Search Results

Author:

Berkowitz, Morris I  Search this

Author:

Brandauer, Frederick Paul 1933-  Search this

Reed, John H  Search this

Physical description:

xi, 167 pages illustrations, maps 22 cm

Type:

Books

Place:

Hong Kong (China)

China

Hong Kong

Date:

1969

Topic:

Godsdienst  Search this

Hakka (volk)  Search this

Religious life and customs  Search this

Call number:

BL1950.H6 B51

BL1950.H6B51

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_2814

Author:

Gellner, Ernest  Search this

Subject:

Aḥanṣāla (famille)  Search this

Physical description:

xxiii, 317 pages 12 plates, illustrations, map 23 cm

Type:

Books

History

Place:

Morocco

Atlas mountains

Maroc

Atlas (Montagnes)

Atlas Mountains

Haut Atlas (Maroc)

Berber

Date:

1969

Topic:

Ahansala  Search this

Berbers  Search this

Berbers--History  Search this

Berbers--Social life and customs  Search this

Ethnology  Search this

Berbères  Search this

Berbères--Histoire  Search this

Berbères--Mœurs et coutumes  Search this

Ethnologie  Search this

73.06 ethnography  Search this

Anthropology of religion  Search this

Berber  Search this

Berbers--Religious life  Search this

Holy places  Search this

Muslim saints  Search this

Sozialstruktur  Search this

Geloof  Search this

Islam  Search this

Macht  Search this

Religious life and customs  Search this

Call number:

DT313 .G319

DT313.G319

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_2955

Creator:

Silver Horn, 1860-1940  Search this

Extent:

1 Volume (graphite, colored pencil, ink and watercolor on the pages of a bound record book, 8.25 x 13.5 inches)

Container:

Box 1

Box 2

Culture:

Kiowa  Search this

Type:

Collection descriptions

Archival materials

Volumes

Works of art

Ledger drawings

Diaries

Place:

North America

Date:

circa 1884-1897

Scope and Contents:

The collection consists of a bound volume of preprinted US Army forms for recording results of target practice, subsequently filled with drawings of courting, hunting, warfare, Saynday stories, and scenes from the Kiowa Sun Dance by Silver Horn and other Kiowa artists. The artists were probably all Army scouts. The book also contains a 30 page pictorial diary by Silver Horn, spanning the period between January 1893 to June 1897. The diary starts near the end of the book and proceeds from the back towards the front. Among the many names inscribed in the book are "Hawgone" (Silver Horn) and "Auchchiah," both of whom served in Troop L of the Seventh Cavalry, an all-Indian troop that was commanded by Scott. The manuscript contains 186 drawings, as well as a number of scribbled images. The pages are hand numbered, 5-356, in red ink in the upper left corner of each page. A second hand pagination in black ink runs from the back of the book toward the front, encompassing the last thirty pages of the book. Previous inscriptions in the book record the results of target practice at Fort Meade, Dakota Territory in 1884. Hugh Scott was stationed at Fort Meade between 1883 to 1886.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Silver Horn, known as Haungooah in Kiowa, was born in 1860. His name also appears as Hugone, Hangun or Hawgon. He was a member of a prominent Kiowa family. His residential band, led by his father Agiati (Gathering Feathers), actively opposed the United States government's efforts to confine the Kiowa to a reservation. Members of his family participated in the Red River War of 1874-1875 and were among the last Kiowa to surrender to the military. In 1891, Silver Horn enlisted in Troop L of the Seventh U.S. Cavalry. He served with Troop L, which was part of a broader experiment involving the enlistment of all-Indian troops, until 1894.

In 1901, Silver Horn secured employment with James Mooney, an ethnologist with the Bureau of American Ethnology. Mooney was interested in the designs on Kiowa shields and tipis and hired Silver Horn to produce illustrations of the designs and models of the shields and tipis. The project provided Silver Horn with steady work between 1902 and 1904 and occassional employment between 1904 and 1906. Silver Horn also produced illustrations for Hugh Scott, an army officer and avocational ethnologist. Silver Horn was active in the religious life of the Kiowa. He was a Tsaidetalyi bundle keeper and participated in the Sun Dance, Ghost Dance, and Peyote religion. He was also a member of the Ohoma society. Silver Horn died on December 14, 1940.

