{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bplaces%5D%5B%5D=Harlem+%28New+York%2C+N.Y.%29\u0026facet.page=2","next":"https://arvasarchive.org/catalog.json?f%5Bplaces%5D%5B%5D=Harlem+%28New+York%2C+N.Y.%29\u0026facet.page=2\u0026page=2","last":"https://arvasarchive.org/catalog.json?f%5Bplaces%5D%5B%5D=Harlem+%28New+York%2C+N.Y.%29\u0026facet.page=2\u0026page=3"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":3,"limit_value":10,"offset_value":0,"total_count":23,"first_page?":true,"last_page?":false}},"data":[{"id":"virmu_repositories_2_resources_200","type":"collection","attributes":{"title":"Alvan Fisher Personal Papers (SC-33), 1822/1852","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200#creator","type":"document_value","attributes":{"value":"Fisher, Alvan, 1792-1863","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. 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Hall Esqre, Dedham 1st October 1822 Dear Sir The paintings which you employ'd me to execute are finished, indeed they have been for some time, but the sickness in New York has delayed my sending them, as I thot It would be uncertain (owing to the confusion in NY) If they found you. I have now written to desire that you inform me where to address them. As I am about to leave this part of the country for the South and therefore to break up my establishment here, It is necessary for to send them somewhere. I have the four pictures in one box. I presume that you will be able to select yours. You will oblige me by answering this as soon as convenient. Please make my compliments acceptable to Mrs. Hall and also to your brother. I am sir yours respectfully, Alvan Fisher"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#0/components#0/components#0","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_200","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_200.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/200","title_filing_ssi":"Fisher, Alvan (SC-33)","title_ssm":["Alvan Fisher Personal Papers (SC-33)"],"title_tesim":["Alvan Fisher Personal Papers (SC-33)"],"unitdate_ssm":["1822-1852"],"unitdate_inclusive_ssm":["1822-1852"],"normalized_date_ssm":["1822/1852"],"normalized_title_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"text":["Alvan Fisher Personal Papers (SC-33), 1822/1852","SC-33","/repositories/2/resources/200","Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)","Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century","The collection is open for research. 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I may have lost or possibly have gained - as to the price of the paintings (which in your last you desired me to name) I shall charge seventy five dollars each, this is the sum I have hitherto recei'd for this sized painting. If you please, you will direct the payment to be made to Francis Fisher of the Firm of H. Hovey \u0026amp; Co. Boston. I shall leave this for the South in twelve days - probably not be in Nyork. Yours, Alvan Fisher\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_200_c01_c01_c02","ref_ssm":["virmu_repositories_2_resources_200_c01_c01_c02"],"id":"virmu_repositories_2_resources_200_c01_c01_c02","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200_c01_c01","parent_ssi":"virmu_repositories_2_resources_200_c01_c01","parent_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_ids_ssim":["virmu_repositories_2_resources_200","virmu_repositories_2_resources_200_c01","virmu_repositories_2_resources_200_c01_c01"],"title_filing_ssi":"Alvan Fisher to Charles H. Hall, Esquire","title_ssm":["Alvan Fisher to Charles H. 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The paintings I believe are in perfect order and hope they may come to your hands in the same state. In the execution of them I have do my best, I hope they may meet your approbation, as paintings they are certainly superior to the first. as likeness's you will from your more recent observation, be the best judge in this respect from the change in position. I may have lost or possibly have gained - as to the price of the paintings (which in your last you desired me to name) I shall charge seventy five dollars each, this is the sum I have hitherto recei'd for this sized painting. If you please, you will direct the payment to be made to Francis Fisher of the Firm of H. Hovey \u0026 Co. Boston. I shall leave this for the South in twelve days - probably not be in Nyork. 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Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640"],"scopecontent_html_tesm":["\u003cp\u003eTranscription: C. H. Hall Esqre Newyork Care Thos. H. Smith Boston Alvan Fisher October 26th 1822 Recd 28th [?] Boston 26th Octr 1822 C. H. Hall Esqre Dear Sir, I have shipped as per bill of Lading the four paintings, and the book which you were so kind to loan me. The paintings I believe are in perfect order and hope they may come to your hands in the same state. In the execution of them I have do my best, I hope they may meet your approbation, as paintings they are certainly superior to the first. as likeness's you will from your more recent observation, be the best judge in this respect from the change in position. I may have lost or possibly have gained - as to the price of the paintings (which in your last you desired me to name) I shall charge seventy five dollars each, this is the sum I have hitherto recei'd for this sized painting. If you please, you will direct the payment to be made to Francis Fisher of the Firm of H. Hovey \u0026amp; Co. Boston. I shall leave this for the South in twelve days - probably not be in Nyork. Yours, Alvan Fisher\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: C. H. Hall Esqre Newyork Care Thos. H. Smith Boston Alvan Fisher October 26th 1822 Recd 28th [?] Boston 26th Octr 1822 C. H. 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Yours, Alvan Fisher"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#0/components#0/components#1","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_200","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_200.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/200","title_filing_ssi":"Fisher, Alvan (SC-33)","title_ssm":["Alvan Fisher Personal Papers (SC-33)"],"title_tesim":["Alvan Fisher Personal Papers (SC-33)"],"unitdate_ssm":["1822-1852"],"unitdate_inclusive_ssm":["1822-1852"],"normalized_date_ssm":["1822/1852"],"normalized_title_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"text":["Alvan Fisher Personal Papers (SC-33), 1822/1852","SC-33","/repositories/2/resources/200","Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)","Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century","The collection is open for research. 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Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1822-1823, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eClippings, 1852\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into two series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1822-1823, undated\n      \n      \n        Series 2\n        Clippings, 1852"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum."],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"userestrict_html_tesm":["\u003cp\u003eThe collection is in the public domain.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is in the public domain."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2ebed1e1385bf6a0f706ce715edc8249\"\u003eThe collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"persname_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"names_coll_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)","Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"language_ssim":["English\n."],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c02"}},{"id":"virmu_repositories_2_resources_200_c01_c01_c03","type":"Item","attributes":{"title":"Alvan Fisher to Charles H. Hall, Esquire, 1822","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c03#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTranscription: Charles H. Hall Esqre New York Care of Thos. H. Smith Charleston Alvan Fisher November 29th 1822 Recd Decr 11th 1822 [?] Charleston / S.C. / 29th Novr 1822 Dear Sir, I understood from you that it was in contemplation to have the portraits of Eclipse and Bassorah Engraved. If I have not been mistaken as to this fact, I wish to call your attention to a proposition of a friend of mine who is an engraver of much merit and particularly in animals and landscape - and from the specimens of horses which I have seen I think that he would execute the portraits of the above animals as well as any man in America. Mr. Charles C. Wright the gentn alluded to, is desirous of Engraving one or both of the animals - and as his proposition is a fair one, I thot that you might wish to avail yourself (as one of the association) of it. His proposition is this: he will take the portrait of Eclipse and Engrave it on a plate of the size which which you may desire, and when finished it shall be at your option to take it at a fair price, If it meets with your expectations. If not, the loss is to be his alone - should he meet your expectations in the first he will hope, and expect the other portrait. Mr W. is ambitious to make himself known and I have no doubt he would do justice to the paintings - his offer is so candid and disinterested in every respect (but the wish to add to his fame) that it is an additional inducement for me to write independant his merit as an engraver. It has given me much pleasure to hear that Eclipse has gained fresh Laurels from the \"\"Ancient dominion\"\" and that the South are convinced that the North can run as well as fight. I employ my leisure moments in portraits of Bassorah in picturesque positions and situations. Should your friends wish for his portrait I can supply them. Yours respectfully, Alvan Fisher C. H. Hall, Esqre\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_200_c01_c01_c03","ref_ssm":["virmu_repositories_2_resources_200_c01_c01_c03"],"id":"virmu_repositories_2_resources_200_c01_c01_c03","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200_c01_c01","parent_ssi":"virmu_repositories_2_resources_200_c01_c01","parent_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_ids_ssim":["virmu_repositories_2_resources_200","virmu_repositories_2_resources_200_c01","virmu_repositories_2_resources_200_c01_c01"],"title_filing_ssi":"Alvan Fisher to Charles H. Hall, Esquire","title_ssm":["Alvan Fisher to Charles H. Hall, Esquire"],"title_tesim":["Alvan Fisher to Charles H. Hall, Esquire"],"normalized_title_ssm":["Alvan Fisher to Charles H. Hall, Esquire, 1822"],"text":["Alvan Fisher to Charles H. Hall, Esquire, 1822","Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1","Paper","box SC-33 Box 1","folder Folder 1","Item SC33.01.0.003","Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Harlem (New York, N.Y.)","Charleston (S.C.)","Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","Wright, Charles Cushing, 1796-1857","Engraving, American. 