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Miami Beach -- Penney Garden

Former owner:
Penney, J. C. (James Cash), 1875-1971  Search this
Architect:
DeGarmo, Walter C.  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
1 Slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
Penney Garden (Miami Beach, Florida)
United States of America -- Florida -- Miami-Dade County -- Miami -- Miami Beach
General:
J. C. Penney Home, Miami Beach, Florida (Where President Hoover spent his vacation). Postcard circa 1915-1930.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Florida -- Miami Beach  Search this
Mansions  Search this
Palms -- Florida  Search this
Climbing plants  Search this
Foundation planting  Search this
Seaside gardening  Search this
Formal gardens  Search this
Urns  Search this
Pergolas  Search this
Trellises  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File FL148
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Florida
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1335

Nordness, Lee, On Vacation

Collection Creator:
Nordness, Lee  Search this
Container:
Box 69, Folder 45
Type:
Archival materials
Date:
1973
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984. Archives of American Art, Smithsonian Institution.
See more items in:
Lee Nordness business records and papers
Lee Nordness business records and papers / Series 2: Lee Nordness Galleries Exhibition Section, Inc. / 2.1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-nordlee-ref1861

Betty Parsons Gallery records and personal papers

Creator:
Parsons, Betty  Search this
Names:
Betty Parsons Gallery  Search this
Bess, Forrest, 1911-1977  Search this
Congdon, William, 1912-1998  Search this
Pollock, Jackson, 1912-1956  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
61.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Interviews
Video recordings
Drawings
Date:
1916-1991
bulk 1946-1983
Summary:
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.
Scope and Content Note:
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.
Arrangement:
The collection is arranged as seven series. Many of the series are further divided into subseries.

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)
Historical Note:
Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.
Related Material:
Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.
Separated Material:
Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.
Provenance:
The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Gallery owners -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women art dealers  Search this
Women artists  Search this
Abstract expressionist  Search this
Genre/Form:
Sketchbooks
Interviews
Video recordings
Drawings
Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett
See more items in:
Betty Parsons Gallery records and personal papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parsbett
Online Media:

Letters to Parents

Collection Creator:
Loring, William Cushing, 1879-  Search this
Container:
Box 1, Folder 4
Type:
Archival materials
Date:
1903
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
See more items in:
William Cushing Loring papers
William Cushing Loring papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-loriwill-ref20
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  • View Letters to Parents digital asset number 1
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Letters to Parents

Collection Creator:
Loring, William Cushing, 1879-  Search this
Container:
Box 1, Folder 5
Type:
Archival materials
Date:
1904
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
See more items in:
William Cushing Loring papers
William Cushing Loring papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-loriwill-ref21
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  • View Letters to Parents digital asset number 1

Letters to Stanton D. Loring

Collection Creator:
Loring, William Cushing, 1879-  Search this
Container:
Box 1, Folder 6
Type:
Archival materials
Date:
1901
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
See more items in:
William Cushing Loring papers
William Cushing Loring papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-loriwill-ref22
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Letters to Stanton D. Loring digital asset number 1

Letters to Stanton D. Loring

Collection Creator:
Loring, William Cushing, 1879-  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
1903
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
See more items in:
William Cushing Loring papers
William Cushing Loring papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-loriwill-ref24
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Letters to Stanton D. Loring digital asset number 1
  • View Letters to Stanton D. Loring digital asset number 2

Letters to Mrs. Stanton D. Loring

Collection Creator:
Loring, William Cushing, 1879-  Search this
Container:
Box 1, Folder 14
Type:
Archival materials
Date:
1904
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
See more items in:
William Cushing Loring papers
William Cushing Loring papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-loriwill-ref32
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Letters to Mrs. Stanton D. Loring digital asset number 1

Letters from Helen Loring to Parents

Collection Creator:
Loring, William Cushing, 1879-  Search this
Container:
Box 2, Folder 2
Type:
Archival materials
Date:
1903
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
See more items in:
William Cushing Loring papers
William Cushing Loring papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-loriwill-ref34
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Letters from Helen Loring to Parents digital asset number 1

Letters from Robert Loring to Parents

Collection Creator:
Loring, William Cushing, 1879-  Search this
Container:
Box 2, Folder 3
Type:
Archival materials
Date:
1901
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
See more items in:
William Cushing Loring papers
William Cushing Loring papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
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Smithsonian Tropical Research Institute Oral History Interviews