Hugh Scott was a graduate of the United States Military Academy and served as an officer in the Seventh Cavalry. He was initially stationed in the Dakota Territory. There he learned Plains Indian sign language, a skill that enabled him to communicate more easily with the Cheyenne, Sioux, Crow, and Arikara scouts with whom he worked. He was transferred to Fort Sill, Indian Territory in 1889. From 1891 to 1893, he commanded Troop L of the Seventh Cavalry, an all-Indian troop that was comprised primarily of Kiowa men. He was an avocational ethnologist and compiled a small collection of Plains Indian material during his service in the West, including paintings and drawings by Silver Horn. In 1911, he published illustrations from this collection in "Notes on the Kado, or Sun Dance of the Kiowa", which appeared in American Anthropologist.

Local Numbers:

NAA MS 4252

Publication Note:

Many of the Sun Dance images are published with explanations in:

Scott, Hugh L. "Notes on the Kado, or Sun Dance of the Kiowa," American Anthropologist 13, no. 3 (1911): 345-79.

Exhibition Note:

Several of the Saynday images are published with associated stories in Saynday Was Coming Along...Silverhorn's Drawings of the Kiowa Trickster, Smithsonian Institution Traveling Exhibition Service, Candace Greene and Frederick Reuss, 1993.

Genre/Form:

Works of art

Ledger drawings

Diaries

Citation:

MS 4252 Military target record book containing drawings by Silver Horn and others and a pictorial diary by Silver Horn, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4252

See more items in:

MS 4252 Military target record book containing drawings by Silver Horn and others and a pictorial diary by Silver Horn

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3448874fe-7317-40c1-8214-f7354245d292

EDAN-URL:

ead_collection:sova-naa-ms4252

Medium:

plastic

Dimensions:

9 11/16 × 13 15/16 × 11/16 in. (24.6 × 35.4 × 1.8 cm)

Type:

tray

Date:

1998

Accession Number:

2021.11.1

Restrictions & Rights:

Usage conditions apply

See more items in:

Anacostia Community Museum Collection

Data Source:

Anacostia Community Museum

GUID:

http://n2t.net/ark:/65665/dl80696bfb3-c081-4a8e-b377-46fb1c9ac7f2

EDAN-URL:

edanmdm:acm_2021.11.1

Medium:

melamine

Dimensions:

7 11/16 × 2 1/2 in. (19.6 × 6.3 cm)

Type:

bowl

Date:

Between 2010 and 2018

Cite As:

Donated by Korean Central Presbyterian Church

Accession Number:

2021.12.2

Restrictions & Rights:

Usage conditions apply

See more items in:

Anacostia Community Museum Collection

Data Source:

Anacostia Community Museum

GUID:

http://n2t.net/ark:/65665/dl84320cb7b-1417-42a0-b777-026ba416f968

EDAN-URL:

edanmdm:acm_2021.12.2

Author:

Biton, Marlène-Michèle  Search this

Physical description:

283 pages illustrations 22 cm

Type:

Books

Place:

Benin

Allada

Allada (Benin)

Date:

2015

Topic:

Vodou  Search this

Trays--Religious aspects  Search this

Ceremonial objects  Search this

Wood-carving  Search this

Vodou in art  Search this

Plateaux--Aspect religieux  Search this

Vaudou dans l'art  Search this

Art--Private collections  Search this

Religious life and customs  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1146724

Author:

Mwandayi, Canisius  Search this

Physical description:

378 pages facsimiles 21 cm

Type:

Books

Academic theses

Thèses et écrits académiques

Place:

Zimbabwe

Simbabwe

Date:

2011

Topic:

Religion  Search this

Rites and ceremonies  Search this

Shona (Peuple d'Afrique)--Religion  Search this

Shona (Peuple d'Afrique)--Rites et cérémonies  Search this

Shona (African people)--Religion  Search this

Religionstheologie  Search this

Ritual  Search this

Afrikaforschung  Search this

Kirchliche Bestattung  Search this

Bibelwissenschaft  Search this

Religious life and customs  Search this

Vie religieuse  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1159635

Author:

Wells-Oghoghomeh, Alexis  Search this

Physical description:

1 online resource (xi, 307 pages)

Type:

Electronic resources

Place:

Southern States

États-Unis (Sud)

Date:

2021

Topic:

Enslaved women--Religious life  Search this

Enslaved women--Social conditions  Search this

Femmes esclaves--Vie religieuse  Search this

Femmes esclaves--Conditions sociales  Search this

RELIGION--Christianity--History  Search this

Society & culture: general  Search this

Society  Search this

Call number:

E443 .W45 2021 (Internet)

Restrictions & Rights:

Unlimited users

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1161962

Author:

Cabezón, José Ignacio 1956-  Search this

Physical description:

ix, 304 pages illustrations 24 cm

Type:

Books

Electronic books

Place:

China

Tibet Autonomous Region

Chine

Région autonome du Tibet

Tibet Autonomous Region (China)

Région autonome du Tibet (Chine)

Date:

2010

Topic:

Rites and ceremonies  Search this

Rites et cérémonies  Search this

Religious life and customs  Search this

Vie religieuse  Search this

Tibetan ritual  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1162071

Issued by:

The Colored American Magazine, American, 1900 - 1909  Search this

Edited by:

Frederick Randolph Moore, 1857 - 1943  Search this

Published by:

The Colored American Publishing Company, American, founded 1900  Search this

Printed by:

Moore Publishing and Printing Company, American  Search this

Illustrated by:

Theodore R. M. Hanné  Search this

Subject of:

Emma Azalia Hackley, 1867 - 1922  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 9 3/4 × 6 15/16 × 3/16 in. (24.8 × 17.6 × 0.5 cm)

Type:

magazines (periodicals)

Place printed:

New York City, New York, United States, North and Central America

Date:

March 1909

Topic:

African American  Search this

Associations and institutions  Search this

Black Press  Search this

Business  Search this

Mass media  Search this

Poetry  Search this

U.S. History, 1865-1921  Search this

Women's organizations  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

2014.63.64.5

Restrictions & Rights:

No Known Copyright Restrictions

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials

Movement:

Women's Club Movement

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5fc902afe-cf06-4bab-908c-07642117a486

EDAN-URL:

edanmdm:nmaahc_2014.63.64.5

Creator:

National Museum of African American History and Culture  Search this

Type:

YouTube Videos

Uploaded:

2023-07-02T05:06:43.000Z

YouTube Category:

Education  Search this

Topic:

African Americans  Search this

See more by:

WatchNMAAHC

Data Source:

National Museum of African American History and Culture

YouTube Channel:

WatchNMAAHC

EDAN-URL:

edanmdm:yt_dUWM12o_-Sk

Editor:

Gonnella, Julia  Search this

Author:

Museum of Islamic Art (Dawḥah, Qatar)  Search this

Subject:

Museum of Islamic Art (Dawḥah, Qatar)  Search this

Museum of Islamic Art (Dawḥah, Qatar)  Search this

Physical description:

592 pages, 2 folded pages illustrations (chiefly colour) 27 cm

Type:

Catalogs

Place:

Qatar

Dawḥah

Daw%ah

Date:

2022

Topic:

Islamic art  Search this

Islamic art objects  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1161597

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

Creator:

Bridgewater, Herbert Ford, 1908-1970  Search this

Bridgewater, Leon Archibald, 1905-1968  Search this

Harrell, Charles Henry, 1878-1948  Search this

Harrell, Mary Bridgewater, 1893-1981  Search this

Harrell, Arthur Samuel, 1916-1963  Search this

Harrell, Charles Henry, Jr., 1914-1948  Search this

Harrell, Arthur Samuel, Jr., 1948-1981  Search this

Harrell, Mary Trahan, 1927-2000  Search this

Harrell, Cornelius Eckart  Search this

Bridgewater  Search this

Bridgewater, Octavia Marie, 1903-1985  Search this

Harrell, Richard Francis  Search this

Darby, Sophia Bridgewater, 1894-1990  Search this

Bridgewater, Samuel, 1862-1912  Search this

Bridgewater, Mamie Anderson, 1872-1950  Search this

Donor:

Campbell, Janet Harrell  Search this

Harrell, Jules  Search this

Names:

Lincoln School for Nurses  Search this

Pleasant Hour Club (Helena, Mont.)  Search this

Society for the Relief of Worthy Aged Indigent Colored Persons  Search this

United States. Army Nurse Corps  Search this

United States. Army. Cavalry, 9th  Search this

Extent:

21 Cubic feet (64 document boxes, one oversize folder)

Type:

Collection descriptions

Archival materials

Baptismal certificates

Scrapbooks

Marriage certificates

Diplomas

Photographs

Place:

Montana

Louisiana

United States -- Race relations

Date:

1880-2017

undated

Summary:

Papers and photographs documenting the lives and descendants of Samuel and Mamie Anderson Bridgewater of Helena, Montana.