19th century","American Eclipse (Race horse), 1814-1847","English","Man with back towards camera is Earl James; Taken at Ray's apartment","76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640","Transcription: Charles H. Hall Esqre New York Care of Thos. H. Smith Charleston Alvan Fisher November 29th 1822 Recd Decr 11th 1822 [?] Charleston / S.C. / 29th Novr 1822 Dear Sir, I understood from you that it was in contemplation to have the portraits of Eclipse and Bassorah Engraved. If I have not been mistaken as to this fact, I wish to call your attention to a proposition of a friend of mine who is an engraver of much merit and particularly in animals and landscape - and from the specimens of horses which I have seen I think that he would execute the portraits of the above animals as well as any man in America. Mr. Charles C. Wright the gentn alluded to, is desirous of Engraving one or both of the animals - and as his proposition is a fair one, I thot that you might wish to avail yourself (as one of the association) of it. His proposition is this: he will take the portrait of Eclipse and Engrave it on a plate of the size which which you may desire, and when finished it shall be at your option to take it at a fair price, If it meets with your expectations. If not, the loss is to be his alone - should he meet your expectations in the first he will hope, and expect the other portrait. Mr W. is ambitious to make himself known and I have no doubt he would do justice to the paintings - his offer is so candid and disinterested in every respect (but the wish to add to his fame) that it is an additional inducement for me to write independant his merit as an engraver. It has given me much pleasure to hear that Eclipse has gained fresh Laurels from the \"\"Ancient dominion\"\" and that the South are convinced that the North can run as well as fight. I employ my leisure moments in portraits of Bassorah in picturesque positions and situations. Should your friends wish for his portrait I can supply them. Yours respectfully, Alvan Fisher C. H. Hall, Esqre","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"parent_unittitles_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_unittitles_tesim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"normalized_date_ssm":["1822"],"unitdate_inclusive_ssm":["Nov. 29, 1822"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":5,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"physdesc_tesim":["Paper"],"extent_ssm":["1 folded leaf"],"extent_tesim":["1 folded leaf"],"physfacet_tesim":["Correspondence"],"containers_ssim":["box SC-33 Box 1","folder Folder 1","Item SC33.01.0.003"],"creator_ssim":["Fisher, Alvan, 1792-1863"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"persname_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"geogname_ssim":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"geogname_ssm":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"places_ssim":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"access_subjects_ssim":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","Wright, Charles Cushing, 1796-1857","Engraving, American. 19th century","American Eclipse (Race horse), 1814-1847"],"access_subjects_ssm":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","Wright, Charles Cushing, 1796-1857","Engraving, American. 19th century","American Eclipse (Race horse), 1814-1847"],"acqinfo_ssim":["Gift of Mr. T. Kenneth Ellis"],"language_ssim":["English"],"date_range_isim":[1822],"odd_html_tesm":["\u003cp\u003eMan with back towards camera is Earl James; Taken at Ray's apartment\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Man with back towards camera is Earl James; Taken at Ray's apartment"],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640"],"scopecontent_html_tesm":["\u003cp\u003eTranscription: Charles H. Hall Esqre New York Care of Thos. H. Smith Charleston Alvan Fisher November 29th 1822 Recd Decr 11th 1822 [?] Charleston / S.C. / 29th Novr 1822 Dear Sir, I understood from you that it was in contemplation to have the portraits of Eclipse and Bassorah Engraved. If I have not been mistaken as to this fact, I wish to call your attention to a proposition of a friend of mine who is an engraver of much merit and particularly in animals and landscape - and from the specimens of horses which I have seen I think that he would execute the portraits of the above animals as well as any man in America. Mr. Charles C. Wright the gentn alluded to, is desirous of Engraving one or both of the animals - and as his proposition is a fair one, I thot that you might wish to avail yourself (as one of the association) of it. His proposition is this: he will take the portrait of Eclipse and Engrave it on a plate of the size which which you may desire, and when finished it shall be at your option to take it at a fair price, If it meets with your expectations. If not, the loss is to be his alone - should he meet your expectations in the first he will hope, and expect the other portrait. Mr W. is ambitious to make himself known and I have no doubt he would do justice to the paintings - his offer is so candid and disinterested in every respect (but the wish to add to his fame) that it is an additional inducement for me to write independant his merit as an engraver. It has given me much pleasure to hear that Eclipse has gained fresh Laurels from the \"\"Ancient dominion\"\" and that the South are convinced that the North can run as well as fight. I employ my leisure moments in portraits of Bassorah in picturesque positions and situations. Should your friends wish for his portrait I can supply them. Yours respectfully, Alvan Fisher C. H. Hall, Esqre\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: Charles H. Hall Esqre New York Care of Thos. H. Smith Charleston Alvan Fisher November 29th 1822 Recd Decr 11th 1822 [?] Charleston / S.C. / 29th Novr 1822 Dear Sir, I understood from you that it was in contemplation to have the portraits of Eclipse and Bassorah Engraved. If I have not been mistaken as to this fact, I wish to call your attention to a proposition of a friend of mine who is an engraver of much merit and particularly in animals and landscape - and from the specimens of horses which I have seen I think that he would execute the portraits of the above animals as well as any man in America. Mr. Charles C. Wright the gentn alluded to, is desirous of Engraving one or both of the animals - and as his proposition is a fair one, I thot that you might wish to avail yourself (as one of the association) of it. His proposition is this: he will take the portrait of Eclipse and Engrave it on a plate of the size which which you may desire, and when finished it shall be at your option to take it at a fair price, If it meets with your expectations. If not, the loss is to be his alone - should he meet your expectations in the first he will hope, and expect the other portrait. Mr W. is ambitious to make himself known and I have no doubt he would do justice to the paintings - his offer is so candid and disinterested in every respect (but the wish to add to his fame) that it is an additional inducement for me to write independant his merit as an engraver. It has given me much pleasure to hear that Eclipse has gained fresh Laurels from the \"\"Ancient dominion\"\" and that the South are convinced that the North can run as well as fight. I employ my leisure moments in portraits of Bassorah in picturesque positions and situations. Should your friends wish for his portrait I can supply them. Yours respectfully, Alvan Fisher C. H. Hall, Esqre"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#0/components#0/components#2","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_200","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_200.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/200","title_filing_ssi":"Fisher, Alvan (SC-33)","title_ssm":["Alvan Fisher Personal Papers (SC-33)"],"title_tesim":["Alvan Fisher Personal Papers (SC-33)"],"unitdate_ssm":["1822-1852"],"unitdate_inclusive_ssm":["1822-1852"],"normalized_date_ssm":["1822/1852"],"normalized_title_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"text":["Alvan Fisher Personal Papers (SC-33), 1822/1852","SC-33","/repositories/2/resources/200","Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)","Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century","The collection is open for research. 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Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum."],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"userestrict_html_tesm":["\u003cp\u003eThe collection is in the public domain.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is in the public domain."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2ebed1e1385bf6a0f706ce715edc8249\"\u003eThe collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"persname_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"names_coll_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)","Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"language_ssim":["English\n."],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c03"}},{"id":"virmu_repositories_2_resources_200_c01_c01_c04","type":"Item","attributes":{"title":"Alvan Fisher to Charles H. Hall, Esquire, 1822","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c04#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTranscription: PAID Charles H. Hall Esqre Newyork To the care of Thos H. Smith Charleston Alvan Fisher December 24th, 1822 Recd January 2d, 1823 Charleston 24th Decr 1822 Charles H. Hall Esqre, Dear Sir, your letter of the 11th Just was this day recei'd. I am sorry to find that I did not mention in my former letter that Mr Wright is a resident at this place, particularly as much time is lost thereby. In order that you may form some idea of Mr Wrights style of engraving, I have enclosed an impression of an animal owned in this place called Twig he is by regular descent one of the decendants of the Godolphin Arabian, this print (which is a strong likeness) will, I think convince you that his claims are good, to the honour that I have mentioned. I will observe respecting this engraving, that it was executed merely for the purpose of putting at the head of Bills, (the horse being kept for a [?] horse) and done in so much haste that Mr Wright had no impression taken from the plate white executing, an omission not common among engravers even on subjects of less importance. Notwithstanding the haste with which it was done I think you will not fail to observe the beauty and firmness in the lining [?] of the animal as well as beauty of the etching of the ground and sky. I am inclined to send this specimen as it is the largest of the animal kind that he has done. I have no doubt should you think proper to give Mr W. the engraving of the plate that he would give you something far beyond this specimen. Mr Wright is still willing to do it on the terms which I stated in my former