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Pearl Bowser Audiovisual Collection

Names:
Andrade-Watkins, Claire  Search this
Bambara, Toni Cade  Search this
Dash, Julie  Search this
Gerima, Haile  Search this
Greaves, William, 1953-2005  Search this
Gunn, Bill, 1934-1989  Search this
Jafa, Arthur  Search this
Jones, Robert Earl, 1904-2006  Search this
Massiah, Louis  Search this
Micheaux, Oscar, 1884-1951  Search this
Moses, Ethel  Search this
Robeson, Paul, 1898-1976  Search this
Sanchez, Sonia, 1934- (poet, reader)  Search this
Snead, James A., 1953-1989  Search this
Spence, Louise, 1945-  Search this
Tucker, Lorenzo  Search this
Donor:
Bowser, Pearl, 1931-  Search this
Extent:
approximately 100 Motion picture films
213 Sound cassettes (7 boxes)
Type:
Collection descriptions
Archival materials
Motion picture films
Sound cassettes
Sound cassette
Oral histories (document genres)
16mm motion picture film
Vhs (videotape format)
Place:
England
Harlem (New York, N.Y.)
Roanoke (Va.)
Memphis (Tenn.)
Date:
bulk 1920-2001
Arrangement:
The collection is currently arranged in three (3) archival series as follows:

Series 1: Motion Picture Films Series 2: Video Tapes Series 3: Audio Tapes

Series 1 and 2 are arranged sequentially by museum-assigned object numbers. Digital copies in Series 3 arranged into seven subseries by NMAAHC staff. There is an additional subseries for "unidentified" audiovisual materials.
Biographical / Historical:
Pearl Bowser is a filmmaker, producer, author, lecturer, and highly acclaimed scholar of African American film who is recognized as an authority on the works of Oscar Micheaux, a noted writer, director, and producer of race films from 1919 to 1948.

Born Pearl Johnson on June 25, 1931, in Sugar Hill, Harlem, New York, she was named after her mother (also Pearl Johnson), a domestic worker who had been raised in a Catholic nunnery. On occasional Saturdays, the younger Pearl would accompany her mother to work in apartments in lower Manhattan, where she would assist her by folding handkerchiefs for a small allowance. After moving to a lower part of Harlem when she was about four years old, she met Harlem entrepreneur "Bumpy" Johnson, for whom she and other children in the neighborhood did odd jobs such as counting coins or attending to his ice-cream stand. Johnson, who would sometimes give the children joy rides in his Cadillac, occasionally allowed Pearl and the other children to borrow books from his extensive library, provided that they read them and submitted to a quiz.

As a child, Bowser had several racist encounters. For example, one of her white kindergarten teachers at her elementary school wore gloves in the classroom as to not touch Black pupils. She was also occasionally teased for having a gap between her teeth but felt insulated from sustained bullying because she had several older brothers who sometimes protected her. On a separate occasion, when she was about nine years old, her mother sent her on a trip from New York to the South to visit relatives. Although her mother had purchased tickets for her to be in a Pullman car, when she changed trains in Washington, DC., she was forced to ride in the car behind the engine, which left her covered in soot.

An avid reader, Pearl excelled in elementary and high school and received a scholarship to attend Brooklyn College, where she majored in biology. She supplemented her income by recording the numbers in one of Bumpy Johnson's shops. Disappointed with the quality of the education she was receiving, Bowser withdrew from Brooklyn College, eventually landing a job at CBS where she worked on a team that analyzed Nielsen ratings.

In 1955, Pearl married fellow New Yorker LeRoy Bowser. By the mid-1960s, although Pearl and LeRoy Bowser had separate interests, they both were working simultaneously in the civil rights movement. While LeRoy was active in Brooklyn CORE (Congress of Racial Equality) and went to the South in the summer to teach for what was the beginning of HeadStart, Pearl, along with other production activists, took to the streets documenting African American culture and issues—working to bring these films to schools. Additionally, Bowser wanted to write a cookbook to earn funds for Brooklyn's CORE organization. She was approached by David Davis, the editor of Tuesday Magazine. Tuesday had distribution in the Herald Tribune across the country as a Sunday supplement. As the urban-world magazine exploded in Black communities, "Joan" Bowser's two-page pictorials on Southern cooking with a set of recipes became very popular in the five years she wrote them. Bowser retained copyrights to the articles, and easily completed her cookbook a short time later.

Bowser's colleague at ABC, Charles Hobson, found a used book written by Peter Noble about Black films and Oscar Micheaux. The volume was slim and contained what little information contained in the Museum of Modern Art (MoMA) files. Hobson and his colleagues wanted to write a book about the topic, and they assigned Bowser to begin the research. As part of the project, Bowser went to California to interview actors who may have been in early Black films or may have worked with Micheaux. What she learned began her intensive scholarship into Micheaux and his fellow filmmakers.