Scope and Contents:

The collection documents the lives of the family and descendants of Samuel and Mamie Anderson Bridgwater. The papers primarily belonged to the family and descendants of their daughter Mary Emma (1893-1981), who married Charles H. Harrell (1878-1948), a Pullman porter. The collection includes materials from collateral relatives and from those who married into the Bridgewater and Harrell families. The women of these families were extensively involved in community, religious, and social organizations. The collection contains materials about social and religious life in the relatively small African-American communities surrounding Helena, Montana. It also contains family papers including Samuel and Mamie's marriage certificate from 1892; educational memorabilia and school diplomas; scrapbooks and photogaphs documenting family members, vacations, life events and friends; baptismal records; hand-written birth and death entries; and correspondence between family members and friends living in other states.

The collection includes records of many of Montana's social and religious organizations from the 1890s to the 1950s, including the Colored Women's Clubs of America; the Pleasant Hour Club in Helena; the Helena Negro Chorus; the local chapter of the Society for the Relief of Worthy, Aged, Indigent Colored Persons, Pleasant House Club; and numerous Baptist and Roman Catholic congregations. Generations of women in the Bridgewater and Harrell families were members or officers of these organizations. The collection contains records and photographs relating to several African-American and integrated churches in Helena. Friends and community members, primarily other African-American Montanans, are represented in the collection as well.

Photographs and other documents record the lives of nearby neighbors and friends as well as lives of more distant family members and friends. Subjects covered in the collection are: the formerly enslaved parents of Samuel and Mamie Bridgwater; Samuel Bridgwater and his fellow Buffalo soldiers; Octavia Bridgewater's experiences at the Lincoln School of Nursing in New York City; Octavia Bridgewater's service with a segregated unit of the Army Nurse Corps in World War II while stationed at the Tuskegee Air Base, Alabama and her later life after returning to civilian life in Helena when she worked mostly as a midwife.

Some of the arrangement of the collection was done by family members prior to its donation to the Archives Center. The families had a vigorous and wide ranging network of family and friends in Montana and elsewhere in the United States, and materials related to all family members and friends may be found across multiple series.

Arrangement:

The collection is arranged into five series.

Series 1: Bridgewater Family, 1880-2013, undated

Subseries 1.1: Bridgewater, Samuel, 1880-1908, undated

Subseries 1.2: Bridgewater, Mamie Anderson, 1888-1990, undated

Subseries 1.3: Darby, Sophia Bridgewater, 1911-2005, undated

Subseries 1.4: Bridgewater, Octavia Marie, 1922-2013, undated

Subseries 1.5: Bridgewater, Leon Archibald, 1912-1968, undated

Subseries 1.6, Bridgewater, Herbert Ford, 1925-1970, undated

Subseries 1.7: Photographs, 1920-1955, undated

Subseries 1.8: Family Memorabilia, 1903-2007, undated

Subseries 1.9: Family Friends, 1930-2001, undated

Series 2, Harrell Family, 1914-2005, undated

Subseries 2.1: Harrell, Mary Bridgewater, 1914-1981, undated

Subseries 2.2: Harrell, Charles Henry, 1914-1977, undated

Subseries 2.3: Harrell, Arthur Samuel, 1930-1973, undated

Subseries 2.4: Harrell, Mary Trahan, 1925-2002, undated

Subseries 2.5: Harrell, Arthur Samuel, Jr., 1948-1981, undated

Subseries 2.6: Campbell, Janet Harrell, 1951-2005, undated

Subseries 2.7: Harrell, Jules Parker, 1950-1980, undated

Subseries 2.8: Harrell, Richard Francis, 1960-1996, undated

Subseries 2.9: Harrell, Cornelius Eckart, 1940-2001

Subseries 2.10: Harrell, Jr., Charles Henry, 1925-2005

Subseries 2.11: Family Memorabilia, 1960-1990, undated

Subseries 2.12: Photographs, 1929-1996, undated

Series 3, Trahan Family, 1923-1995, undated

Series 4, Family Friends, 1912-1979, undated

Series 5, Photographs, 1907-1992, undated

Biographical / Historical:

The Bridgewater family is a multi-generation African American family descended from Samuel (1862-1912) and Mamie Anderson Bridgwater (1872-1950) (note: later family members spelled the name with an "e"). The son of slaves, Bridgwater was born in Dixon Springs, Smith County, Tennessee, on February 25, 1862. He later enlisted in the all-Black 24th Infantry Regiment, USCI (United States Colored Infantry), one of the famous "Buffalo Soldier" regiments. The 24th Infantry served in the Department of Texas from 1869-1889, Indian Territory from 1880-1888 and following 1888 in the Department of Arizona. In 1892 he married Mamie E. Anderson the daughter of Levi Anderson and Emma Lucy in Fort Huachuca, in what later became the state of Arizona.

Bridgwater fought in the Philippines during the Spanish-American War, where he was wounded. He retired from the United States Army at Fort Harrison, Montana, after twenty years of service on August 22, 1906. The family remained in Helena, Montana purchasing a home at 502 Peosta Avenue. The 1910 United States Census lists Samuel has having retired from the United States Army and lists Mamie as being a matron in the US Army hospital. They raised five children, three boys and two girls.

Samuel died on June 9, 1912. His widow and family remained in Montana becoming active in community affairs. Their descendants continued their parents' involvement in community and religious affairs as well as their fathers' tradition of military service. Their daughter Octavia served in an all-black unit of the Army Nurse Corps during World War II and then served her community as a nurse-midwife for the rest of her life. Members of the family continued to live in the home at 502 Peosta well into the twentieth century.

Provenance:

Donated to the Archives Center, National Museum of American History, Smithsonian by Janet Harrell Campbell and Jules Harrell, descendants of Samuel and Mamie Anderson Bridgewater, 2016.

Restrictions:

The collection is open for research.

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves. Researchers must use reference copies of audio-visual 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:

Spanish-American War, 1898  Search this

Midwives  Search this

Community activists  Search this

United States Army  Search this

African American families -- Montana  Search this

Churches -- Montana  Search this

African American churches -- Montana  Search this

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

Genre/Form:

Baptismal certificates

Scrapbooks

Marriage certificates

Diplomas

Photographs -- 20th century

Citation:

Bridgewater Family Papers, 1880-2013, undated, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.1385

See more items in:

Bridgewater Family Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8adebbef0-f17f-4a82-884b-9005f6f66cad

EDAN-URL:

ead_collection:sova-nmah-ac-1385

Written by:

Charles Heartman, German American, 1883 - 1953  Search this

Subject of:

Phillis Wheatley Peters, American, ca. 1753 - 1784  Search this

Illustrated by:

Scipio Moorhead, ca. 1750 - unknown  Search this

Medium:

ink on paper with leather and cardboard

Dimensions:

H x W x D: 9 7/16 × 6 1/2 × 11/16 in. (23.9 × 16.5 × 1.8 cm)

Type:

hardcover books

Place printed:

New York City, New York, United States, North and Central America

Date:

1915

Topic:

African American  Search this

Literature  Search this

Poetry  Search this

Slavery  Search this

Women  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

A2021.113.1.28

Restrictions & Rights:

Public domain

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Phillis Wheatley Peters Collection

Classification:

Documents and Published Materials-Published Works

Movement:

Anti-slavery movements

Abolitionist movement

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd564429d86-0425-48d8-9b38-70dc559ad688

EDAN-URL:

edanmdm:nmaahc_A2021.113.1.28

Author:

Imasogie, Osadolor 1928-  Search this

Physical description:

44 pages illustrations 22 cm

Type:

Texts

Place:

Nigeria

Date:

1980

Topic:

Edo (Peuple d'Afrique)  Search this

Bini (African people)  Search this

Religious life and customs  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1147139

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Extent:

4.4 Terabytes (4050 videos, 1301 photographs, born digital)

Type:

Collection descriptions

Archival materials

Terabytes

Oral history

Digital photographs

Digital moving image formats

Place:

Tibet, Plateau of

Qinghai (province)

Gansu (province)

Sichuan (province)

Date:

2016

Scope and Contents:

The Tibetan Nomad Material Culture Documentation Project collection contains 4.4 terabytes of born digital video and photographic material collected by four teams in four traditionally Tibetan counties in three provinces in Western China.

The materials document traditional nomadic life: herding, gender roles, the making of household items like baskets and textiles, clothing, games, foodways, religious events and celebrations, traditional tools, and the history, social life, and struggles of each community as expressed through interviews with community members.