letter. It is impossible for Mr Wright to say say definately what he should charge as he does not know the size of the plate desi-red nor if there is to be figures and Land-scape introduced. He recei'd thirty dollars for engraving the plate of this horse. If he engraves it he will engrave it in the line manner, he executes in no other manner. Mr W. wishes to do this rather as an introduc-ction to Newyork than anything else, as he contemplates settling in that place next spring. The eclat which \"\"Old Ironsides\"\" gained in the late race pleases me much. I assure you that I laugh without mercy at these boasting \"\"Southoons\"\" [?] in consequence of our Northern Victory. It is nuts for me, and I crack them open the arro-gant assumption of this people. I sincerely hope that the North will retain the character which they have gained for superior speed and which they have always had for bottom - this last remark will apply to the sciences and general literature. This place is very dull buisness generally stagnant. the late attempt at insurrection has cast a damp upon many. much slave property will be disposed of this winter, and its owners will remove to the North. I am Dear Sir, Yours respectfully Alvan Fisher\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_200_c01_c01_c04","ref_ssm":["virmu_repositories_2_resources_200_c01_c01_c04"],"id":"virmu_repositories_2_resources_200_c01_c01_c04","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200_c01_c01","parent_ssi":"virmu_repositories_2_resources_200_c01_c01","parent_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_ids_ssim":["virmu_repositories_2_resources_200","virmu_repositories_2_resources_200_c01","virmu_repositories_2_resources_200_c01_c01"],"title_filing_ssi":"Alvan Fisher to Charles H. Hall, Esquire","title_ssm":["Alvan Fisher to Charles H. Hall, Esquire"],"title_tesim":["Alvan Fisher to Charles H. Hall, Esquire"],"normalized_title_ssm":["Alvan Fisher to Charles H. Hall, Esquire, 1822"],"text":["Alvan Fisher to Charles H. Hall, Esquire, 1822","Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1","Paper","box SC-33 Box 1","folder Folder 1","Item SC33.01.0.004","Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Harlem (New York, N.Y.)","Charleston (S.C.)","Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","Wright, Charles Cushing, 1796-1857","Engraving, American. 19th century","English","76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640","Transcription: PAID Charles H. Hall Esqre Newyork To the care of Thos H. Smith Charleston Alvan Fisher December 24th, 1822 Recd January 2d, 1823 Charleston 24th Decr 1822 Charles H. Hall Esqre, Dear Sir, your letter of the 11th Just was this day recei'd. I am sorry to find that I did not mention in my former letter that Mr Wright is a resident at this place, particularly as much time is lost thereby. In order that you may form some idea of Mr Wrights style of engraving, I have enclosed an impression of an animal owned in this place called Twig he is by regular descent one of the decendants of the Godolphin Arabian, this print (which is a strong likeness) will, I think convince you that his claims are good, to the honour that I have mentioned. I will observe respecting this engraving, that it was executed merely for the purpose of putting at the head of Bills, (the horse being kept for a [?] horse) and done in so much haste that Mr Wright had no impression taken from the plate white executing, an omission not common among engravers even on subjects of less importance. Notwithstanding the haste with which it was done I think you will not fail to observe the beauty and firmness in the lining [?] of the animal as well as beauty of the etching of the ground and sky. I am inclined to send this specimen as it is the largest of the animal kind that he has done. I have no doubt should you think proper to give Mr W. the engraving of the plate that he would give you something far beyond this specimen. Mr Wright is still willing to do it on the terms which I stated in my former letter. It is impossible for Mr Wright to say say definately what he should charge as he does not know the size of the plate desi-red nor if there is to be figures and Land-scape introduced. He recei'd thirty dollars for engraving the plate of this horse. If he engraves it he will engrave it in the line manner, he executes in no other manner. Mr W. wishes to do this rather as an introduc-ction to Newyork than anything else, as he contemplates settling in that place next spring. The eclat which \"\"Old Ironsides\"\" gained in the late race pleases me much. I assure you that I laugh without mercy at these boasting \"\"Southoons\"\" [?] in consequence of our Northern Victory. It is nuts for me, and I crack them open the arro-gant assumption of this people. I sincerely hope that the North will retain the character which they have gained for superior speed and which they have always had for bottom - this last remark will apply to the sciences and general literature. This place is very dull buisness generally stagnant. the late attempt at insurrection has cast a damp upon many. much slave property will be disposed of this winter, and its owners will remove to the North. I am Dear Sir, Yours respectfully Alvan Fisher","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"parent_unittitles_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_unittitles_tesim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"normalized_date_ssm":["1822"],"unitdate_inclusive_ssm":["Dec. 24, 1822"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":6,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"physdesc_tesim":["Paper"],"extent_ssm":["1 folded leaf"],"extent_tesim":["1 folded leaf"],"physfacet_tesim":["Correspondence"],"containers_ssim":["box SC-33 Box 1","folder Folder 1","Item SC33.01.0.004"],"creator_ssim":["Fisher, Alvan, 1792-1863"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"persname_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"geogname_ssim":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"geogname_ssm":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"places_ssim":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"access_subjects_ssim":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","Wright, Charles Cushing, 1796-1857","Engraving, American. 19th century"],"access_subjects_ssm":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","Wright, Charles Cushing, 1796-1857","Engraving, American. 19th century"],"acqinfo_ssim":["Gift of Mr. T. Kenneth Ellis"],"language_ssim":["English"],"date_range_isim":[1822],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640"],"scopecontent_html_tesm":["\u003cp\u003eTranscription: PAID Charles H. Hall Esqre Newyork To the care of Thos H. Smith Charleston Alvan Fisher December 24th, 1822 Recd January 2d, 1823 Charleston 24th Decr 1822 Charles H. Hall Esqre, Dear Sir, your letter of the 11th Just was this day recei'd. I am sorry to find that I did not mention in my former letter that Mr Wright is a resident at this place, particularly as much time is lost thereby. In order that you may form some idea of Mr Wrights style of engraving, I have enclosed an impression of an animal owned in this place called Twig he is by regular descent one of the decendants of the Godolphin Arabian, this print (which is a strong likeness) will, I think convince you that his claims are good, to the honour that I have mentioned. I will observe respecting this engraving, that it was executed merely for the purpose of putting at the head of Bills, (the horse being kept for a [?] horse) and done in so much haste that Mr Wright had no impression taken from the plate white executing, an omission not common among engravers even on subjects of less importance. Notwithstanding the haste with which it was done I think you will not fail to observe the beauty and firmness in the lining [?] of the animal as well as beauty of the etching of the ground and sky. I am inclined to send this specimen as it is the largest of the animal kind that he has done. I have no doubt should you think proper to give Mr W. the engraving of the plate that he would give you something far beyond this specimen. Mr Wright is still willing to do it on the terms which I stated in my former letter. It is impossible for Mr Wright to say say definately what he should charge as he does not know the size of the plate desi-red nor if there is to be figures and Land-scape introduced. He recei'd thirty dollars for engraving the plate of this horse. If he engraves it he will engrave it in the line manner, he executes in no other manner. Mr W. wishes to do this rather as an introduc-ction to Newyork than anything else, as he contemplates settling in that place next spring. The eclat which \"\"Old Ironsides\"\" gained in the late race pleases me much. I assure you that I laugh without mercy at these boasting \"\"Southoons\"\" [?] in consequence of our Northern Victory. It is nuts for me, and I crack them open the arro-gant assumption of this people. I sincerely hope that the North will retain the character which they have gained for superior speed and which they have always had for bottom - this last remark will apply to the sciences and general literature. This place is very dull buisness generally stagnant. the late attempt at insurrection has cast a damp upon many. much slave property will be disposed of this winter, and its owners will remove to the North. I am Dear Sir, Yours respectfully Alvan Fisher\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: PAID Charles H. Hall Esqre Newyork To the care of Thos H. Smith Charleston Alvan Fisher December 24th, 1822 Recd January 2d, 1823 Charleston 24th Decr 1822 Charles H. Hall Esqre, Dear Sir, your letter of the 11th Just was this day recei'd. I am sorry to find that I did not mention in my former letter that Mr Wright is a resident at this place, particularly as much time is lost thereby. In order that you may form some idea of Mr Wrights style of engraving, I have enclosed an impression of an animal owned in this place called Twig he is by regular descent one of the decendants of the Godolphin Arabian, this print (which is a strong likeness) will, I think convince you that his claims are good, to the honour that I have mentioned. I will observe respecting this engraving, that it was executed merely for the purpose of putting at the head of Bills, (the horse being kept for a [?] horse) and done in so much haste that Mr Wright had no impression taken from the plate white executing, an omission not common among engravers even on subjects of less importance. Notwithstanding the haste with which it was done I think you will not fail to observe the beauty and firmness in the lining [?] of the animal as well as beauty of the etching of the ground and sky. I am inclined to send this specimen as it is the largest of the animal kind that he has done. I have no doubt should you think proper to give Mr W. the engraving of the plate that he would give you something far beyond this specimen. Mr Wright is still willing to do it on the terms which I stated in my former letter. It is impossible for Mr Wright to say say definately what he should charge as he does not know the size of the plate desi-red nor if there is to be figures and Land-scape introduced. He recei'd thirty dollars for engraving the plate of this horse. If he engraves it he will engrave it in the line manner, he executes in no other manner. Mr W. wishes to do this rather as an introduc-ction to Newyork than anything else, as he contemplates settling in that place next spring. The eclat which \"\"Old Ironsides\"\" gained in the late race pleases me much. I assure you that I laugh without mercy at these boasting \"\"Southoons\"\" [?] in consequence of our Northern Victory. It is nuts for me, and I crack them open the arro-gant assumption of this people. I sincerely hope that the North will retain the character which they have gained for superior speed and which they have always had for bottom - this last remark will apply to the sciences and general literature. This place is very dull buisness generally stagnant. the late attempt at insurrection has cast a damp upon many. much slave property will be disposed of this winter, and its owners will remove to the North. I am Dear Sir, Yours respectfully Alvan Fisher"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#0/components#0/components#3","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_200","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_200.