In 1971, she organized her first film festival, the Black Film History Series. In 1979, she organized the nation's first American women's film festival in New York City. She also presented a major retrospective, Independent Black American Cinema 1920-1980, which toured the country during 1981 and 1982. She also directed the Journey Across Three Continents film and lecture series, which toured the country from 1983-1985. Bowser also served as president of the prestigious Flaherty Film Seminar in 1987. In 1989, she, alongside Grant Munro, programmed the 35th Flaherty Film Seminar, which featured films such as Finzan, Zajota and the Boogie Spirit, Daughters of the Dust, and many more. She has also been a judge at the world-renown Pan-African Film and Television Festival of Ouagadougou (FESCPACO) in Burkina Faso (formerly known as Upper Volta).

In the 1980s Bowser was awarded an independent artists grant by the Ford Foundation to travel west and collect oral histories from individuals in Oscar Micheaux's orbit, loosely following the route he would have travelled decades earlier. Stopping in cities such as Roanoke, Virginia; Memphis, Tennessee; and Jackson, Mississippi, she collected dozens of oral histories from actors, actresses etc. that knew Oscar Micheaux. Through this research she became an eminent figure in the Black independent film industry. Working as a programmer, she travelled around the United States and the world showing films by domestic and Black filmmakers within the Diaspora.

Despite her wealth of experience working as a programmer, it wasn't until the 1990s that Bowser made her directorial debut with the documentary film Midnight Ramble. Funded by American Experience, the film looks at African Americans and Hollywood movies from 1910 through the 1950s. In 2000, she, along with Louise Spence, co-authored Writing Himself into History: Oscar Micheaux, His Silent Films and His Audiences, a book about the pioneering filmmaker. Additionally, she is founder and director of Chamba Educational Film Services, a film distribution company that specialized in distributing films by African American filmmakers. In the early 1980s, she renamed her company/collection as African Diaspora Images, a collection of historical and contemporary films documenting Black film history. She subsequently joined Third World Newsreel, where she was director of their theater department.

In 2012, Pearl Bowser donated her extensive collection of books, sound cassettes, films, film memorabilia, and papers to the Smithsonian National Museum of African American History and Culture.

Sources:

1940 United States Federal Census; New York, New York, New York, population schedule, p. 61B, house number 1486, family 195, Pearl Bowser; Ancestry.com. 1940 United States Federal Census [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2012 accessed: 10 Sept 2022); citing National Archives and Records Administration microfilm: m-t0627-02665

Bowser, Pearl. Pearl Bowser Oral History. Interview by Tuliza Fleming and Jennifer Lyon, July 21, 2011.
Provenance:
Acquired as a donation from Pearl Bowser in 2012.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Media Preservation team can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Occupation:
Filmmakers  Search this
Actors -- Interviews  Search this
Topic:
Documentary films  Search this
Film festivals  Search this
African American actors  Search this
African American actresses  Search this
African diaspora  Search this
Race films  Search this
African American motion picture producers and directors  Search this
African American women authors  Search this
Meetings  Search this
Conferences  Search this
Lectures and lecturing  Search this
Amateur films  Search this
Motion picture soundtracks  Search this
Oral history  Search this
Radio broadcasts  Search this
Genre/Form:
Sound cassette
Oral histories (document genres)
16mm motion picture film
VHS (videotape format)
Citation:
Pearl Bowser Collection, National Museum of African American History and Culture
Identifier:
NMAAHC.A2012.79.AV
See more items in:
Pearl Bowser Audiovisual Collection
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3209e9c6d-3045-4a0a-941e-6519385b18d5
EDAN-URL:
ead_collection:sova-nmaahc-a2012-79-av

Interview of Shingzie Howard, conducted by Pearl Bowser

Extent:
2 Sound cassettes
Container:
Box 3, Cassette 7
Box 2, Cassette 33
Type:
Archival materials
Audio
Sound cassettes
Date:
1971 September
General:
2012.79.3.76.1a, 2012.79.3.68.1a
Collection Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Collection Rights:
The NMAAHC Media Preservation team can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Collection Citation:
Pearl Bowser Collection, National Museum of African American History and Culture
See more items in:
Pearl Bowser Audiovisual Collection
Pearl Bowser Audiovisual Collection / Series 3: Audio Tape / 3.1: Interviews / Interviews of Shingzie Howard
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3cb25d922-5754-4252-82c5-e07bc8f890e4
EDAN-URL:
ead_component:sova-nmaahc-a2012-79-av-ref86
Online Media:

The Historical Records of the Barnett-Aden Gallery

Creator:
Barnett-Aden Gallery  Search this
Names:
Anacostia Community Museum  Search this
Corcoran Gallery of Art  Search this
Howard University  Search this
Howard University. Gallery of Art  Search this
Aden, Alonzo J., 1906-1963  Search this
Asher, Lila Oliver  Search this
Driskell, David C.  Search this
Ealey, Adolphus  Search this
Greene, Carroll  Search this
Herring, James V. (James Vernon)  Search this
Johnson, Robert L., 1946 April 8-  Search this
Lazzari, Pietro, 1898-1979  Search this
Long, Richard, 1945-  Search this
Porter, James A. (James Amos), 1905-1970  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Spellman, Gladys Noon  Search this
Thomas, Alma  Search this
Wells, James Lesesne, 1902-1993  Search this
Extent:
.5 Cubic feet
Type:
Collection descriptions
Archival materials
Correspondence
Ephemera
Catalogues
Business records
Place:
Washington (D.C.)
South Carolina
Date:
1954-1989
bulk 1961-1977
Summary:
The Historical Records of the Barnett-Aden Gallery showcases one of the first galleries owned and operated by African Americans. The work of the Gallery was invaluable as they opened the exhibition space to established and unknown artists regardless of race or gender.
Scope and Contents:
The Historical Records of Barnett-Aden Gallery collection includes historical background materials on the gallery, its founders James V. Herring and Alonzo Aden as well as Adolphus Ealey, its steward after its closure in 1969. The materials include correspondence, business records, photographs, exhibition catalogues, and clippings.
Arrangement:
The materials in this collection have been kept at the folder level and separated into four series. The materials have been ordered and organized based on the content. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.
Historical Sketch:
The Barnett-Aden Gallery, suggested to be the first African American privately-owned gallery in the U.S, open its doors on October 16, 1943. The gallery was founded by artist and scholar James V. Herring alongside his protegee, curator Alonzo Aden. The gallery was housed in a private home that they shared, located on 127 Randolph Street NW in Washington, DC. These men aimed to create an art gallery that provided a venue for underrepresented artists of all races and genres. It was this partnership that laid the foundation for the shift in African American representation in modern art. Aden stated that the gallery's aims were to help foster new talent while also bringing "art of superior quality" to the community. Throughout its history, the gallery held almost 200 exhibitions and showcased the work of over 400 artists.

James Vernon Herring was born on January 7, 1887 in Clio, South Carolina to an African American mother, Alice Herring (1860-1942), and white father, William Culbreth. As a young man, he moved to Washington, DC for better educational opportunities. Herring was educated at the Howard Academy, a preparatory high school located at nearby Howard University campus. Herring received his undergraduate degree from Syracuse University and completed graduate studies at Columbia and Harvard Universities. Trained in art and classical studies with a focus on French impressionism, Herring was initially brought on Howard University's faculty as architecture instructor in 1920. This experience inspired Herring to create the Department of Art at the university where he convinced former home economics student and future prominent visual artist, Alma Thomas to be the art school's first graduate in 1924. Herring continued to mentor and discover young artists as was the case with Alonzo Aden.

Alonzo Aden was born on May 6, 1906 in Spartanburg, South Carolina to Naomi Barnett (1883-1956) and Ephraim Aden (1859-1917). His working-class parents wanting more for their eldest son, decided to send him to live with relatives in Washington, DC for greater educational opportunities. Aden did well academically and completed some studies at Hampton Institute (now Hampton University) before finally entering Howard University in 1927. The following year, Herring opened the Howard University Gallery of Art and installed Aden as its first curator. Aden initially pursued a career as an educator but became more interested in art history and after his graduation from Howard in 1933, he pursued studies in museum and curatorial work.

Recent scholarship has suggested that Herring and Aden were in a romantic as well as working relationship. Working together in the Howard Gallery of Art, they sought to provide a space for art students, local artists and other relatively unknown artists from around the world. Living together since 1929, Herring supported Aden's post-graduate pursuits including his studies of African arts and crafts in galleries across Europe as well as his curatorial work at the American Negro Exposition in Chicago in 1940. Aden returned to Washington to great acclaim and continued his work with Herring at the Howard Gallery of Art.

The Gallery was housed in a Victorian townhouse located in the then middle-class African American neighborhoods of LeDroit Park and Logan Circle (present-day Bloomingdale). Research notes that the house was purchased during the late 1920s by Herring with some assistance of artist Alma Thomas (or vice versa). Both were listed as owners of the property until 1933 when Aden was listed as the co-owner. In 1943, Aden resigned as head of the Howard Gallery for unknown reasons which led Herring and Aden to open a gallery in their home. The gallery was named after Aden's mother Naomi, who also served as an early benefactor of the gallery giving $1,000 in support. It was the support of various benefactors alongside Herring's salary as a Howard professor and Aden's several "government jobs" that kept the gallery afloat during its time in the home. The first floor of the gallery consisted entirely of exhibition space with the second-floor space interchanged between exhibition, study, and living spaces over the years. Herring's library, also located on the upper floors, was used for research by students and local scholars. Herring and Aden never saw the gallery as a truly profitable venture but instead wanted to offer avenues for the artists to showcase their work. As policy, each artist retained all money earned from sales but were required to donate at least one work of art to the Barnett-Aden collection.

The gallery, the first of its kind in Washington at the time, exhibited works of artists regardless of race; African American artists displayed alongside their more notable white peers. Notable artists featured in the gallery include Henri Matisse, Paul Cezanne, Pablo Picasso, Marc Chagall, and M.C. Escher were exhibited alongside notable African American artists Richmond Barthé, Romare Bearden, Elizabeth Catlett, Charles White, Selma Burke as well as many others. Several Howard professors who went on to have notable art careers also exhibited their work at the gallery including James Porter, Lois Mailou Jones, and James Lesesne Wells. Many of the artists featured in the gallery were also greatly involved in the operations. Alma Thomas served gallery's vice president before she began exhibiting her work there in 1950s. Artist and scholar, David Driskell served as the associate director of the gallery after Aden's death.

