11.39 Cubic feet (consisting of 25 boxes, 2 folders, 4 oversize folders, 1 map case folder, plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Examinations (documents)
Speeches
Catalogs
Trade catalogs
Reports
Sales records
Trade literature
Print advertising
Business cards
Programs
Training manuals
Invoices
Publications
Business records
Advertising cards
Advertising mail
Certificates
Business ephemera
Manuals
Sales letters
Awards
Dance cards
Business letters
Commercial correspondence
Ephemera
Illustrations
Photographs
Sermons
Letterheads
Advertising
Printed ephemera
Catalogues
Theater programs
Report cards
Receipts
Advertising fliers
Legal documents
Scrapbooks
Correspondence
Lesson books
Periodicals
School records
Date:
1745-1973
bulk 1840-1930
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents note:
Most materials present are records and information related to specific schools and institutions and their operations. There are no complete records for any single organization. K-12 public, private schools are represented, as well as colleges, universities, vocational training, plus home study, correspondence courses, Sunday Schools and some religious instruction. HBCUs are not represented, though there may be a general item or two related to one or more of the HBCU schools. There is a sampling of teaching and learning tools such as workbooks, textbooks, and curriculum guides, plus publications for educators. A portion of the material focuses on administration and the profession of education. Student Services and Engagement covers the social aspects of higher education.
Arrangement note:
Schools is arranged in two subseries.
Institutions
By Name
Administration and Records
Genre
Advertisements
Images
Instruction and Learning: Tools and Resources
Post Family Education Records
Serial Publications for Educators and Administrators
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Schools is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Some items may be restricted due to fragile condition.
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.
Certificates -- School attendance -- 1930-1940 -- Illinois
Ephemera
Illustrations
Photographs
Sermons
Letterheads
Publications -- Business
Advertising
Printed ephemera
Catalogues
Theater programs
Report cards
Receipts
Advertising fliers
Legal documents
Scrapbooks
Correspondence
Lesson books
Periodicals
School records
Citation:
Warshaw Collection of Business Americana Subject Categories: Schools, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Photographs made as part of Joseph C. Farber's project to document modern NAtive American everyday life. Represented tribes include the Acoma, Apache, Blackfoot, Chehalis, Cherokee, Cheyenne, Chippewa, Cocopa, Dakota, Eskimo, Haida, Kiowa, Kutenai, Lummi, Mohave, Mohawk, Navaho, Northern Athabascan, Onandaga, Pima, Pueblo, Quinalt, Seminole, Taos, Tlingit, and Zuni. Subject coverage is broad and varies from tribe to tribe. Included are portraits, as well as totem poles, carving, weaving, pottery, painitng, landscapes, boats and canoes, ceremonial regalia, camps, classes and vocational training, homes and traditional dwellings, construction projects, rodeos and powwows, dances, industries (including lumber), herding and ranching, agriculture, stores and storefronts, cliff dwellings, parades, crab cleaning, fishing, games, health care, legal processes, music, office work, sewing, vending, and a funeral. There are also photographs of R. C. Gorman (and a letter from Gorman to Farber) and Fritz Shoulder (some in color).
Farber's travels included Alaska (Point Barrow, Dead Horse, Glacier Bay, Haines, Hoona, Hydaberg, Ketchikan, Mount McKinley, Prudhoe Bay, Saxman, and Sitka); Alberta (Blackfeet Reservation); Arizona (Canyon de Chelly, Cocopa Reservation, Flagstaff, Kayenta, Monument Valley, Pima Reservation, Quechan Reservation, Mojave Reservation, and Yuma); California (Alcatraz, Oakland, and San Francisco); Florida (Big Cypress Reservation; Miccosukee Reservation); Minnesota (Minneapolis and Nett Lake); Montana (Northern Cheyenne Reservation); New Mexico (Acoma, Gallup, Navajo Forest, Picuris, Puye, San Ildefonso, Santa Clara, Santa Fe, Taos, San Ildefonso, Santa Clara, and Tesuque); New York (New York City and Onandaga Reservation); North Carolina (Cherokee Reservation); Oklahoma (Anadarko, Apache, Lawton, Stilwell, and Tahlequah); South Dakota (Rosebud and Wounded Knee); and Washington (Lummi Reservation, Nisqually River, Puyallup River, and Quinalt Reservation).