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/200","title_filing_ssi":"Fisher, Alvan (SC-33)","title_ssm":["Alvan Fisher Personal Papers (SC-33)"],"title_tesim":["Alvan Fisher Personal Papers (SC-33)"],"unitdate_ssm":["1822-1852"],"unitdate_inclusive_ssm":["1822-1852"],"normalized_date_ssm":["1822/1852"],"normalized_title_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"text":["Alvan Fisher Personal Papers (SC-33), 1822/1852","SC-33","/repositories/2/resources/200","Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)","Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into two series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1822-1823, undated\n      \n      \n        Series 2\n        Clippings, 1852","The collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum.","The collection is in the public domain.","The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.","Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)","Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W.","English\n."],"collection_title_tesim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"collection_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-33","/repositories/2/resources/200"],"unitid_tesim":["SC-33","/repositories/2/resources/200"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)"],"geogname_ssim":["Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)"],"places_ssim":["Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)"],"creator_ssm":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Spirit of the times (New York, N.Y. : 1837)"],"creator_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Spirit of the times (New York, N.Y. : 1837)"],"creator_persname_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"creators_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W.","Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"access_terms_ssm":["The collection is in the public domain."],"access_subjects_ssim":["Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century"],"access_subjects_ssm":["Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.1 Linear Feet 1 box; 2 folders (10 items)"],"extent_tesim":["0.1 Linear Feet 1 box; 2 folders (10 items)"],"date_range_isim":[1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/collections/search-archives/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into two series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1822-1823, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eClippings, 1852\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into two series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1822-1823, undated\n      \n      \n        Series 2\n        Clippings, 1852"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum."],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"userestrict_html_tesm":["\u003cp\u003eThe collection is in the public domain.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is in the public domain."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2ebed1e1385bf6a0f706ce715edc8249\"\u003eThe collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"persname_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"names_coll_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)","Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"language_ssim":["English\n."],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c04"}},{"id":"virmu_repositories_2_resources_200_c01_c01_c05","type":"Item","attributes":{"title":"Alvan Fisher to Charles H. Hall, Esquire, 1823","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c05#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTranscription: Charles H. Hall Esqre Newyork N.Y. Care of Thos. H. Smith [?] Ship Saluda. Charleston Alvan Fisher, February 27th 1823. Recd March 7th Charleston 27th Feby 1823 Dear Sir, I have sent to you by the \"\"Saluda\"\" a box containing three paintings, two Bassora's and one Eclipse. you will please to look at them and If you find any one to please you more than the ones you have, you will make an exchange. I do not know If the ones sent are better or as good as the ones you now have but you will by comparing them be able to judge. Should any of your friends wish for any or all of them I should like to dispose of them. I would sell them low. say sixty dollars each or even at fifty as I am in want of funds to enable me to put in execution a project which I have long had in contemplation. were it otherwise I should not be induced to sell them at the sums I have mentioned - as I at those prices obtain but a living only - In sending these paintings to you I hope not to be misund-erstood. I only perform a promise which I made to you when in Newyork (last), that you should have a choice from any that I might execute while in this place. I hope and trust that I have not intruded too far upon your politeness by desiring you to show them to your friends. If I was less acquainted with your friendly disposition to the arts and artists I should not have taken this liberty. I shall be in Newyork in all twenty days, when I shall do myself the pleasure to call on you. I have nothing to write about unless it be a report that old Eclipse' bottom and speed is to be tried by one of two horses that have recently run here. I witness'd the running of both horses. The Sumpter ran four mile heats with considerable speed. say in 8 min. 5 seconds, but the course was muddy in part - he certainly is a fast horse - but I should bet on Eclipse. The other horse is called Flying Childers he ran 3 mile heats, is a very fast horse but doubt If he can run four miles with the pride of Newyork. he is a short horse but runs very clean. The report here is that one of these animals or one now in Virginia - will run against Eclipse for twenty thousand dollars. when I see you I shall give you more particulars. I am sir, yours respectfully Alvan Fisher Charles H. Hall Esqre\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c05#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_200_c01_c01_c05","ref_ssm":["virmu_repositories_2_resources_200_c01_c01_c05"],"id":"virmu_repositories_2_resources_200_c01_c01_c05","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200_c01_c01","parent_ssi":"virmu_repositories_2_resources_200_c01_c01","parent_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_ids_ssim":["virmu_repositories_2_resources_200","virmu_repositories_2_resources_200_c01","virmu_repositories_2_resources_200_c01_c01"],"title_filing_ssi":"Alvan Fisher to Charles H. Hall, Esquire","title_ssm":["Alvan Fisher to Charles H. Hall, Esquire"],"title_tesim":["Alvan Fisher to Charles H. Hall, Esquire"],"normalized_title_ssm":["Alvan Fisher to Charles H. Hall, Esquire, 1823"],"text":["Alvan Fisher to Charles H. Hall, Esquire, 1823","Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1","Paper","box SC-33 Box 1","folder Folder 1","Item SC33.01.0.005","Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Harlem (New York, N.Y.)","Charleston (S.C.)","Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847","English","76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640","Transcription: Charles H. Hall Esqre Newyork N.Y. Care of Thos. H. Smith [?] Ship Saluda. Charleston Alvan Fisher, February 27th 1823. Recd March 7th Charleston 27th Feby 1823 Dear Sir, I have sent to you by the \"\"Saluda\"\" a box containing three paintings, two Bassora's and one Eclipse. you will please to look at them and If you find any one to please you more than the ones you have, you will make an exchange. I do not know If the ones sent are better or as good as the ones you now have but you will by comparing them be able to judge. Should any of your friends wish for any or all of them I should like to dispose of them. I would sell them low. say sixty dollars each or even at fifty as I am in want of funds to enable me to put in execution a project which I have long had in contemplation. were it otherwise I should not be induced to sell them at the sums I have mentioned - as I at those prices obtain but a living only - In sending these paintings to you I hope not to be misund-erstood. I only perform a promise which I made to you when in Newyork (last), that you should have a choice from any that I might execute while in this place. I hope and trust that I have not intruded too far upon your politeness by desiring you to show them to your friends. If I was less acquainted with your friendly disposition to the arts and artists I should not have taken this liberty. I shall be in Newyork in all twenty days, when I shall do myself the pleasure to call on you. I have nothing to write about unless it be a report that old Eclipse' bottom and speed is to be tried by one of two horses that have recently run here. I witness'd the running of both horses. The Sumpter ran four mile heats with considerable speed. say in 8 min. 5 seconds, but the course was muddy in part - he certainly is a fast horse - but I should bet on Eclipse. The other horse is called Flying Childers he ran 3 mile heats, is a very fast horse but doubt If he can run four miles with the pride of Newyork. he is a short horse but runs very clean. The report here is that one of these animals or one now in Virginia - will run against Eclipse for twenty thousand dollars. when I see you I shall give you more particulars. I am sir, yours respectfully Alvan Fisher Charles H. Hall Esqre","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"parent_unittitles_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_unittitles_tesim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"normalized_date_ssm":["1823"],"unitdate_inclusive_ssm":["Feb. 