EEPA.1986-029, Item EEPA 1986-290576

See more items in:

Melville Herskovits photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo787fcbd87-8b90-432f-86f4-8a311c08350f

EDAN-URL:

ead_component:sova-eepa-1986-029-ref511

Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Collection Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Extent:

1 Negatives (photographic) (b&w, 4x5 in.)

Type:

Archival materials

Negatives (photographic)

Black-and-white negatives

Place:

Africa

Suriname

Date:

1928

Scope and Contents:

Frances Herskovits and Rudolf Ubergen, nickname Duffy, in Paramaribo, Suriname, 1928.

Local Numbers:

1986-29-089-2

General:

Title source: Archives staff, not provided by photographer.

Citation source: Dr. Christraud Geary, Museum of Fine Arts, Boston.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

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

Topic:

Portrait photography  Search this

Genre/Form:

Black-and-white negatives

Identifier:

EEPA.1986-029, Item EEPA 1986-290578

See more items in:

Melville Herskovits photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo73dc3914e-c5d2-462b-80b9-e04ab735474d

EDAN-URL:

ead_component:sova-eepa-1986-029-ref512

Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Collection Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Extent:

1 Negatives (photographic) (b&w, 4x5 in.)

Type:

Archival materials

Negatives (photographic)

Black-and-white negatives

Place:

Africa

Suriname

Date:

4 August 1929

Scope and Contents:

Gaama Moana Djankuso, Paramount chief of the Saramakas in Suriname, 4 August 1929.

Local Numbers:

1986-29-090-2

General:

Title source: Archives staff, not provided by photographer.

Citation source: Drs. Richard and Sally Price, The College of William and Mary.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

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

Topic:

Portrait photography  Search this

Genre/Form:

Black-and-white negatives

Identifier:

EEPA.1986-029, Item EEPA 1986-290579

See more items in:

Melville Herskovits photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo72d0ee8c4-c4cd-4da7-8b39-b5c3ac8bddf4

EDAN-URL:

ead_component:sova-eepa-1986-029-ref513

Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Collection Photographer:

Herskovits, Melville J. (Melville Jean), 1895-1963  Search this

Extent:

1 Negatives (photographic) (b&w, 4x5 in.)

Type:

Archival materials

Negatives (photographic)

Black-and-white negatives

Place:

Africa

Suriname

Date:

4 August 1929

Scope and Contents:

Gaama Moana Djankuso, Paramount chief of the Saramakas in Suriname, 4 August 1929.

Local Numbers:

1986-29-145-2

General:

Title source: Archives staff, not provided by photographer.

Citation source: Drs. Richard and Sally Price, The College of William and Mary.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

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

Topic:

Portrait photography  Search this

Genre/Form:

Black-and-white negatives

Identifier:

EEPA.1986-029, Item EEPA 1986-290634

See more items in:

Melville Herskovits photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo71413bdcb-7bdd-4679-abd3-1c5d258ea8ba

EDAN-URL:

ead_component:sova-eepa-1986-029-ref514

Photographer:

Davies, Diana, 1938-  Search this

Gahr, David  Search this

Performer:

Bread and Puppet Theater  Search this

Everly Brothers  Search this

New Lost City Ramblers  Search this

Pentangle (Musical group)  Search this

The Pennywhistlers (Musical group)  Search this

The Young Tradition (Musical group)  Search this

Andersen, Eric  Search this

Bikel, Theodore  Search this

Brand, Oscar  Search this

Cameron, John A.  Search this

Chandler, Len  Search this

Collier, Jimmy  Search this

Collins, Judy, 1939-  Search this

Fuller, Jesse  Search this

Gerrard, Alice, 1934-  Search this

Guthrie, Arlo  Search this

Hartford, John  Search this

Hjorth, Ole  Search this

Joplin, Janis  Search this

Kennedy, Norman, 1934-  Search this

Kershaw, Doug  Search this

Killen, Louis  Search this

Kirkpatrick, Frederick Douglass  Search this

Koerner, John  Search this

McGhee, Brownie, 1915-1996  Search this

Mitchell, Joni  Search this

Monroe, Bill, 1911-1996  Search this

Muddy Waters, 1915-1983  Search this

Ochs, Phil  Search this

Perkins, Carl  Search this

Proffitt, Frank, Jr., 1946-2005  Search this

Rachell, Yank  Search this

Raim, Ethel  Search this

Ramsey, Frederic, 1915-1995  Search this

Reagon, Bernice Johnson, 1942-  Search this

Rinzler, Ralph  Search this

Sainte-Marie, Buffy  Search this

Seeger, Mike, 1933-2009  Search this

Stabi, Björn  Search this

Sykes, Roosevelt, 1906-1983  Search this

Taylor, James  Search this

Traum, Artie  Search this

Traum, Happy  Search this

Watson, Doc  Search this

Watson, Merle  Search this

White, Elaine (Vocalist)  Search this

Wiseman, Mac  Search this

Names:

Newport Folk Festival  Search this

Philadelphia Folk Festival  Search this

Asch, Moses  Search this

Chandler, Nancy  Search this

Dunson, Josh, 1941-  Search this

King, Coretta Scott, 1927-2006  Search this

Silber, Irwin, 1925-2010  Search this

Young, Izzy, 1928-2019  Search this

Musician:

Bosco, John  Search this

Extent:

3.83 Cubic feet (8 binders containing contact sheets, slides, and prints; 7 boxes (8.5"x10.75"x2.5") of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints.)

Type:

Collection descriptions

Archival materials

Contact sheets

Slides (photographs)

Black-and-white negatives

Photographic prints

Place:

New York (N.Y.)

Saint Simons Island (Ga. : Island)

Date:

1963-2009

Summary:

The Diana Davies photographs consist of images taken by Diana Davies at various stages of her career. Locations include the Festival of American Folklife, the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's Campaign, various peace and protest marches and outdoor performances, New York City, and the Georgia Sea Islands. The collection includes contact sheets, negatives, photographic prints, and slides. Original photographs, negatives, and color slides taken by Diana Davies. Materials date from 1963-2009. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987.

Scope and Contents:

The Diana Davies photographs, 1963-2009, consist of black and white negatives, contact sheets and prints, as well as color slides and negatives. The bulk of materials depict major festivals and protest movements (including the Poor People's March of 1968) documented by Diana Davies (located in Series 1: Newport Folk Festival, Series 2: Philadelphia Folk Festival, Series 6: Festival of American Folklife, and Series 11: Social Justice). Also well-represented are non-festival performances (in locations such as clubs, concert halls, and homes), recording sessions, and other music-related images, mainly of notable figures in the American folk music revival (located in Series 3: Broadside Magazine, Series 4: Sing Out! Magazine Concerts, Series 5: Miscellaneous Concerts and People, Series 7: Recording Sessions, Series 8: Instruction Book Shots, and Series 9: Jazz, Blues, and Salsa Musicians). Series 10: Georgia Sea Islands consists of photographs depicting the culture, environment, and daily life of these coastal islands in 1966. Series 12: New York City Scenes contains photographs taken on the street depicting everyday life in NYC in the 1960s and 1970s. The collection also contains related papers in Series 13: Miscellaneous Papers and Correspondence.

Arrangement note:

Each item in the Diana Davies Photographs has been assigned an accession number, and like materials have been put together such as the Newport Folk Festival photographs, in a chronological sequence as much as possible. Materials in the three more recent donation batches (1998, 2004, and 2006) were numbered and integrated into the collection. In some series, the accession numbers are in numerical order, and in others, the numbers are random because like items with different number sequences were pulled together in a series for subject coherence. The best way to find occurrences of a particular subject is to use the ctrl+F function. Please consult the archivists if you have any questions about the collection contents.

Contact sheets, slides, and prints arranged in 8 binders; negatives and oversize prints are stored separately.

Arranged in 14 series:

Series 1: Newport Folk Festival

Series 2: Philadelphia Folk Festival

Series 3: Broadside Magazine

Series 4: -- Sing Out! -- Magazine Concerts

Series 5: Miscellaneous Concerts and People

Series 6: Festival of American Folklife

Series 7: Recording Sessions

Series 8: Instruction Book Shots

Series 9: Jazz, Blues, and Salsa Musicians

Series 10: Georgia Sea Islands

Series 11: Social Justice

Series 12: New York City Scenes

Series 13: Miscellaneous Papers and Correspondence

Series 14: Oversize Materials

Biographical/Historical note:

Diana Davies is a well-known photographer of folk performers and festivals. Davies photographed the Smithsonian Folklife Festival in its earlier years. Born in 1938, Davies grew up in Maine, the Catskills, New York City, and Boston. Her grandparents were local union organizers and Debs socialists; one grandfather was a gandy dancer with the railroad, and her grandmother was a textile worker in Massachusetts, New York, and Pennsylvania. Davies finds that her family background was later expressed in her own activist efforts.