Creator::
Smithsonian Tropical Research Institute  Search this
Extent:
0.5 cu. ft. (1 document box)
Type:
Collection descriptions
Archival materials
Compact discs
Transcripts
Electronic records
Place:
Barro Colorado Island (Panama)
Date:
2010, 2013
Introduction:
The Smithsonian Institution Archives (SIA) began its Oral History Program in 1973. The purpose of the program is to supplement the written documentation of the Archives' record and manuscript collections with an Oral History Collection, focusing on the history of the Institution, research by its scholars, and contributions of its staff. Program staff conduct interviews with current and retired Smithsonian staff and others who have made significant contributions to the Institution. There are also reminiscences and interviews recorded by researchers or students on topics related to the history of the Smithsonian or the holdings of the Smithsonian Institution Archives.

As part of the celebration of the centennial of the Smithsonian's research in Panama, leading to the foundation of the Smithsonian Tropical Research Institute (STRI), oral history interviews were conducted in 2010 and 2013 with STRI staff members from an array of professions and subject areas, by SIA Institutional History Division historian, Pamela M. Henson. Interviewees focused on women employees, administrative personnel, some of whom had arrived in the early 1960s. She later recorded additional interviews with STRI staff in Washington, D.C. Interviews were recorded in digital audio, and deposited in the Smithsonian Institution Archives Oral History Collection.
Descriptive Entry:
These interviews discuss their careers at the Smithsonian Tropical Research Institute, going back to the 1960s; expansion beyond Barro Colorado Island and downtown Panama City; research careers; changes in management practices as the Institute grew; relations between STRI, Panama, and the United States; effects of the new Panama Canal Treaty and changes in government, especially Manual Noreiga; on STRI and its staff.

The Smithsonian Tropical Research Institute Centennial Interviews consist of 16 hours of interviews and 428 pages of transcript.
Historical Note:
Smithsonian Tropical Research Institute interviewees included Annette Aiello, entomologist; Mercedes Arroyo, administrator; Georgina A. de Alba, educator; Richard Cooke, anthropologist; Olga F. Linares, anthropologist; Elena Lombardo, assistant director; Gloria Maggiori, administrator; and Roberta W. Rubinoff, researcher.

Annette Aiello (1941- ) staff scientist and curator of STRI's insect collections, focused her research on life histories, behavior, and evolution of tropical insects, especially moths and butterflies (Lepidoptera). She received the B.A. in Biology from Brooklyn College in 1972, the M.A. and Ph.D. in Biology from Harvard University in 1975 and 1978, with a thesis on "A Reexamination of Portlandia (Rubiaceae) and Associated Taxa." She was a STRI Research Associate from 1978 Research Associate, through 1992 through 1992, when she was appointed Biologist.

Mercedes Arroyo (1944- ) joined STRI in 1965 as a secretary after receiving a bachelor's degree in commerce and studying at the Canal Zone College. She also worked in technical accounting and was named Head of the Purchasing Department. Because of her extensive experience and knowledge, she continued for six years as a consultant to the Procurement Office, devoting all her time to customs and transport methods. She returned to university to study Public Administration Customs while serving as Head of Department of Combres. For more than 10 years she organized several extracurricular events for STRI staff for special celebrations. She retired in 2005 after forty years at STRI.

Georgina A. de Alba (1951- ) was born in Cuba and immigrated to the United States with her family in 1959. She completed her undergraduate work at Georgetown University, her masters at Tulane University, and taught high school Spanish. In 1975 she moved to Panama with her husband who is Panamanian. Soon after she started working at STRI where she worked for nearly 30 years. She managed the fellowship and internship programs and was responsible for significantly increasing the number of applicants from Panama and other Latin American countries. With the return of democracy to Panama in 1990, she became involved in opening the Institute to the community at large, including a marine public education program, and she gave numerous talks and briefings about STRI's mission to public audiences. In the 2000s she focused on management and policy decisions that were strategically important for the future success of STRI.