The gallery held five to eight exhibitions every year including a special annual anniversary exhibition. In 1944, the gallery opened a show featuring Brazilian modern artist, Candido Portinari, who had previously completed a mural at the Library of Congress, that sparked great interest at the gallery. The exhibition opening brought in visitors from all over Washington including members of the president's cabinet, foreign ambassadors and First Lady Eleanor Roosevelt. This renewed interest created a somewhat hectic pace in keeping up with the work of the gallery. This pace coupled with the full-time jobs and other ventures including a gift shop enabled the gallery to act as a luminary of the African American and local arts community in Washington.

In 1961, while preparing for the annual anniversary exhibition, Alonzo Aden died suddenly. Herring with aid of his friends and students took on the management of the gallery after his partner's death but was unable to keep the pace of Aden's work and the attendance declined. In 1969, Herring died in the home leaving behind a formidable legacy. The home and its contents including the gallery's art collection was sold in order to settle the debts of Herring's estate. The collection was divided amongst three individuals. Artist and former Herring student, Adolphus Ealey inherited the bulk of the collection that featured 250 significant works. Herring's books, graphic drawings, and prints were given to Herring associate and friend, Dr. Felton J. Earls, while the sculptures went to art collectors and friends Dr. and Mrs. Cecil Marquez.

The portion of the collection owned by Ealey was described as the preeminent selection from the gallery's collection. The size and ongoing upkeep of the collection was significant which caused the collection to be moved several times over the years. The collection which out of necessity was originally stored in Ealey's Southwest Washington apartment then moved a to a house in LeDroit Park and then to another space in the Washington neighborhood of Fort Lincoln. Ealey collaborated with colleagues and institutions to have it exhibited in various locations but also bid to find the collection a permanent home. During the 1970s, the collection was featured at the Museum of Afro-American Culture and History in Philadelphia, the Anacostia Neighborhood Museum (now the Smithsonian Anacostia Community Museum) and the Corcoran Gallery of Art.

Unable to find an institutional home for the collection, Ealey was forced to sell the collection in 1989 to the Florida Endowment Fund for Higher Education. Ealey stipulated that collection must remain intact but also that the new owners had to develop educational and outreach programs focused on African Americans in the arts. Failing to find consistent opportunities to exhibit the collection, the owners were forced to sell the collection. In 1998, Robert L. Johnson, then chairman and founder of the television channel, Black Entertainment Television (BET), purchased the collection. The collection went on a national tour then was displayed for some time at the BET headquarters in Washington. In 2015, Johnson donated selections from the gallery collection to the Smithsonian National Museum of African American History and Culture in an effort to preserve the legacy of the Barnett-Aden Gallery and the tireless work of James V. Herring and Alonzo Aden for generations to come.

Historical Timeline

1897 -- James Vernon Herring was born January 7 in Clio, South Carolina.

1906 -- Alonzo James Aden was born May 6 in Spartanburg, South Carolina.

1914-1916 -- While attending Syracuse University, Herring taught summer classes at Wilberforce University in Ohio for two summers.

1917 -- Herring graduated from Syracuse University with a Bachelors of Pedagogy in Art degree.

1917-1920 -- Herring served as YMCA secretary for the YMCA in Muscle Shoals, Alabama, and then Camp Lee, Virginia. Herring also held teaching positions at Straight College in New Orleans and Bennett College in North Carolina

1920 -- Alonzo was sent to Washington, D.C. to live with his uncle, James Aden, and his wife Laura.

1921 -- Herring was initially hired as architectural drawing instructor at Howard University and after negotiations established Department of Art later that same year.

1927 -- Herring organized an exhibition of Howard U. students' artwork that toured the Deep South U.S. Aden enrolled in Howard University in pursuit of an education degree.

1930 -- The Howard University Gallery of Art formally opened on April 7. Aden was hired as gallery assistant.

1933 -- Aden received his Bachelor of Arts in Education; Herring added Aden's name as co-owner of the 127 Randolph Place home.

1934-1939 -- Aden engaged in post-graduate study and museum curatorial work around the U.S. and Europe.

1940 -- Aden served as art curator for the American Negro Exposition (the "Negro's World Fair") in Chicago

1943 -- Aden resigned his position at the Howard University Gallery of Art for undisclosed reasons. The Barnett-Aden Gallery was founded by James V. Herring and Alonzo Aden. The first exhibition, "American Paintings for the Home" featured Elizabeth Catlett, Lois Mailou Jones, Malvin Gray Johnson, James Lesesne Wells, Jacob Lawrence, and many others.

1944 -- First anniversary exhibition featuring artist Candido Portinari, Brazilian artist who was already known in Washington from his mural for the Library of Congress. It was attended by the First Lady, Eleanor Roosevelt. Exhibition, "The Negro in Art" and "American Paintings for the Home" featuring Catlett, James A. Porter, Wells, Jones, Richmond Barthé, Hale Woodruff, Betsy Graves Reyneau and others.