Biographical/Historical note:
Joseph C. Farber (1903-1994) was a successful New York businessman and professional photographer. He studied with Edward Steichen at the New York Camera Club in the 1920s. The prints in this collection resulted from a five-year project that involved travelling to Native communities throughout the United States to document modern Native American life. The project resulted in a book, Native Americans: 500 Years After (1975), as well as exhibits, including one in the National Museum of Natural History in 1976-1977.
Local Call Number(s):
NAA Photo Lot 78-1, NAA ACC 95-3
Location of Other Archival Materials:
Farber's photographs, previously located in Photo Lot 95-3 have been relocated and merged with Photo Lot 78-1. These photographs were also made by Joseph C. Farber and form part of this collection.
The National Museum of American History Archives Center holds the Joseph Farber Papers and Photographs, circa 1962-1990.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Photographs published in Farber's books still under copyright. Reproduction permission from artist's estate.
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Scope and Contents:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.
Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.
Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series.
There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.
Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.
There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.
Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.
Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)
Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)
Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)
Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)
Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)
Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)
Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)
Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)
Biographical / Historical:
Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.
Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.
In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.
From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.
In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.
Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.
Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.
Related Materials:
The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.
Provenance:
The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.
Occupation:
Gallery directors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Kathryn D. Sullivan Papers, NASM.2019.0007, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Kathryn D. Sullivan Papers, NASM.2019.0007, National Air and Space Museum, Smithsonian Institution.
Collection is open for research but the negatives are stored off-site and special arrangements must be made to work with it. Special arrangements required to view original glass plate and film negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Pittsburgh Consolidation Coal Company photographs and other materials, Archives Center, National Museum of American History
The papers of New York painter Robert Reid measure 0.9 linear feet and date from circa 1880-circa 1930. The collection provides scattered documentation of Reid's career and family history through a certificate, letters, an essay of family recollections, scrapbooks containing letters, writings, printed material and family photographs, printed material about Reid, and photographs of Reid, his studio, travels, and works of art.
Scope and Contents:
The papers of New York painter Robert Reid measure 0.9 linear feet and date from circa 1880-circa 1930. The collection provides scattered documentation of Reid's career and family history through a certificate, letters, an essay of family recollections, scrapbooks containing letters, writings, printed material and family photographs, printed material about Reid, and photographs of Reid, his studio, travels, and works of art.
Letters are primarily from Robert Reid to his sister Sara Bigelow Reid and document a single year in Reid's life (1887) when he moved to Paris and traveled to Italy, serving as a diary of his activities through October of that year. Writings consist of an essay and journal entries entitled "Really Random Recollections of Charles D. Reid for Robert N. Reid" written by Robert Reid's brother Charles between 1918 and 1920. Scrapbooks 1 and 2 were compiled by Charles D. Reid and document Reid family history. Scrapbook 3 consists primarily of correspondence between Charles D. Reid and various schools concerning his interest in vocational education and a 1913 paper he wrote on that subject. Scrapbook 4 has had most entries removed and is inscribed by Charles D. Reid's father "Jared Reid Jr., Hartford Ct., Jan. 1880." Charles D. Reid presumably removed the entries to place in Scrapbooks 1-3.
Photographs of Reid include a group of men (circa 1880s) with Reid in the back row, of Reid working on a mural, and a 1927 portrait of Reid. Additional photographs of Reid are found in the scrapbooks. Also found is a copy print of Reid's studio, photographs of Europe, photographs of works of art by Reid, and a photograph of the stage and crowd at an unidentified event.
Arrangement:
Due to the small size of the collection the papers are arranged as one series.
Missing Title
Series 1: Robert Reid Papers, circa 1880-circa 1930 (Boxes 1-2; 0.9 linear feet)
Biographical / Historical:
Robert Reid (1862-1929) was a painter, muralist, craftsman, and teacher who worked primarily in New York City and Colorado.