27, 1823"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":7,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"physdesc_tesim":["Paper"],"extent_ssm":["1 folded leaf"],"extent_tesim":["1 folded leaf"],"physfacet_tesim":["Correspondence"],"containers_ssim":["box SC-33 Box 1","folder Folder 1","Item SC33.01.0.005"],"creator_ssim":["Fisher, Alvan, 1792-1863"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"persname_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"geogname_ssim":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"geogname_ssm":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"places_ssim":["Harlem (New York, N.Y.)","Charleston (S.C.)"],"access_subjects_ssim":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847"],"access_subjects_ssm":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847"],"acqinfo_ssim":["Gift of Mr. T. Kenneth Ellis"],"language_ssim":["English"],"date_range_isim":[1823],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640"],"scopecontent_html_tesm":["\u003cp\u003eTranscription: Charles H. Hall Esqre Newyork N.Y. Care of Thos. H. Smith [?] Ship Saluda. Charleston Alvan Fisher, February 27th 1823. Recd March 7th Charleston 27th Feby 1823 Dear Sir, I have sent to you by the \"\"Saluda\"\" a box containing three paintings, two Bassora's and one Eclipse. you will please to look at them and If you find any one to please you more than the ones you have, you will make an exchange. I do not know If the ones sent are better or as good as the ones you now have but you will by comparing them be able to judge. Should any of your friends wish for any or all of them I should like to dispose of them. I would sell them low. say sixty dollars each or even at fifty as I am in want of funds to enable me to put in execution a project which I have long had in contemplation. were it otherwise I should not be induced to sell them at the sums I have mentioned - as I at those prices obtain but a living only - In sending these paintings to you I hope not to be misund-erstood. I only perform a promise which I made to you when in Newyork (last), that you should have a choice from any that I might execute while in this place. I hope and trust that I have not intruded too far upon your politeness by desiring you to show them to your friends. If I was less acquainted with your friendly disposition to the arts and artists I should not have taken this liberty. I shall be in Newyork in all twenty days, when I shall do myself the pleasure to call on you. I have nothing to write about unless it be a report that old Eclipse' bottom and speed is to be tried by one of two horses that have recently run here. I witness'd the running of both horses. The Sumpter ran four mile heats with considerable speed. say in 8 min. 5 seconds, but the course was muddy in part - he certainly is a fast horse - but I should bet on Eclipse. The other horse is called Flying Childers he ran 3 mile heats, is a very fast horse but doubt If he can run four miles with the pride of Newyork. he is a short horse but runs very clean. The report here is that one of these animals or one now in Virginia - will run against Eclipse for twenty thousand dollars. when I see you I shall give you more particulars. I am sir, yours respectfully Alvan Fisher Charles H. Hall Esqre\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: Charles H. Hall Esqre Newyork N.Y. Care of Thos. H. Smith [?] Ship Saluda. Charleston Alvan Fisher, February 27th 1823. Recd March 7th Charleston 27th Feby 1823 Dear Sir, I have sent to you by the \"\"Saluda\"\" a box containing three paintings, two Bassora's and one Eclipse. you will please to look at them and If you find any one to please you more than the ones you have, you will make an exchange. I do not know If the ones sent are better or as good as the ones you now have but you will by comparing them be able to judge. Should any of your friends wish for any or all of them I should like to dispose of them. I would sell them low. say sixty dollars each or even at fifty as I am in want of funds to enable me to put in execution a project which I have long had in contemplation. were it otherwise I should not be induced to sell them at the sums I have mentioned - as I at those prices obtain but a living only - In sending these paintings to you I hope not to be misund-erstood. I only perform a promise which I made to you when in Newyork (last), that you should have a choice from any that I might execute while in this place. I hope and trust that I have not intruded too far upon your politeness by desiring you to show them to your friends. If I was less acquainted with your friendly disposition to the arts and artists I should not have taken this liberty. I shall be in Newyork in all twenty days, when I shall do myself the pleasure to call on you. I have nothing to write about unless it be a report that old Eclipse' bottom and speed is to be tried by one of two horses that have recently run here. I witness'd the running of both horses. The Sumpter ran four mile heats with considerable speed. say in 8 min. 5 seconds, but the course was muddy in part - he certainly is a fast horse - but I should bet on Eclipse. The other horse is called Flying Childers he ran 3 mile heats, is a very fast horse but doubt If he can run four miles with the pride of Newyork. he is a short horse but runs very clean. The report here is that one of these animals or one now in Virginia - will run against Eclipse for twenty thousand dollars. when I see you I shall give you more particulars. I am sir, yours respectfully Alvan Fisher Charles H. Hall Esqre"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#0/components#0/components#4","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_200","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_200.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/200","title_filing_ssi":"Fisher, Alvan (SC-33)","title_ssm":["Alvan Fisher Personal Papers (SC-33)"],"title_tesim":["Alvan Fisher Personal Papers (SC-33)"],"unitdate_ssm":["1822-1852"],"unitdate_inclusive_ssm":["1822-1852"],"normalized_date_ssm":["1822/1852"],"normalized_title_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"text":["Alvan Fisher Personal Papers (SC-33), 1822/1852","SC-33","/repositories/2/resources/200","Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)","Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century","The collection is open for research. 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The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/collections/search-archives/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into two series, and items are generally arranged chronologically within each series. 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VMFA Archives, Richmond, Virginia."],"userestrict_html_tesm":["\u003cp\u003eThe collection is in the public domain.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is in the public domain."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2ebed1e1385bf6a0f706ce715edc8249\"\u003eThe collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"persname_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"names_coll_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)","Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"language_ssim":["English\n."],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c05"}},{"id":"virmu_repositories_2_resources_200_c01_c01_c06","type":"Item","attributes":{"title":"Alvan Fisher to Charles H. Hall, Esquire, 1823","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c06#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTranscription: PAID Charles H. Hall Esqre Newyork Care Thos H. Smith Boston Alvan Fisher May 5th, 1823 Recd 7th [?] Dedham May 5th 1823 Charles H. Hall Esqre Dear Sir, When I was in Newyork you observed that you thot it probable that I might dispose of some portraits of \"Eclipse\" should I paint them. I have completed four pictures of him in a superior Style. and I think from the best of my recollections of the horse, one better likeness's than the one I brot on from Newyork to copy from - both in respect to form and colour. I may be mistaken in these respects, but think not in point of finish. the Animal is much better than the one I have - as a guide - I have been continually engaged on them since my arrival home - and have very [?] done from. I am now engaged on one other for Mr Van Ramst. Shall aslo if possible finish one of Bassora before your races commence. I shall be disposed to sell the portraits at fifty dollars each. which is very low for a single picture - Lower than I can well paint them for. If you now think I could effect a sale of them I would send them - or If there was a fair prospect of obtaining business - even enough to defray my expenses to Newyork. I would certainly visit your city as I wish very much to be present at the races. Your opinion on this subject will have much influence in determining me with regard to visiting Nyork or sending my Pictures. I beg you will excuse me for troubling you respecting my business. I certainly should not have done so, If I had not had proof on proof that you were friendly disposed towards me, and the Arts, or If I had any other person in Newyork to whom I could write. I have not heard what horse is to run against Eclipse. I should much like to know. Please to make my compliments acceptable to Mrs Hall – and your brother – I am Sir, respectfully yours Alvan Fisher\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c06#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_200_c01_c01_c06","ref_ssm":["virmu_repositories_2_resources_200_c01_c01_c06"],"id":"virmu_repositories_2_resources_200_c01_c01_c06","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200_c01_c01","parent_ssi":"virmu_repositories_2_resources_200_c01_c01","parent_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_ids_ssim":["virmu_repositories_2_resources_200","virmu_repositories_2_resources_200_c01","virmu_repositories_2_resources_200_c01_c01"],"title_filing_ssi":"Alvan Fisher to Charles H. Hall, Esquire","title_ssm":["Alvan Fisher to Charles H. Hall, Esquire"],"title_tesim":["Alvan Fisher to Charles H. Hall, Esquire"],"normalized_title_ssm":["Alvan Fisher to Charles H. Hall, Esquire, 1823"],"text":["Alvan Fisher to Charles H. Hall, Esquire, 1823","Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1","Paper","box SC-33 Box 1","folder Folder 1","Item SC33.01.0.006","Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W.","Harlem (New York, N.Y.)","Dedham (Mass.)","Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847","Van Ramst, Cornelius W.","English","76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640","Transcription: PAID Charles H. Hall Esqre Newyork Care Thos H. Smith Boston Alvan Fisher May 5th, 1823 Recd 7th [?] Dedham May 5th 1823 Charles H. Hall Esqre Dear Sir, When I was in