1946 -- Exhibition, "Paintings by Lois Mailou Jones" and featured paintings of Jacob Lawrence for Third Anniversary exhibition.

1947 -- Fourth Anniversary Exhibition, "Recent Paintings by Charles White". Exhibition of Elizabeth Catlett, "Paintings, Sculpture, and Prints of The Negro Woman".

1948 -- Exhibition, "Paintings and Drawings by James A. Porter".

1949 -- Exhibition, "Sylvia Carewe".

1950 -- "Exhibition of Six Washington Artists" featuring Romare Bearden, Samuel Bookatz, Bernice Cross, Robert Gates, Norma Mazo, and James A. Porter. "Exhibition "Paintings and Prints by James Lesesne Wells."

1951 -- Exhibition, "Three Washington Artists" featuring Richard Dempsey, Sam Herman, and Jack Perlmutter Exhibition, "Herman Maril: Paintings in Retrospect, 1931-1951"

1953 -- Tenth Anniversary Exhibition, "Eighteen Washington Artists" featuring Sarah Baker, Samuel Bookatz, William Calfee, Bernice Cross, Robert Franklin Gates, Jacob Kainen, Marjorie Phillips, James Porter, and James Lesesne Wells.

1954 -- Exhibition "Six Washington Painters" featuring Theresa Abbott, Gabriel Cherin, Gloria Besser Green, Alma W. Thomas, and Anita Wertheim.

1955 -- Twelfth anniversary exhibition focused on "Jack Perlmutter".

1957 -- Exhibition, "David C. Driskell: Exhibition of Paintings"

1958 -- Exhibition "Norman Lewis: Paintings"

1959 -- Sixteenth Anniversary Exhibition of "Paintings by Pietro Lazzari, Helen Rennie, Alma Thomas, Andrea De Zerega". Exhibition of "Religious Paintings and Prints by James L. Wells and Sculpture by Selma Burke"

1962 -- Alonzo Aden died suddenly at the age of 56 on October 13 in Washington D.C. Herring solely inherits the Gallery collection.

1969 -- Herring dies at age 84 in Washington, DC. on May 29. Artist Adolphus Ealey inherits the bulk of the gallery collection along with Dr. Felton J. Earls and Dr. and Mrs. Cecil Marquez.

1974 -- Two exhibitions of the collection at the Anacostia Neighborhood Museum and the Corcoran Gallery of Art.

1989 -- Collection sold to Florida Endowment Fund for Higher Education.

1998 -- Robert Johnson, founder and former CEO of Black Entertainment Television (BET) purchased the entire collection and serves as administrators over the collection.
Provenance:
Acquired through a purchase by the Smithsonian National Museum of African American History and Culture.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Topic:
Photographs  Search this
Art  Search this
Business  Search this
LGBTQ+  Search this
Museums  Search this
African American artists  Search this
Painting, American  Search this
Galleries  Search this
Education  Search this
finance  Search this
Local and Regional  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Genre/Form:
Correspondence
Ephemera
Catalogues
Business records
Citation:
Historical Records of the Barnett-Aden Gallery, Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.A2014.63.32
See more items in:
The Historical Records of the Barnett-Aden Gallery
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3ab33c70c-0c97-4ae6-b532-0055f1a78617
EDAN-URL:
ead_collection:sova-nmaahc-a2014-63-32

Historical Records of Jones-Hall-Sims House

Creator:
McDaniel, George W.  Search this
Extent:
.5 Cubic feet
Type:
Collection descriptions
Archival materials
Oral histories (document genres)
Place:
United States of America -- Maryland -- Montgomery County -- Potomac
Poolesville (Md.)
Date:
1978-1979
Summary:
The Jones-Hall-Sims House also known as "Freedom House" is featured prominently in the NMAAHC Defending Freedom, Defining Freedom: The Era of Segregation exhibition. This collection reflects the research completed by historian Dr. George McDaniel documenting the history of the Jones-Hall-Sims House, the communties of Jonesville and Jerusalem.
Scope and Contents:
The Historical Records of Jones-Hall-Sims House consists of the research that historian Dr. George McDaniel and his team completed in order to document African American communities in western Montgomery County, Maryland. The collection consists of photographs and oral history transcripts collected about the families and community members that occupied the historic home and the surrounding Jonesville community. The bulk of the materials were created and collected during 1978-1979.
Arrangement:
The materials in this collection have been kept at the folder level and separated into three series. The materials have been ordered and organized based on the content. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.
Biographical / Historical:
The Jones-Hall-Sims House, also referred to as the "Freedom House," is featured prominently within the permanent exhibition, Defending Freedom, Defining Freedom: The Era of Segregation of the Smithsonian National Museum of African American History and Culture (NMAAHC). NMAAHC acquired the House in 2009. After disassembling the house at its original site in Maryland, it was reconstructed in the museum and became a focal aspect of the main History gallery. The House was named for three of the families that owned and occupied it for several generations starting in 1874. The home was originally located in Jonesville, Maryland, near what is now classified as Poolesville, Maryland. The Jones-Hall-Sims House was located at 6 Jonesville Terrace.