In 1887 Reid embarked on a tour of Italy that included visits to Milan, Venice, Florence, Rome and Naples. On his visits to Naples he was accompanied by several cousins, including Clara Field, who were on an extended European tour. Throughout the year Reid recorded his experiences and impressions in letters to his sister, Sara Bigelow Reid. In March of 1887 he submitted the first of three paintings to the Paris Salon, all of which were subsequently accepted.
In 1889 Reid returned to the United States and settled in New York City, teaching at the Cooper Union and the Art Students' League and painting portraits before embarking on various mural and decorative art projects. His first mural project was for one of the eight domes in the Liberal Arts Building of the World's Columbian Exposition in Chicago in 1892. In 1897 he painted allegories of the five senses for octagonal panels in the Library of Congress, and in 1899 executed a large allegorical mural for the New York Appellate Division Court House. The Boston State House includes three large panels, including "Paul Revere's Ride" and the "Boston Tea Party," painted by Reid between 1901 and 1904. His stained glass work included a 1906 series of ten windows for the Unitarian Memorial Church at Fairhaven, Massachusetts.
During the 1890s Reid's return to outdoor work and his easel paintings demonstrated a balance between decorative and Impressionist techniques, and were often of women in landscape settings holding or carrying flowers. In 1898 he exhibited as one of the Ten American Painters who seceded from the Society of American Artists in favor of a less traditional, more Impressionistic style.
In the 1920s Reid moved to Colorado Springs and taught at the Broadmoor Art Academy. Several years before his death, Reid taught himself to paint with his left hand after suffereing a stroke that resulted in paralysis of his right hand. He died in Clifton Springs, New York, in 1929.
H. Barbara Weinberg's 1975 essay "Robert Reid: Academic 'Impressionist'" (Archives of American Art Journal, Vol 15, No. 1, 1975) was used in the writing of this Biographical Note.
Provenance:
The collection was donated to the Archives of American Art by Joseph Bowdring in 1973. Bowdring purchased the papers along with Reid's paintings.
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.
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.
There is one certificate is for the 1897 Clarke Prize presented to Robert Reid by the National Academy of Design for his painting Moonrise.
Letters are primarily from Robert Reid to his sister Sara Bigelow Reid and document a single year in Reid's life (1887) when he moved to Paris and traveled to Italy The letters serve as a diary of his activities through October of that year, and focus in particular on visits to Venice, and his preparations for and reactions to acceptance of his artwork by the Paris Salon, which he expresses in letters to his sister and in a letter to his Uncle, Alexander Napier. Additionally, the letters document his program of study in Paris, and his summer work in Étaples, France. Also found are three letters from Reid's cousin, Clara Field, who accompanied Reid to Naples and wrote to Sara Reid about their travels. In one 1930 letter from Whitney Warren to Sara Reid, Warren thanks her for sending her brother's sketchbook and letters to him.
Writings consist of an essay and journal entries entitled "Really Random Recollections of Charles D. Reid for Robert N. Reid" written by Robert Reid's brother Charles for his son Robert Newell Reid between 1918 and 1920. The writings relate family history and include journal entries relating to the end of the First World War through to October 1920.
Printed material about Reid includes several newspaper and journal articles, an announcement for Reid's figure painting class at Broadmoor Art Academy, and aSaturday Evening Post article in which an unidentified author shares personal recollections of Robert Reid. Other printed material includes an edition of the Harvard Lampoon.
Scrapbooks are dated by the estimated date of compilation but contain items that pre-date the folder dates. Scrapbooks 1 and 2 were compiled by Charles D. Reid for Robert Newell Reid and document Reid family history. They include family letters, photographs and news clippings, including several photographs of Robert Reid, three letters which the artist wrote to Robert N. Reid, a 1909 Reid exhibition announcement and a 1916 Reid exhibition catalog, as well as clippings about some of Reid's exhibitions and mural projects. The scrapbooks also include copies of a 1916 paper and related materials that Charles D. Reid wrote on "Early Transportation Conditions in New England." Scrapbook 3 consists primarily of correspondence between Charles D. Reid and various schools concerning his interest in vocational education and a 1913 paper he wrote on that subject. Scrapbook 4 has had most entries removed and is inscribed by Charles D. Reid's father "Jared Reid Jr., Hartford Ct., Jan. 1880." Charles D. Reid presumably removed the entries to place in Scrapbooks 1-3.