Newyork you observed that you thot it probable that I might dispose of some portraits of \"Eclipse\" should I paint them. I have completed four pictures of him in a superior Style. and I think from the best of my recollections of the horse, one better likeness's than the one I brot on from Newyork to copy from - both in respect to form and colour. I may be mistaken in these respects, but think not in point of finish. the Animal is much better than the one I have - as a guide - I have been continually engaged on them since my arrival home - and have very [?] done from. I am now engaged on one other for Mr Van Ramst. Shall aslo if possible finish one of Bassora before your races commence. I shall be disposed to sell the portraits at fifty dollars each. which is very low for a single picture - Lower than I can well paint them for. If you now think I could effect a sale of them I would send them - or If there was a fair prospect of obtaining business - even enough to defray my expenses to Newyork. I would certainly visit your city as I wish very much to be present at the races. Your opinion on this subject will have much influence in determining me with regard to visiting Nyork or sending my Pictures. I beg you will excuse me for troubling you respecting my business. I certainly should not have done so, If I had not had proof on proof that you were friendly disposed towards me, and the Arts, or If I had any other person in Newyork to whom I could write. I have not heard what horse is to run against Eclipse. I should much like to know. Please to make my compliments acceptable to Mrs Hall – and your brother – I am Sir, respectfully yours Alvan Fisher","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"parent_unittitles_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_unittitles_tesim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"normalized_date_ssm":["1823"],"unitdate_inclusive_ssm":["May 5, 1823"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":8,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"physdesc_tesim":["Paper"],"extent_ssm":["1 folded leaf"],"extent_tesim":["1 folded leaf"],"physfacet_tesim":["Correspondence"],"containers_ssim":["box SC-33 Box 1","folder Folder 1","Item SC33.01.0.006"],"creator_ssim":["Fisher, Alvan, 1792-1863"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"persname_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"names_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"geogname_ssim":["Harlem (New York, N.Y.)","Dedham (Mass.)"],"geogname_ssm":["Harlem (New York, N.Y.)","Dedham (Mass.)"],"places_ssim":["Harlem (New York, N.Y.)","Dedham (Mass.)"],"access_subjects_ssim":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847","Van Ramst, Cornelius W."],"access_subjects_ssm":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847","Van Ramst, Cornelius W."],"acqinfo_ssim":["Gift of Mr. T. Kenneth Ellis"],"language_ssim":["English"],"date_range_isim":[1823],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640"],"scopecontent_html_tesm":["\u003cp\u003eTranscription: PAID Charles H. Hall Esqre Newyork Care Thos H. Smith Boston Alvan Fisher May 5th, 1823 Recd 7th [?] Dedham May 5th 1823 Charles H. Hall Esqre Dear Sir, When I was in Newyork you observed that you thot it probable that I might dispose of some portraits of \"Eclipse\" should I paint them. I have completed four pictures of him in a superior Style. and I think from the best of my recollections of the horse, one better likeness's than the one I brot on from Newyork to copy from - both in respect to form and colour. I may be mistaken in these respects, but think not in point of finish. the Animal is much better than the one I have - as a guide - I have been continually engaged on them since my arrival home - and have very [?] done from. I am now engaged on one other for Mr Van Ramst. Shall aslo if possible finish one of Bassora before your races commence. I shall be disposed to sell the portraits at fifty dollars each. which is very low for a single picture - Lower than I can well paint them for. If you now think I could effect a sale of them I would send them - or If there was a fair prospect of obtaining business - even enough to defray my expenses to Newyork. I would certainly visit your city as I wish very much to be present at the races. Your opinion on this subject will have much influence in determining me with regard to visiting Nyork or sending my Pictures. I beg you will excuse me for troubling you respecting my business. I certainly should not have done so, If I had not had proof on proof that you were friendly disposed towards me, and the Arts, or If I had any other person in Newyork to whom I could write. I have not heard what horse is to run against Eclipse. I should much like to know. Please to make my compliments acceptable to Mrs Hall – and your brother – I am Sir, respectfully yours Alvan Fisher\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: PAID Charles H. Hall Esqre Newyork Care Thos H. Smith Boston Alvan Fisher May 5th, 1823 Recd 7th [?] Dedham May 5th 1823 Charles H. Hall Esqre Dear Sir, When I was in Newyork you observed that you thot it probable that I might dispose of some portraits of \"Eclipse\" should I paint them. I have completed four pictures of him in a superior Style. and I think from the best of my recollections of the horse, one better likeness's than the one I brot on from Newyork to copy from - both in respect to form and colour. I may be mistaken in these respects, but think not in point of finish. the Animal is much better than the one I have - as a guide - I have been continually engaged on them since my arrival home - and have very [?] done from. I am now engaged on one other for Mr Van Ramst. Shall aslo if possible finish one of Bassora before your races commence. I shall be disposed to sell the portraits at fifty dollars each. which is very low for a single picture - Lower than I can well paint them for. If you now think I could effect a sale of them I would send them - or If there was a fair prospect of obtaining business - even enough to defray my expenses to Newyork. I would certainly visit your city as I wish very much to be present at the races. Your opinion on this subject will have much influence in determining me with regard to visiting Nyork or sending my Pictures. I beg you will excuse me for troubling you respecting my business. I certainly should not have done so, If I had not had proof on proof that you were friendly disposed towards me, and the Arts, or If I had any other person in Newyork to whom I could write. I have not heard what horse is to run against Eclipse. I should much like to know. Please to make my compliments acceptable to Mrs Hall – and your brother – I am Sir, respectfully yours Alvan Fisher"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#0/components#0/components#5","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_200","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_200.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/200","title_filing_ssi":"Fisher, Alvan (SC-33)","title_ssm":["Alvan Fisher Personal Papers (SC-33)"],"title_tesim":["Alvan Fisher Personal Papers (SC-33)"],"unitdate_ssm":["1822-1852"],"unitdate_inclusive_ssm":["1822-1852"],"normalized_date_ssm":["1822/1852"],"normalized_title_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"text":["Alvan Fisher Personal Papers (SC-33), 1822/1852","SC-33","/repositories/2/resources/200","Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)","Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century","The collection is open for research. 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Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum."],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"userestrict_html_tesm":["\u003cp\u003eThe collection is in the public domain.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is in the public domain."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2ebed1e1385bf6a0f706ce715edc8249\"\u003eThe collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"persname_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"names_coll_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)","Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"language_ssim":["English\n."],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c06"}},{"id":"virmu_repositories_2_resources_200_c01_c01_c07","type":"Item","attributes":{"title":"Alvan Fisher to Charles H. Hall, Esquire, 1823","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c07#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTranscription: PAID Charles H. Hall Esqre Newyork Care of Thos. H. Smith Boston Alvan Fisher. May 15th 1823. Recd 17th Dedham 15th May 1823 Chas H. Hall Esqre Sir, your much esteem'd and most friendly letter of the - just has been recei'd. Your kind offer to aid me in the disposal of my paintings lays me under additional obligations, and altho my situation in life perhap will never furnish me with the opportunity to make you any return for your many friendly acts, yet the will all be remembered with gratitude and pleasure. I have as you recommended, sent four portraits of \"\"Eclipse\"\" to Newyork for the Steam Boat which will arrive in Nyork on Sunday next. I have directed them to your care. In so doing I hope that you will not think me too presuming. In truth I feel as If I was intruding too much on your kind disposition. Respecting the horses, I will say that on comparing them with the one I brot on with me I think them improved in several respects - viz colour, general form. The width of breast hoch – standing - of the fore leggs - in particular. [?] In all these however I may be wrong. for memory is not always faithful. Yet on it I have depended for the alterations I have made. I hope that you will find them better in those parts mentioned. I am now engaged on a portrait of Eclipse for Mr. Van Ramst. which I shall carry with me when I come on to the races. I shall also return Mr Lynch's picture - I shall be in Newyork on Thursday next or this day a week - and shall come prepared to stay sometime or not as circumstances may incline me. We have numerous stories respecting the horses that are to run against Eclipse. The races produce considerable excitement and many from this part of the country will visit them. The pictures I am disposed to sell on the best terms that can be obtained, tho, I think pictures of the size and Labour that is in them ought to command fifty dollars at the least sum - yet rather than not sell should be disposed to take a trifle less. Indeed the Labour bestowd on such pictures will not warrant me in painting pictures at that price. Please to remember me to Mrs. Hall and your brother I am [?] Sir, respectfully yours [?] Alvan