Richard Cooke (1946- ), born in Guildford, Surrey, England, studied modern languages and archaeology at the University of Bristol. He obtained his Ph.D. at the London Institute of Archaeology in 1972 with a thesis on the archaeology of Cocl province, Panama. Cooke returned to Panama in 1973 and in 1974 was awarded a STRI post-doctoral fellowship under Dr. Olga Linares. Until 1983, when he joined the (STRI) staff, he worked as field assistant to archaeologist Junius Bird (American Museum of Natural History), as archaeologist on various Panamanian government projects and as archaeology professor at the National and Catholic universities. During the last ten years he directed excavations at a large pre-Columbian settlement on the central Pacific coast of Panama (Cerro Juan Diaz) in conjunction with Panama's Institute of Culture. In 2002 he was awarded a Guggenheim Fellowship for analyzing the cultural and biological materials obtained on this project. Cooke's major research interests focused on the history of fishing in tropical waters; the archaeology and palaeoecology of the Central American land bridge; and archaeozoology.

Olga Francesca Linares (1936- ) was born in Panama and received the B.A. in Anthropology from Vassar College in 1958 and the Ph.D. in Anthropology from Harvard University in 1964. She was an instructor of anthropology at Harvard University in 1964 and a lecturer of anthropology at the University of Pennsylvania from 1966 to 1971. She was a STRI researcher from 1973 to 1978 and her work focused on a long-term study of the causes and consequences of major changes in the diverse rice-growing economies of the Jola, a rural population of farmers living in the Lower Casamance region of southern Senegal, West Africa. She also studied the multiple functions that kitchen or home gardens play in the household economy of rural and urban peoples. Linares also was a visiting associate professor at the University of Texas, Austin in 1974 and a fellow at the Center for Advanced Study at Stanford University in California, from 1979-1980 and as a visiting professor in 1982. Later she was a fellow at St. John's overseas at Cambridge University in England from 1986-1987. Linares retired from STRI in 2008 as senior research scientist and was appointed scientist emerita.

Elena Guardia Lombardo (1946- ) grew up in Panama and then attended Sacred Heart College in Belmont, North Carolina, and Strayer Business School in Washington, D.C. She came to STRI in 1969, where she played various key administrative roles, with the objective of advancing and facilitating research and STRI's mission. She received the Smithsonian's "Robert Brooks Award" in 1991 in recognition of Excellence in Administration and since 1999 was a member of Harvard University's John F. Kennedy School of Government and Executive Education alumni. Her duties included leading negotiations with the Panamanian government before and after transition of the Panama Canal, participating in national and international meetings and events on behalf of STRI, and promoting institutional initiatives throughout Latin America. She represented STRI on the Board of Directors of Fundacion NATURA, and at the Special Zone Management Committee for the recently declared Coiba Island National Park. She was a Board member of the Metropolitan Natural Park until 2006. Elena represented STRI on the Board of Directors of the Wetlands Regional Office, an IUCN Ramsar Convention program, headquartered at the City of Knowledge and was a founding member of the local NGO CIAM, an advocacy and privately funded group that supports activities and carries on research for determining legal actions directed towards accountability of official government decision makers actions, as they relate to their supporting national policies towards conservation of the biodiversity and the environment.

Gloria Maggiori (1941- ) grew up in Colon, Panama, and attended Balboa High School in Panama City. After graduation, she married and started a family. However, in 1961, Adela Gomez, STRI administrative assistant and family friend, asked Maggiori to fill in for a staff member on vacation. She did this regularly for several years until she joined the staff in 1971 as transportation clerk. She advanced to Manager of Visitor Services and handled all STRI travel and visitor services for the many visiting scientists until her retirement in 2006.

Roberta Wolff Rubinoff (1939- ) received the B.A. in biology from Queens College in 1959 and the M.S. in environmental studies from Duke University. In 1962, she joined her future husband, Ira Rubinoff, to Panama where he was conducting his dissertation research on the fishes of Panama. In 1965 they returned to STRI in Panama where they were both appointed biologists. In 1979, she took a sabbatical leave and left Panama. In 1980, she was appointed Assistant Director and in 1986 she advanced to Director, Office of Fellowships and Grants at the Smithsonian in Washington, D.C., until her retirement in 2001.
Restrictions:
The de Alba and Rubinoff interviews are restricted; permission must be secured from the interviewees. The Lombardo recording is restricted; permission must be secured from the interviewee. Contact SIHistory@si.edu to request permission.
Topic:
Tropical biology  Search this
Anthropology  Search this
Entomology  Search this
Interviews  Search this
Oral history  Search this
Genre/Form:
Compact discs
Transcripts
Electronic records
Citation:
Smithsonian Institution Archives, Record Unit 9624, Smithsonian Tropical Research Institute Oral History Interviews
Identifier:
Record Unit 9624
See more items in:
Smithsonian Tropical Research Institute Oral History Interviews
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru9624