Arrangement:

The files in this collection are arranged in chronological order within four series, named for the four fieldworkers or fieldworker teams and containing their respective video and photographic documentation. The four series are as follows: (1) Lhamo Drolma, (2) Puhua, (3) rGyalthar and Nathaniel Sims, and (4) Wuqi.

Biographical / Historical:

The Nomad Material Culture Documentation Project holds documentation from five different culturally nomadic communities in Qinghai, Gansu, and Sichuan Provinces, China. Starting in 2016, the Smithsonian Center for Folklife and Cultural Heritage contracted local researchers, filmmakers, community members, and scholars to document aspects of current nomadic life, including customs, tools, traditional knowledge, and ways of life.

All materials have been shared with the originating communities.

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:

Materials in the Tibetan Nomad Material Culture Documentation Project Collection were created in 2016 by local researchers, filmmakers, community members, and scholars Llamo Drolma, Nathaniel Sims, Puhua, rGyalthar, Tsehua, and Wuqi. Their work was supported by the Smithsonian Center for Folklife and Cultural Heritage. After the fieldworkers completed their projects, their documentation, associated metadata, and trip reports were acquired by the Ralph Rinzler Folklife Archives in the Center for Folklife and Cultural Heritage in 2017.

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:

Nomads  Search this

Material culture  Search this

foodways  Search this

Crafts  Search this

Domestic life  Search this

Religious life  Search this

Herding  Search this

Hand tools  Search this

Games  Search this

Clothing  Search this

Fieldwork  Search this

Weaving  Search this

Basket making  Search this

hide and skin processing  Search this

Genre/Form:

Oral history

digital photographs

digital moving image formats

Citation:

Tibetan Nomad Material Culture Documentation Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.TNP

See more items in:

Tibetan Nomad Material Culture Documentation Project Collection

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5961839ab-950c-4acb-93d0-df3a04d8a4b1

EDAN-URL:

ead_collection:sova-cfch-tnp

Curator:

Trevathan, Idries  Search this

Aljalhami, Mona  Search this

Contributor:

Messner, Reinhold  Search this

Qāḍī, ʻAbd Allāh ibn Ḥusayn  Search this

Angawi, Sami  Search this

Ashour, Raeda  Search this

DeLong, Lisa  Search this

Bari, Mohammed Abdel  Search this

Ogunnaike, Oludamini  Search this

El-Salam, Mohamed Abd  Search this

al-Meheid, Minwer  Search this

Editor:

MacLeod, Murdo  Search this

Mansour, Mona  Search this

Translator:

Shaban, Mohammad  Search this

Host institution:

King Abdulaziz Center for World Culture  Search this

Physical description:

263 pages illustrations (chiefly color), facsimiles, portraits 31 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

History

Catalogues d'exposition

Date:

2020

Topic:

Mosques--History  Search this

Islamic art  Search this

Islamic architecture  Search this

Islamic decorative arts  Search this

Muslims--Religious life  Search this

Muslims--Social life and customs  Search this

Art islamique  Search this

Architecture islamique  Search this

Musulmans--Vie religieuse  Search this

Musulmans--Mœurs et coutumes  Search this

Mosques  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1146366

Author:

Shokoohy, Mehrdad  Search this

Shokoohy, Natalie H  Search this

Shrestha, Sukra Sagar  Search this

Physical description:

xi, 428 pages illustrations (some color), maps 29 cm

Type:

Books

Place:

Nepal

Kirtipur

Kirtipur (Nepal)

Date:

2014

Topic:

Shrines  Search this

Inscriptions  Search this

Buildings  Search this

Buildings, structures, etc  Search this

Religious life and customs  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1146985

Author:

Boyer, Alain-Michel 1949-  Search this

Physical description:

260 pages color illustrations, 2 color maps 24 cm

Type:

Books

Place:

Côte d'Ivoire

Elfenbeinküste

Date:

2016

Topic:

Dance--Religious aspects--African  Search this

Masks, Yaoure  Search this

Masks--Religious aspects--African  Search this

Wood sculpture, Ivoirian  Search this

Yaoure (African people)--Rites and ceremonies  Search this

Brauchtum  Search this

Landleben  Search this

Maske  Search this

Religion  Search this

Yaure  Search this

Religious life and customs  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1077165