Fisher\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c07#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_200_c01_c01_c07","ref_ssm":["virmu_repositories_2_resources_200_c01_c01_c07"],"id":"virmu_repositories_2_resources_200_c01_c01_c07","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200_c01_c01","parent_ssi":"virmu_repositories_2_resources_200_c01_c01","parent_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_ids_ssim":["virmu_repositories_2_resources_200","virmu_repositories_2_resources_200_c01","virmu_repositories_2_resources_200_c01_c01"],"title_filing_ssi":"Alvan Fisher to Charles H. Hall, Esquire","title_ssm":["Alvan Fisher to Charles H. Hall, Esquire"],"title_tesim":["Alvan Fisher to Charles H. Hall, Esquire"],"normalized_title_ssm":["Alvan Fisher to Charles H. Hall, Esquire, 1823"],"text":["Alvan Fisher to Charles H. Hall, Esquire, 1823","Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1","Paper","box SC-33 Box 1","folder Folder 1","Item SC33.01.0.007","Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W.","Harlem (New York, N.Y.)","Dedham (Mass.)","Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847","Van Ramst, Cornelius W.","English","76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640","Transcription: PAID Charles H. Hall Esqre Newyork Care of Thos. H. Smith Boston Alvan Fisher. May 15th 1823. Recd 17th   Dedham 15th May 1823 Chas H. Hall Esqre Sir, your much esteem'd and most friendly letter of the - just has been recei'd. Your kind offer to aid me in the disposal of my paintings lays me under additional obligations, and altho my situation in life perhap will never furnish me with the opportunity to make you any return for your many friendly acts, yet the will all be remembered with gratitude and pleasure. I have as you recommended, sent four portraits of \"\"Eclipse\"\" to Newyork for the Steam Boat which will arrive in Nyork on Sunday next. I have directed them to your care. In so doing I hope that you will not think me too presuming. In truth I feel as If I was intruding too much on your kind disposition. Respecting the horses, I will say that on comparing them with the one I brot on with me I think them improved in several respects - viz colour, general form. The width of breast hoch – standing - of the fore leggs - in particular. [?] In all these however I may be wrong. for memory is not always faithful. Yet on it I have depended for the alterations I have made. I hope that you will find them better in those parts mentioned. I am now engaged on a portrait of Eclipse for Mr. Van Ramst. which I shall carry with me when I come on to the races. I shall also return Mr Lynch's picture - I shall be in Newyork on Thursday next or this day a week - and shall come prepared to stay sometime or not as circumstances may incline me. We have numerous stories respecting the horses that are to run against Eclipse. The races produce considerable excitement and many from this part of the country will visit them. The pictures I am disposed to sell on the best terms that can be obtained, tho, I think pictures of the size and Labour that is in them ought to command fifty dollars at the least sum - yet rather than not sell should be disposed to take a trifle less. Indeed the Labour bestowd on such pictures will not warrant me in painting pictures at that price. Please to remember me to Mrs. Hall and your brother I am [?] Sir, respectfully yours [?] Alvan Fisher","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"parent_unittitles_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"parent_unittitles_tesim":["Alvan Fisher Personal Papers (SC-33), 1822/1852","Series 1: Correspondence, 1822/1823","Box 1, Folder 1"],"normalized_date_ssm":["1823"],"unitdate_inclusive_ssm":["May 15, 1823"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":9,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"physdesc_tesim":["Paper"],"extent_ssm":["1 folded leaf"],"extent_tesim":["1 folded leaf"],"physfacet_tesim":["Correspondence"],"containers_ssim":["box SC-33 Box 1","folder Folder 1","Item SC33.01.0.007"],"creator_ssim":["Fisher, Alvan, 1792-1863"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"persname_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"names_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"geogname_ssim":["Harlem (New York, N.Y.)","Dedham (Mass.)"],"geogname_ssm":["Harlem (New York, N.Y.)","Dedham (Mass.)"],"places_ssim":["Harlem (New York, N.Y.)","Dedham (Mass.)"],"access_subjects_ssim":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847","Van Ramst, Cornelius W."],"access_subjects_ssm":["Hall, Charles Henry,‏ ‎ 1781-1852","Fisher, Alvan, 1792-1863","Horses in art","Painting, American. 19th century","American Eclipse (Race horse), 1814-1847","Van Ramst, Cornelius W."],"acqinfo_ssim":["Gift of Mr. T. Kenneth Ellis"],"language_ssim":["English"],"date_range_isim":[1823],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["76.33.1, 76.33.2, 76.33.3, 76.33.4, 76.33.5, 76.33.6, 85.640"],"scopecontent_html_tesm":["\u003cp\u003eTranscription: PAID Charles H. Hall Esqre Newyork Care of Thos. H. Smith Boston Alvan Fisher. May 15th 1823. Recd 17th   Dedham 15th May 1823 Chas H. Hall Esqre Sir, your much esteem'd and most friendly letter of the - just has been recei'd. Your kind offer to aid me in the disposal of my paintings lays me under additional obligations, and altho my situation in life perhap will never furnish me with the opportunity to make you any return for your many friendly acts, yet the will all be remembered with gratitude and pleasure. I have as you recommended, sent four portraits of \"\"Eclipse\"\" to Newyork for the Steam Boat which will arrive in Nyork on Sunday next. I have directed them to your care. In so doing I hope that you will not think me too presuming. In truth I feel as If I was intruding too much on your kind disposition. Respecting the horses, I will say that on comparing them with the one I brot on with me I think them improved in several respects - viz colour, general form. The width of breast hoch – standing - of the fore leggs - in particular. [?] In all these however I may be wrong. for memory is not always faithful. Yet on it I have depended for the alterations I have made. I hope that you will find them better in those parts mentioned. I am now engaged on a portrait of Eclipse for Mr. Van Ramst. which I shall carry with me when I come on to the races. I shall also return Mr Lynch's picture - I shall be in Newyork on Thursday next or this day a week - and shall come prepared to stay sometime or not as circumstances may incline me. We have numerous stories respecting the horses that are to run against Eclipse. The races produce considerable excitement and many from this part of the country will visit them. The pictures I am disposed to sell on the best terms that can be obtained, tho, I think pictures of the size and Labour that is in them ought to command fifty dollars at the least sum - yet rather than not sell should be disposed to take a trifle less. Indeed the Labour bestowd on such pictures will not warrant me in painting pictures at that price. Please to remember me to Mrs. Hall and your brother I am [?] Sir, respectfully yours [?] Alvan Fisher\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: PAID Charles H. Hall Esqre Newyork Care of Thos. H. Smith Boston Alvan Fisher. May 15th 1823. Recd 17th   Dedham 15th May 1823 Chas H. Hall Esqre Sir, your much esteem'd and most friendly letter of the - just has been recei'd. Your kind offer to aid me in the disposal of my paintings lays me under additional obligations, and altho my situation in life perhap will never furnish me with the opportunity to make you any return for your many friendly acts, yet the will all be remembered with gratitude and pleasure. I have as you recommended, sent four portraits of \"\"Eclipse\"\" to Newyork for the Steam Boat which will arrive in Nyork on Sunday next. I have directed them to your care. In so doing I hope that you will not think me too presuming. In truth I feel as If I was intruding too much on your kind disposition. Respecting the horses, I will say that on comparing them with the one I brot on with me I think them improved in several respects - viz colour, general form. The width of breast hoch – standing - of the fore leggs - in particular. [?] In all these however I may be wrong. for memory is not always faithful. Yet on it I have depended for the alterations I have made. I hope that you will find them better in those parts mentioned. I am now engaged on a portrait of Eclipse for Mr. Van Ramst. which I shall carry with me when I come on to the races. I shall also return Mr Lynch's picture - I shall be in Newyork on Thursday next or this day a week - and shall come prepared to stay sometime or not as circumstances may incline me. We have numerous stories respecting the horses that are to run against Eclipse. The races produce considerable excitement and many from this part of the country will visit them. The pictures I am disposed to sell on the best terms that can be obtained, tho, I think pictures of the size and Labour that is in them ought to command fifty dollars at the least sum - yet rather than not sell should be disposed to take a trifle less. Indeed the Labour bestowd on such pictures will not warrant me in painting pictures at that price. Please to remember me to Mrs. Hall and your brother I am [?] Sir, respectfully yours [?] Alvan Fisher"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#0/components#0/components#6","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_200","ead_ssi":"virmu_repositories_2_resources_200","_root_":"virmu_repositories_2_resources_200","_nest_parent_":"virmu_repositories_2_resources_200","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_200.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/200","title_filing_ssi":"Fisher, Alvan (SC-33)","title_ssm":["Alvan Fisher Personal Papers (SC-33)"],"title_tesim":["Alvan Fisher Personal Papers (SC-33)"],"unitdate_ssm":["1822-1852"],"unitdate_inclusive_ssm":["1822-1852"],"normalized_date_ssm":["1822/1852"],"normalized_title_ssm":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"text":["Alvan Fisher Personal Papers (SC-33), 1822/1852","SC-33","/repositories/2/resources/200","Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)","Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into two series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1822-1823, undated\n      \n      \n        Series 2\n        Clippings, 1852","The collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum.","The collection is in the public domain.","The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.","Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)","Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W.","English\n."],"collection_title_tesim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"collection_ssim":["Alvan Fisher Personal Papers (SC-33), 1822/1852"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-33","/repositories/2/resources/200"],"unitid_tesim":["SC-33","/repositories/2/resources/200"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)"],"geogname_ssim":["Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)"],"places_ssim":["Harlem (New York, N.Y.)","Dedham (Mass.)","Charleston (S.C.)","Boston (Mass.)"],"creator_ssm":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Spirit of the times (New York, N.Y. : 1837)"],"creator_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Spirit of the times (New York, N.Y. : 1837)"],"creator_persname_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"creators_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W.","Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"access_terms_ssm":["The collection is in the public domain."],"access_subjects_ssim":["Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century"],"access_subjects_ssm":["Horses in art","American Eclipse (Race horse), 1814-1847","Painting, American. 