Photographs of Reid include a group of men (circa 1880s) with Reid in the back row; four photographs of Reid working on a mural, probably in the 1890s; and a 1927 portrait of Reid. Additional photographs of Reid can be found in the scrapbooks. Also found is a copy print of Reid's studio, photographs of Europe including Antwerp and Brussells in 1885 and Pas-de-Calais in 1888, photographs of works of art by Reid, and a photograph of the stage and crowd at an unidentified event.
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:
Robert Reid papers, circa 1880-circa 1930. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Benjamin, Tritobia Hayes, "What is More Far Reaching Than Beauty?: From Academic Representation to Poetic Abstraction in the Art of Alma Woodsey Thomas"
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of the Alma Thomas paper is provided by The Walton Family Foundation and The Friends of Alma Thomas
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of the Alma Thomas paper is provided by The Walton Family Foundation and The Friends of Alma Thomas
Copyprints struck from original negatives depicting women and men at work and studying various trades in the classroom.
Scope and Contents:
The photoprints which comprise this collection apparently were contact-printed from original negatives. The negatives seem to date from about 1890, but the prints are much more recent. A variety of subjects is included, as described in the container list, but the theme seems to be educational. Education in crafts, veterinary medicine, and mathematics or physics are included, although several of the scenes may be in industrial rather than
educational settings.
Provenance:
Collection donated by Debbie Cooney, 1984.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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.
Collection Citation:
Spokeswoman Magazine, 1972-1980, Archives Center, National Museum of American History.
Patterson, Frederick D. (Frederick Douglass), 1901-1988 Search this
Collection Creator:
Patterson, Frederick D. (Frederick Douglass), 1901-1988 Search this
Extent:
1 Sound recording (open reel, 1/4 inch)
Type:
Archival materials
Sound recordings
Place:
Washington (D.C.)
United States
Date:
undated
Scope and Contents:
'Like It Is' was a program focused on issues concerning African Americans and people of the African diaspora, hosted by Gilbert Edward Noble from 1968 until his death in 2012. In this episode, Dr. Frederick Douglass Patterson - former president of Tuskegee Institute and founder of the United Negro College Fund - was interviewed about black colleges, the role of the United Negro College Fund, competition in professional schools, admitting white students into black colleges, curriculum changes, liberal arts versus vocational education, and the Tuskegee Institute.
Television program. Sound only. Part of the Frederick Douglass Patterson collection. Dated Nov. 9.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
The Frederick Douglass Patterson papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Some items are in fragile condition. Please seek assistance with the following items of correspondence:
Byrd, Charlene Hodges: General Correspondence, 1946 May 15; 1946 July.
Cummings, Grace E. Shimm: Cummings, Charles Gilmor, 1907 May 13; 1907 May 20; John W, 1890 July 28.
Shimm, Sarah A: General Correspondence, 1881 May 6.
Other Correspondence: William P. Ryder, 1877.
Collection Rights:
This collection is subject to all copyright laws.
Collection Citation:
Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.
Sponsor:
This project received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
By Ethel Freeman's instructions, the collection was restricted for ten years dating from the receipt and signing of the release forms on October 12, 1972. Literary property rights to the unpublished materials in the collection were donated to the National Anthropological Archives.
Access to the Ethel Cutler Freeman papers requires an appointment.
Seminole recordings cannot be accessed without the permission of the Seminole Tribe.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Ethel Cutler Freeman papers, National Anthropological Archives, Smithsonian Institution.
Sponsor:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Knabenshue, A. Roy (Augustus Roy), 1876-1960 Search this
Container:
Box 2, Folder 13
Type:
Archival materials
Text
Date:
1942
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
A. Roy Knabenshue Collection, Acc. NASM.XXXX.0136, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Arthur Raymond Brooks Collection, NASM.1989.0104, National Air and Space Museum, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection 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.
Collection 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.
Collection Citation:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