The city of Jonesville was named after brothers Richard (1810-1880) and Erasmus (1823-1880) Jones. Jonesville was one of the earliest free African American communities in Montgomery County, Maryland. Most of the inhabitants of Jonesville were descendants of the town's founders. With ratification of 13th amendment effectively banning the practice of American slavery, many former plantation owners were forced to sell their land to the formerly enslaved people who wanted to create and sustain their own communities. Research indicates that Richard and Erasmus were likely enslaved by the Bruner family on their Aix la Chapelle plantation. It is believed that the Bruner family enslaved up to 5,400 African American men, women, and children before the Civil War. This included Henrietta Jones, (1778-1870) that research suggests was the mother of Richard and Erasmus. In 1874, Richard Jones purchased 9 acres of land on the former Aix la Chapelle plantation from the Bruner family for $135.00. The sale was not formalized until the death of the landowner and head of the Bruner family, Joseph in 1874.

It is believed that the Jones-Hall-Sims House was built in approximately 1875. Research suggests that Richard Jones likely built the home with the help of his sons and neighbors. The original house was a wooden structure with two stories, three bays, and a side gabled roof covered in tin. Although Richard owned the house, it is unclear if he ever lived there. He transferred ownership of the house and land to his sons, John Henry (1853-1920) and Dennis (b. 1855) in 1876. John Henry and his wife Maria Jones are the first recorded occupants of the Jones-Hall-Sims House. Maria was the daughter of John Peters (b. 1825) a free-born blacksmith and an unidentified enslaved woman. John Peters also hailed from a longtime Jonesville family. Marrying John Henry in 1878, Maria was the first of her family who lived with her husband and children in the same home. In 1896, John Henry Jones sold the land the Jones-Hall-Sims House was located on to his brother Frank Jones and a friend, Levin Hall. The house was on Hall's property; therefore, the ownership was transferred to him.

In 1915, Elmer Jones, Richard's grandson, built a house nearby Jones-Hall-Sims House and made a home with his wife, Elnora Hall, Levin Hall's daughter. Elmer, a carpenter, known during that time as a "house wright," was responsible for rebuilding Elijah Methodist Church after it was damaged in a fire. Elmer's grandfather Richard was responsible for building the church, an integral part of the Jonesville community. After Elnora's death, Elmer married Hannah Jones; she would subsequently remain in that home until after Elmer's death in 1969.

In 1946, Annie E. Hall, Elnora's sister and Levin's daughter, transferred the land surrounding the Jones-Hall-Sims House to her daughter, Marion Hall. Marion married John Sims and they raised their son, Paul, in the historic home. In 1964, returning home from his service in Air Force, Paul married Barbara (b. 1944) and returned home where they lived with his father, John. In 1989, John passed away and transferred the property to his son. Like his father, Paul raised his children and grandchildren in the home. The families in the home were always self-sufficient, hunting and farming for their food, growing orchards and gardens, and making their own wine. Featured frequently in the collection are images of hog butchering, a main source of income throughout the home's history. Hog butchering was a joyous occasion, celebrated with food and drink by the whole community.

From 1978-9, Dr. George McDaniel conducted a historical survey of African American communities in upper western Montgomery County, Maryland. McDaniel worked with the preservation organization, Sugarloaf Regional Trails and the Maryland Historical Trust to conduct the survey. The purpose was to document important African American historical communities and homes in the area as they were rapidly disappearing. The survey was also used to obtain historical designation from the Maryland Historical Trust for the home in applications date for 1979 and 1985. Unfortunately, the house did not successfully receive the designation. At the time of the survey, McDaniel was a Ph.D. student at Duke University studying traditional African American home and customs. The study included research on the homes, churches, and schools through artifacts, photographs, and oral histories. At the time of the survey, Paul Sims owned and lived in the home. From his findings, McDaniel published Black Historical Resources in Upper Western Montgomery County and A Living Black Heritage focused on 11 African American communities including Jonesville and Sugarland.

In 2000, the family lost ownership of the home and it was purchased by Maryland resident, Brad Rhoderick with the intent to demolish the property to build a new home for his family. The Montgomery County Historic Preservation Commission was not able to designate the Jones-Hall-Sims House for historical preservation because of the many changes done by later generations who lived in the home, so they turned to NMAAHC for help. They worked together to acquire the house as quickly as possible to ensure the rich history presented by the home was preserved.

Historical Timeline

1778 -- Henrietta Jones was born. Research suggests she was the mother of Richard and Erasmus Jones.

c. 1810 -- Richard Jones was born.

c. 1820s -- Richard Jones married Evelyn (b. 1820).

1825 -- John Peters was born.

1850 -- Levin Hall was born. Frank Jones is born to Richard and Evelyn Jones (b. 1820).

1853 -- John Henry Jones was born to Richard and Evelyn Jones.

1855 -- Dennis Jones was born to Richard and Evelyn Jones.

1858 -- Maria E. Peters was born to John Peters and unidentified enslaved woman.

1864 -- Maryland ratified the Emancipation Proclamation.