Great Migration Home Movie Study Collection

Creator:
National Museum of African American History and Culture (U.S.)  Search this
Names:
Church of God  Search this
Mid-Atlantic Regional Moving Image Archive (MARMIA)  Search this
Most Worshipful Prince Hall Grand Lodge of District of Columbia  Search this
WHUT Howard University Television  Search this
Barker family  Search this
Brown family  Search this
Foye family  Search this
Henderson family  Search this
Howard family  Search this
Leigh family  Search this
Montgomery family  Search this
Swart family  Search this
Swygert family  Search this
Taylor family  Search this
Turner family  Search this
Vaughn family  Search this
White family  Search this
Wilkinson family  Search this
Extent:
825 Digital files
Type:
Collection descriptions
Archival materials
Digital files
Home movies
Date:
1940 - Ongoing
Summary:
The Great Migration is a unique, ongoing digitization service program that partners the National Museum of African American History and Culture with individuals across the United States to preserve their important analog audiovisual media.

While major motion picture film and television historically lacked diverse representation, black history was instinctively being preserved in everyday home movies. Today, these personal narratives serve as an invaluable tool for understanding and re-framing black moving image history, and provide a much needed visualization of African American history and culture.
Scope and Contents:
The collection contains 825 digitized audiovisual media objects. However, as an ongoing project the scope of the collection will continue to increase over time. The scope will be updated as is appropriate.

The content of the collection consists predominantly of amateur recordings created by families to document their lives. This includes major life events, such as birthdays, as well as family vacations and holidays. Additionally, the collection includes footage produced by professionals for broadcast on television. This particular footage entered the collection through partnerships with other memory institutions.
Arrangement:
The collection is arranged into series,file, and item-level records. Each series corresponds to the year of digitization. Each file corresponds to a family that has participated in the Great Migration program. Each item within a file corresponds to a single piece of audiovisual media, such as a film or videotape, digitized by NMAAHC staff.
Provenance:
NMAAHC creates and retains digital copies, 2016-[ongoing]. Original analog materials are not retained by the museum.
Restrictions:
Collection is available online for open research.
Rights:
The Great Migration Home Movie Study Collection, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials. Permissions for any use of the material may be requested from National Museum of African American History and Culture Right and Reproductions 202-633-3846.
Topic:
Amateur films  Search this
Families  Search this
Travel  Search this
Parties  Search this
African Americans  Search this
Genre/Form:
Home movies
Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
Identifier:
NMAAHC.SC.0001
See more items in:
Great Migration Home Movie Study Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_collection:sova-nmaahc-sc-0001

Michelle Wilkinson Family

Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Type:
Archival materials
Home movies
Date:
circa 1965 - 1975
Scope and Contents:
The Michelle Wilkinson Family home movies features travel footage, family outings, and gatherings with family and friends.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials. Permissions for any use of the material may be requested from National Museum of African American History and Culture Right and Reproductions 202-633-3846.
Topic:
Family vacations  Search this
Birthday parties  Search this
Families  Search this
African Americans  Search this
Genre/Form:
Home movies
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
See more items in:
Great Migration Home Movie Study Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref116

Dorothy Swygert Home Movie #1

Creator:
Swygert, Dorothy  Search this
Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
1 Video recording (Kodak Box #1-31; Minnie's Wedding II [verso], 31 Super 8 Kodachrome IIA reels compiled and digitized in one file, 400 foot reel)
Type:
Archival materials
Video recordings
Date:
circa 1965
Scope and Contents:
This a compilation of 31 reels from the Swygert Collection including weddings, vacations, and holiday celebrations.
Collection Restrictions:
Collection is available online for open research.
Rights:
Requires permission from Swygert Family for use.
Topic:
Church Interiors  Search this
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
Identifier:
NMAAHC.SC.0001, Item SC_0001_20161216_Swygert_S8_01-31
See more items in:
Great Migration Home Movie Study Collection
Great Migration Home Movie Study Collection / Dorothy Swygert Family
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref26