Davies left high school at 16, and worked sweeping out coffeehouses, which gave her the opportunity to listen to music while she worked. She became interested in theater and music. In Greenwich Village, she began doing some sound technician work, and then got interested in photography. She taught herself how to develop and print photographs in a darkroom, and began photographing in theaters, shooting from behind the scenes. Her theater photos are at Smith College in Northampton, where she presently lives. In the early 1960s, she began working with the editors of Broadside Magazine, Sis Cunningham and Gordon Friesen. She developed an interest in human rights work, which grew from her contact with Sis and Gordon, and also her own family background. She also worked as a photographer in a wide range of settings, including night clubs, weddings, and doing portrait photography. This led her to work for major national and international media including the New York Times, covering such events as the war in Biafra, and traveling to Mexico, Cuba, and Portugal on assignment.

Davies' folk photographs represent about one-quarter of her body of work; her other major photographic work includes the Civil Rights Movement, the Peace Movement, and theater. Davies began photographing at the Newport Folk Festival in 1964, which she covered for a number of years. She knew Ralph Rinzler, and found him a vibrant, alive person excited by all aspects of culture. He introduced her to Bessie Jones from the Georgia Sea Islands, and in 1966 she made a photographic journey to the islands. Her work from this trip is included in the collection. Davies has also been a musician. She became involved with the punk rock movement of the 1970s, and felt that there was a connection between the hard-hitting songs from the punk world and the songs being published in Broadside Magazine. In 1975, she became part of a folk/punk women's band in Boston, and later moved to Western Massachusetts. In addition to being a photographer and musician, Davies is also a writer. She wrote a play entitled "The Witch Papers" in 1980, which was produced in Boston and other locations. The play was a vehicle for her human rights activism, comparing the technology of inquisition with labor sweatshops. In 1998, her play "The War Machine" was produced in Amherst, Mass. She lives in Northampton, and enjoys and participates in street performance, which she describes as the "most essentially communicative stuff you can come up with."

General note:

All contact sheets from the collection are digitized and accessible through this finding aid. Series-level slideshows accessible through this finding aid represent a small sampling from the collection.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Provenance:

The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives and Collections. These two more recent donations of additional photographs (contact sheets, prints, and slides) consisted of documentation of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the provison that her work be credited in any use.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Peace movements  Search this

March on Washington for Jobs and Freedom, Washington, D.C., 1963  Search this

Civil rights -- United States  Search this

Genre/Form:

Contact sheets

Slides (photographs)

Black-and-white negatives

Photographic prints

Citation:

Diana J. Davies photographs, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

or

Photo by Diana J. Davies. Ralph Rinzler Folklife Archives and COllections, Smithsonian Institution.

Identifier:

CFCH.DAVIE

See more items in:

Diana Davies photographs

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk59fa9fef6-8287-4b3c-8f47-119c519dd318

EDAN-URL:

ead_collection:sova-cfch-davie

Photographer:

Brandt, Nick 1966-  Search this

Writer of supplementary textual content:

Brandt, Nick 1966-  Search this

Owuor, Yvonne Adhiambo  Search this

Everett, Percival  Search this

Editor:

Barth, Nadine 1964-  Search this

Host institution:

Fahey/Klein Gallery  Search this

Atlas Gallery (London, England)  Search this

Custot Gallery (Dubai, United Arab Emirates)  Search this

Oslo Negativ, Det Gamle Biblioteket (Oslo, Norwary)  Search this

Source Photographica (Melbourne, Australia)  Search this

Edwynn Houk Gallery  Search this

Polka Galerie (Paris, France)  Search this

Physical description:

166 pages illustrations (some color), portraits 33 cm

Type:

Exhibitions

Pictorial works

Portraits

Ouvrages illustrés

Expositions

Photography of animals

Photography, Artistic

Exhibition catalogs

Illustrated works

Place:

Africa, East

Afrique orientale anglophone

Date:

2021

Topic:

Wildlife photography  Search this

Animals  Search this

Portrait photography  Search this

East Africans  Search this

Human-animal relationships  Search this

Environmental degradation  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1159500

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2022-01-26T17:45:31.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_vlcKTkZIqS0

Author:

McCauley, Elizabeth Anne  Search this

University of New Mexico Art Museum  Search this

Physical description:

85 p. : ports. ; 22 x 28 cm

Type:

Exhibitions

Place:

Europe

Date:

1980

C1980

Topic:

Portrait photography  Search this

Photography--Portraits  Search this

Call number:

TR575 .M12

TR575.M12

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_140568

Author:

Henle, Fritz 1909-1993  Search this

Author:

Buberl, Brigitte  Search this

Gernsheim, Helmut 1913-1995  Search this

Kaufhold, Enno 1944-  Search this

Metken, Günter 1928-2000  Search this

Museum für Kunst und Kulturgeschichte der Stadt Dortmund  Search this

Physical description:

143 pages illustrations, portraits 31 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

Date:

1994

Topic:

Travel photography  Search this

Portrait photography  Search this

Photographie de voyage  Search this

Portraits (Photographie)  Search this

Call number:

TR647.H4695 B9 1994

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_501967

Contributor:

Kim, Christine Y  Search this

Andrews, Myrtle Elizabeth  Search this

Als, Hilton  Search this

Cooks, Bridget R. 1972-  Search this

Fort, Ilene Susan  Search this

Keith, Naima J  Search this

Lawson, Dhyandra  Search this

Stewart, Jeffrey C. 1950-  Search this

Publisher:

Los Angeles County Museum of Art  Search this

Host institution:

Spelman College Museum of Fine Art  Search this

Memphis Brooks Museum of Art  Search this

Physical description:

222 pages illustrations (chiefly color), portraits (chiefly color) 31 cm

Type:

Portraits

Catalogs

Exhibitions

Exhibition catalogs

Place:

California

Los Angeles

Date:

2023

Topic:

African Americans  Search this

Portrait photography  Search this

African Americans in art  Search this

Art, American  Search this

Art  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1159992

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

South Africa

Item Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Portrait photography -- Africa  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-1382

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 2: South Africa / Durban

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7caade0b0-35b3-4674-b6d4-daf21bc3eb7a

EDAN-URL:

ead_component:sova-eepa-2010-010-ref1402

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

South Africa

Item Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Portrait photography -- Africa  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-1383

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 2: South Africa / Durban

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7cbafb52b-e93d-4d9a-952b-6ebbb39f5f0a

EDAN-URL:

ead_component:sova-eepa-2010-010-ref1403

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

South Africa

Item Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Portrait photography -- Africa  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-1384

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 2: South Africa / Durban

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7effd8328-a9df-43ea-9fc7-6cbcb4745e0c

EDAN-URL:

ead_component:sova-eepa-2010-010-ref1404

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

South Africa

Item Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Portrait photography -- Africa  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-1385

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 2: South Africa / Durban

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo70f0f1236-bb7a-4b0d-84df-2e2508ebeef2

EDAN-URL:

ead_component:sova-eepa-2010-010-ref1405

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

South Africa

Item Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Portrait photography -- Africa  Search this

Artists -- Africa  Search this

Marketplaces  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-1386

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 2: South Africa / Durban

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo79f468bf0-aad6-4cfd-b2ef-159b25fb4ad4

EDAN-URL:

ead_component:sova-eepa-2010-010-ref1406

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

South Africa

Item Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Portrait photography -- Africa  Search this

Artists -- Africa  Search this

Marketplaces  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-1387

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 2: South Africa / Durban

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7181a4bb0-5d80-4815-b38a-04c78197497a

EDAN-URL:

ead_component:sova-eepa-2010-010-ref1407

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

South Africa

Scope and Contents:

[A sangoma is a healer and diviner].

Item Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Portrait photography -- Africa  Search this

Artists -- Africa  Search this

Marketplaces  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-1388

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 2: South Africa / Durban

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo79bde6457-900f-48fa-b89e-f1d48c25779f

EDAN-URL:

ead_component:sova-eepa-2010-010-ref1408