1870 -- Henrietta Jones passed away.

1874 -- Richard Jones purchased 9 acres of land from the Aix la Chapelle plantation. Richard purchased the land that became Jonesville, named after founders Richard and Erasmus Jones.

1875 -- Jones-Hall-Sims House was built.

1878 -- John Henry married Maria E. Peters.

1876 -- Richard Jones bequeathed the House and land to his sons, John Henry (m. Marie E.) and Dennis Jones (m. Mary V.)

1879 -- Frank Jones, son of Richard and Rachael Jones, married Ruth (1858-1931).

1880 -- Dennis Jones married Mary (b. 1862). Richard Jones passed away.

1888 -- Elmer Jones was born to John Henry Jones and an unknown woman.

1891 -- Elnora Hall was born to Levin and Ruth Hall.

1896 -- John Henry Jones sold the House to his brother Frank Jones and friend Levin Hall splitting the property in half. The Jones-Hall-Sims House was located on Hall's land.

1898 -- John Sims was born.

1902 -- Marian Hall was born to Annie E. Hall and unknown man.

1915 -- Elmer Jones built his own home in Jonesville near the Jones-Hall-Sims House and lived with his wife Elnora Hall Jones (daughter of Levin Hall).

1920 -- Marian Hall married John Sims. Elnora Hall Jones and John Henry Jones passed away.

1924 -- Annie E. Hall inherits the land from her father, Levin Hall.

1936 -- Paul Sims was born and raised by Elmer Jones, husband to Elnora Hall.

1946 -- Marion Hall Sims (daughter of Annie E. Hall) inherited the land and passed it on to her husband John Sims.

1969 -- Elmer Jones passed away, leaving his own house to his widow Hannah Jones (1902-1984).

1978-1979 -- Dr. George McDaniel conducted a historical survey of the black communities in Montgomery County, Maryland.

1989 -- John Sims passed away. Paul Sims inherits the home from his father, John Sims.

1984-c. 1995 -- Paul and Barbara Sims lived with their children and grandchildren. John Sims lived with his family until he passed away in 1989.

2000 -- The family sold the land.

2008 -- Jones-Hall-Sims House was purchased by Brad Rhoderick with the intention to demolish the house and rebuild a new one.

2009 -- Jones-Hall-Sims House was acquired by the National Museum of African American History and Culture.
Provenance:
Acquired as a gift of Dr. George W. McDaniel.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Topic:
Photographs  Search this
American South  Search this
Communities  Search this
Domestic life  Search this
Families  Search this
Religions  Search this
Local and Regional  Search this
Free communities of color  Search this
Emancipation  Search this
Housing  Search this
Genre/Form:
Oral histories (document genres)
Citation:
Historical Records of the Jones-Hall-Sims House, National Museum of African American History and Culture, Smithsonian Institution.
Identifier:
NMAAHC.A2013.110
See more items in:
Historical Records of Jones-Hall-Sims House
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io384b67087-6513-4a57-95b7-0da5a9b6a320
EDAN-URL:
ead_collection:sova-nmaahc-a2013-110

The NMAAHC Collection Donor Oral History Project

Creator:
National Museum of African American History and Culture  Search this
Names:
Student Nonviolent Coordinating Committee (U.S.)  Search this
Extent:
36 Video recordings (Oral histories were recorded in 1920x1080 video)
Type:
Collection descriptions
Archival materials
Video recordings
Oral histories (document genres)
Date:
2016
Scope and Contents:
The NMAAHC Donor Oral History Project provides rich background interviews with 18 individuals who donoated collections to NMMAHC prior to the Museum opening in September 2016.
Arrangement:
Collection is arranged with each oral history being its own series. There are 18 oral histories in this collection. Each oral history has two files - the unedited file and the edited file. The edited files trimmed silences from the beginning and end of the unedited file and added in NMAAHC logo and oral history information. Only the edited file is available for streaming.
Provenance:
Oral Histories were created by NMAAHC in 2016 and acquired into the Collection that same year.
Rights:
© Smithsonian National Museum of African American History & Culture. Proper usage is the responsibility of the user.

Collection oral history videos are streaming for viewing.
Topic:
Civil rights  Search this
African Americans -- Civil rights  Search this
Genre/Form:
Oral histories (document genres)
Citation:
Collection of the Smithsonian National Museum of African American History and Culture
Identifier:
NMAAHC.2016.129
See more items in:
The NMAAHC Collection Donor Oral History Project
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3a4b13cd3-6d64-41a7-98a7-381c514d9c5d
EDAN-URL:
ead_collection:sova-nmaahc-2016-129

Eleanor Turner home video #3

Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
1 Video recording
Type:
Archival materials
Video recordings
Scope and Contents:
A family gathers for a family reunion in the yard of a residential home. Video then cuts to the family singing and making speeches to honor the host and family. There is also footage of a crab boil. Home movie was shot in the late 80s or early 90s
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.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Topic:
Singing  Search this
Gathering  Search this
Family reunions  Search this
Cooking  Search this
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Identifier:
NMAAHC.SC.0001, Item SC_0001_20170414_Turner_VHS_03
See more items in:
Great Migration Home Movie Study Collection
Great Migration Home Movie Study Collection / Eleanor Turner Family
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3a902ff86-cc9d-4bb5-bcde-95a8c0b4dd34
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref87