Wilhelmina Leigh Family

Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
1 Video recording
Type:
Archival materials
Video recordings
Home movies
Place:
Washington (D.C.)
Date:
circa 1960
Scope and Contents:
The Wilhelmina Leigh Family home movies consist of family gatherings, local outings in Washington D.C., vacations, high school football games, holidays, and commencement ceremonies.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials. Permissions for any use of the material may be requested from National Museum of African American History and Culture Right and Reproductions 202-633-3846.
Topic:
African Americans  Search this
Families  Search this
Vacations  Search this
Football  Search this
Holidays  Search this
Family reunions  Search this
Commencement ceremonies  Search this
Genre/Form:
Home movies
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
See more items in:
Great Migration Home Movie Study Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref632

Graham Family

Creator:
Graham Family  Search this
Source:
Carla Brown  Search this
Former owner:
Carla Brown  Search this
Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
2 Video recordings
Type:
Archival materials
Video recordings
Home movies
Date:
circa 1966 - 1976
Scope and Contents:
The Graham Family home movies primarily feature films shot during long road trips around the contiguous 48 states, including many national parks and monuments. The home movies also include images of gatherings with family and friends.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials. Permissions for any use of the material may be requested from National Museum of African American History and Culture Right and Reproductions 202-633-3846.
Topic:
Families  Search this
African Americans  Search this
Vacations  Search this
National parks and reserves  Search this
Holidays  Search this
Genre/Form:
Home movies
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
See more items in:
Great Migration Home Movie Study Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref645

Young Family

Creator:
Young Family  Search this
Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
9 Video recordings
Type:
Archival materials
Video recordings
Home movies
Place:
Europe
Date:
circa 1975
circa 1990
Scope and Contents:
The Young Family home movies feature gatherings of family and friends, holidays, birthday parties, and extensive travel around Europe. Additionally, there is footage of an air show in an unidentified location.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials. Permissions for any use of the material may be requested from National Museum of African American History and Culture Right and Reproductions 202-633-3846.
Topic:
Families  Search this
African Americans  Search this
Holidays  Search this
Birthday parties  Search this
Vacations  Search this
Jet planes, Military  Search this
Genre/Form:
Home movies
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
See more items in:
Great Migration Home Movie Study Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref648

Robinson Family

Creator:
Robinson Family  Search this
Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
4 Video recordings
Type:
Archival materials
Video recordings
Home movies
Date:
circa 1975
Scope and Contents:
The Robinson Family home movies feature gatherings of family and friends, holidays, and vacations.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials. Permissions for any use of the material may be requested from National Museum of African American History and Culture Right and Reproductions 202-633-3846.
Topic:
Families  Search this
African Americans  Search this
Holidays  Search this
Picnicking  Search this
Vacations  Search this
Genre/Form:
Home movies
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
See more items in:
Great Migration Home Movie Study Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref660

Teletia Taylor Family Home Movies

Source:
Taylor, Teletia  Search this
Former owner:
Taylor, Teletia  Search this
Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
18 Video recordings
Type:
Archival materials
Video recordings
Date:
circa 1980
Scope and Contents:
The Teletia Taylor Family Home Movies feature gatherings of family and friends for holidays, birthdays, graduations, and vacations.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials. Permissions for any use of the material may be requested from National Museum of African American History and Culture Right and Reproductions 202-633-3846.
Topic:
Families  Search this
African Americans  Search this
Vacations  Search this
Holidays  Search this
Birthday parties  Search this
Commencement ceremonies  Search this
Beaches  Search this
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
See more items in:
Great Migration Home Movie Study Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref672

Donna Davis Family Home Movies

Source:
Davis, Donna  Search this
Former owner:
Davis, Donna  Search this
Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
3 Video recordings
Type:
Archival materials
Video recordings
Place:
Mexico
Date:
circa 1971
Scope and Contents:
The Donna Davis Family Home Movies consist of footage documenting vacations around the continental United States and Northern Mexico; national parks are a particular focus.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials. Permissions for any use of the material may be requested from National Museum of African American History and Culture Right and Reproductions 202-633-3846.
Topic:
Families  Search this
African Americans  Search this
Vacations  Search this
National parks  Search this
Beaches  Search this
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
See more items in:
Great Migration Home Movie Study Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref673

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