Eleanor Turner home video #2

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
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.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Topic:
Dancing  Search this
Friendship  Search this
Teenagers  Search this
Genre/Form:
Home movies
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Identifier:
NMAAHC.SC.0001, Item SC_0001_20170414_Turner_VHS_02
See more items in:
Great Migration Home Movie Study Collection
Great Migration Home Movie Study Collection / Eleanor Turner Family
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io341e47dc0-5e8c-4238-8799-7075985fc910
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref86

Eleanor Turner home video #1

Creator:
Eleanor Turner  Search this
Collection Creator:
National Museum of African American History and Culture (U.S.)  Search this
Extent:
1 Videocassettes (VHS)
Type:
Archival materials
Videocassettes (vhs)
Home movies
Description:
Various pictures of the Turner family with music accompaniment
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.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Topic:
Celebrations  Search this
Gravesites  Search this
Domestic and family life  Search this
Gathering  Search this
Genre/Form:
Home movies
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Identifier:
NMAAHC.SC.0001, Item SC_0001_20170414_Turner_VHS_01
See more items in:
Great Migration Home Movie Study Collection
Great Migration Home Movie Study Collection / Eleanor Turner Family
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3d62166df-76b4-4bc8-b790-0efdec21a562
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref85

Dorothy Swygert home movie #7

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
Date:
circa 1965
Description:
A Rainy day, with view of neighborhood, family out on porch relaxing and talking. A child cries and an older family member consoles him.
Collection Restrictions:
Collection is available online for open research.
File Rights:
Copyright for Swygert Family films retained by donor. Authorization to quote, reproduce, or otherwise use requires written permission from the donor.
Topic:
Family recreation  Search this
Domestic and family life  Search this
Antique and classic cars  Search this
Genre/Form:
Home movies
Collection Citation:
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Identifier:
NMAAHC.SC.0001, Item SC_0001_20170913_Swygert_S8_07
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
GUID:
https://n2t.net/ark:/65665/io31834f3d6-455d-4c8b-a37f-985a77c368b2
EDAN-URL:
ead_component:sova-nmaahc-sc-0001-ref39

B

Type:
Archival materials
Date:
1865–1866
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Item 4.1.2.2
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received / 4.1.2: Entered in Registers 1 – 4
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io34e9a3186-81f2-4c44-898b-a7e4580f3849
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref81
Online Media:

C

Type:
Archival materials
Date:
1865–1866
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Item 4.1.2.3
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received / 4.1.2: Entered in Registers 1 – 4
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3263d2f87-d7b4-417d-b57f-8633636107d7
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref82
Online Media:

Registers of Communications Received

Type:
Archival materials
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Subseries 4.1
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3e6c7d665-0316-46da-8c2c-e641b33d704f
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref1

Volume 4

Type:
Archival materials
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Subseries 1.4
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 1: Letters and Telegrams Sent
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io355ca38a4-6e5c-4706-827b-5b8a77f86178
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref10

W – Y

Type:
Archival materials
Date:
1867
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Item 4.1.3.8
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received / 4.1.3: Entered in Registers 5 – 7
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3abff5bfc-4c2a-4b80-af56-a8beaed0b2a8
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref100
Online Media:

Entered in Registers 8 – 9

Type:
Archival materials
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, File 4.1.4
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3548b13ca-1bf5-4132-9c45-1a022f99ebd9
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref101

A – C

Type:
Archival materials
Date:
1868
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Item 4.1.4.1
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received / 4.1.4: Entered in Registers 8 – 9
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io310198c21-cf81-49e0-bcc7-b87a1bc5a4c6
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref102
Online Media:

D – J

Type:
Archival materials
Date:
1868
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Item 4.1.4.2
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received / 4.1.4: Entered in Registers 8 – 9
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io339ab0c48-e086-4df9-9573-b902cd6dd47a
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref103
Online Media:

K – M

Type:
Archival materials
Date:
1868
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Item 4.1.4.3
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received / 4.1.4: Entered in Registers 8 – 9
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io311bc7b28-7060-464c-b769-6d4c0035fc24
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref104
Online Media:

N – T

Type:
Archival materials
Date:
1868
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Item 4.1.4.4
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received / 4.1.4: Entered in Registers 8 – 9
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3794bbbab-3965-4c3b-889a-9b3bf15a7d3c
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref105
Online Media:

W – Z

Type:
Archival materials
Date:
1868
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1048, Item 4.1.4.5
See more items in:
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869
Records of the Assistant Commissioner for State of Virginia, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1869 / Series 4: Letters and Telegrams Received / 4.1: Registers of Communications Received / 4.1.4: Entered in Registers 8 – 9
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io334078e19-beff-438e-9589-c369b5800213
EDAN-URL:
ead_component:sova-nmaahc-fb-m1048-ref106
Online Media:

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