19th century","Engraving, American. 19th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.1 Linear Feet 1 box; 2 folders (10 items)"],"extent_tesim":["0.1 Linear Feet 1 box; 2 folders (10 items)"],"date_range_isim":[1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/collections/search-archives/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into two series, and items are generally arranged chronologically within each series. 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Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Mr. T. Kenneth Ellis in 1976 when he gifted six paintings by Alvan Fisher to the museum."],"prefercite_html_tesm":["\u003cp\u003eAlvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Alvan Fisher Personal Papers (SC-33). Gift of Mr. T. Kenneth Ellis. VMFA Archives, Richmond, Virginia."],"userestrict_html_tesm":["\u003cp\u003eThe collection is in the public domain.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is in the public domain."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2ebed1e1385bf6a0f706ce715edc8249\"\u003eThe collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)"],"persname_ssim":["Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"names_coll_ssim":["Fisher, Alvan, 1792-1863","Hall, Charles Henry, 1781-1852"],"names_ssim":["Virginia Museum of Fine Arts Archives","Spirit of the times (New York, N.Y. : 1837)","Fisher, Alvan, 1792-1863","Porter, William Trotter, 1809-1858","Hall, Charles Henry, 1781-1852","Van Ramst, Cornelius W."],"language_ssim":["English\n."],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_200_c01_c01_c07"}},{"id":"virmu_repositories_2_resources_37_c03_c01_c540","type":"Item","attributes":{"title":"Dorothy Gloster","breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_37_c03_c01_c540#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_37_c03_c01_c540","ref_ssm":["virmu_repositories_2_resources_37_c03_c01_c540"],"id":"virmu_repositories_2_resources_37_c03_c01_c540","ead_ssi":"virmu_repositories_2_resources_37","_root_":"virmu_repositories_2_resources_37","_nest_parent_":"virmu_repositories_2_resources_37_c03_c01","parent_ssi":"virmu_repositories_2_resources_37_c03_c01","parent_ssim":["Louis H. Draper Artist Archives (VA-04), 1945/2005","Series 3: Photography: Portraits, 1958/2001","Sub-Series 3.1: Identified Subjects, 1958/2001"],"parent_ids_ssim":["virmu_repositories_2_resources_37","virmu_repositories_2_resources_37_c03","virmu_repositories_2_resources_37_c03_c01"],"title_filing_ssi":"Dorothy Gloster","title_ssm":["Dorothy Gloster"],"title_tesim":["Dorothy Gloster"],"normalized_title_ssm":["Dorothy Gloster"],"text":["Dorothy Gloster","Louis H. Draper Artist Archives (VA-04), 1945/2005","Series 3: Photography: Portraits, 1958/2001","Sub-Series 3.1: Identified Subjects, 1958/2001","35mm","box VA-04 Box 20","Item VA04.03.1.244.T1","Gloster, Dorothy","Draper, Louis H., 1935-2002","Harlem (New York, N.Y.)","Gloster, Dorothy","Digitization has been made possible in part by the National Endowment for the Humanities: Exploring the Human Endeavor.","Digital positive created by VMFA.","In Copyright: ©Louis H. Draper Preservation Trust. VMFA has been granted a non-exclusive license to reproduce this material for educational and publicity purposes only by the Louis H. Draper Preservation Trust."],"parent_unittitles_ssm":["Louis H. Draper Artist Archives (VA-04), 1945/2005","Series 3: Photography: Portraits, 1958/2001","Sub-Series 3.1: Identified Subjects, 1958/2001"],"parent_unittitles_tesim":["Louis H. Draper Artist Archives (VA-04), 1945/2005","Series 3: Photography: Portraits, 1958/2001","Sub-Series 3.1: Identified Subjects, 1958/2001"],"unitdate_other_ssim":["undated"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":1716,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Louis H. Draper Artist Archives (VA-04), 1945/2005"],"physdesc_tesim":["35mm"],"physfacet_tesim":["Black-and-white negatives"],"containers_ssim":["box VA-04 Box 20","Item VA04.03.1.244.T1"],"creator_ssim":["Draper, Louis H., 1935-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"parent_access_terms_tesm":["In Copyright: ©Louis H. Draper Preservation Trust. VMFA has been granted a non-exclusive license to reproduce this material for educational and publicity purposes only by the Louis H. Draper Preservation Trust."],"persname_ssim":["Gloster, Dorothy","Draper, Louis H., 1935-2002"],"names_ssim":["Gloster, Dorothy","Draper, Louis H., 1935-2002"],"geogname_ssim":["Harlem (New York, N.Y.)"],"geogname_ssm":["Harlem (New York, N.Y.)"],"places_ssim":["Harlem (New York, N.Y.)"],"access_subjects_ssim":["Gloster, Dorothy"],"access_subjects_ssm":["Gloster, Dorothy"],"acqinfo_ssim":["Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund."],"odd_html_tesm":["\u003cp\u003eDigitization has been made possible in part by the National Endowment for the Humanities: Exploring the Human Endeavor.\u003c/p\u003e","\u003cp\u003eDigital positive created by VMFA.\u003c/p\u003e"],"odd_heading_ssm":["General","General"],"odd_tesim":["Digitization has been made possible in part by the National Endowment for the Humanities: Exploring the Human Endeavor.","Digital positive created by VMFA."],"prefercite_html_tesm":["\u003cp\u003eLouis H. Draper Artist Archives (VA-04). Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Louis H. Draper Artist Archives (VA-04). Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund. VMFA Archives, Richmond, Virginia."],"userestrict_html_tesm":["\u003cp\u003eIn Copyright: ©Louis H. Draper Preservation Trust. VMFA has been granted a non-exclusive license to reproduce this material for educational and publicity purposes only by the Louis H. Draper Preservation Trust.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["In Copyright: ©Louis H. Draper Preservation Trust. VMFA has been granted a non-exclusive license to reproduce this material for educational and publicity purposes only by the Louis H. Draper Preservation Trust."],"_nest_path_":"/components#2/components#0/components#539","timestamp":"2026-08-27T00:05:08.613Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_37","ead_ssi":"virmu_repositories_2_resources_37","_root_":"virmu_repositories_2_resources_37","_nest_parent_":"virmu_repositories_2_resources_37","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_37.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/37","title_filing_ssi":"Draper, Louis (VA-04)","title_ssm":["Louis H. Draper Artist Archives (VA-04)"],"title_tesim":["Louis H. Draper Artist Archives (VA-04)"],"unitdate_ssm":["1945-2005"],"unitdate_inclusive_ssm":["1945-2005"],"normalized_date_ssm":["1945/2005"],"normalized_title_ssm":["Louis H. Draper Artist Archives (VA-04), 1945/2005"],"text":["Louis H. Draper Artist Archives (VA-04), 1945/2005","VA-04","/repositories/2/resources/37","Photography, Artistic","Photography, Artistic -- Exhibitions","Photography--History--20th century","Photography--History--21st century","Photographers -- Virginia","Photography--Study and teaching","The collection is open for research. Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into eleven series. Arrangement within each series varies based upon the material. In general, the manuscript materials are arranged chronologically (where possible), and the photographic material is arranged thematically, often by geographic location. The only series that is arranged alphabetically is Series 3.1: Identified Subjects.\"","Series 1\n        Manuscripts, 1947-2005, undated\n      \n      \n        Series 2\n        Publications, 1959-2005, undated\n      \n      \n        Series 3\n        Photography: Portraits, 1958-2001, undated\n      \n      \n        Series 4\n        Photography: United States Locations, 1957-1999, undated\n      \n      \n        Series 5\n        Photography: International Locations, 1978-1990, undated\n      \n      \n        Series 6\n        Photography: Landscapes and Abstractions, 1960-2000, undated\n      \n      \n        Series 7\n        Portfolios, 1964, undated\n      \n      \n        Series 8\n        Photographic Equipment, 1945-1988, undated\n      \n      \n        Series 9\n        Audiovisual Materials, 1972-2000, undated\n      \n      \n        Series 10\n        Born Digital Files, 1996-2001, undated\n      \n      \n        Series 11\n        Photographs by Others, 1946-1998, undated","Working Together: Louis Draper and the Kamoinge Workshop, 2020","Growing up in Civil Rights Richmond: A Community Remembers, 2019","Louis H. Draper: Selected Photographs, 2015","Timeless, 2015","The Sweet Breath of Life: A Poetic Narrative of the African-American Family, 2004","Virginia Artist File: Louis Draper","International Artist File: Kamoinge","Louis Hansel Draper","Born: September 24, 1935, Richmond, VA\nDied: February 18, 2002, Trenton, NJ","While a student at Virginia State College (now University) Lou Draper wrote to his father, Hansel, with the news that he had joined the school newspaper. His father—an amateur photographer in Richmond's East End—gave Draper his first camera. After joining the college camera club, he dropped a bottle of acid while trying to develop his film. As a result of trying to mop it up, he was hospitalized and subsequently kicked out of the club. Despite this initial setback, Draper resolved to be a photographer after seeing the exhibition catalogue for The Family of Man (1955). Realizing that the work he admired was made by photographers in New York, Draper left Virginia State during his final semester and, with the support of his family, moved to New York City.","Throughout the late 1950s Draper worked as a medical clerk while studying at the New York Institute of Photography. He dropped out realizing he could learn the same information through magazines like Modern Photography. In 1958 Draper enrolled in a photography workshop led by Harold Feinstein, where he met professional photographers like David Vestal and Herb Randall. Draper also worked as an assistant to studio photographers Larence Shustak and John Rawlings.","In 1959 Draper exhibited two works in the Photography at Mid-Century exhibition curated by Beaumont Newhall at the George Eastman House (now Museum). He also exhibited his work in Greenwich Village galleries, including the Image Gallery run by Larry Siegel.","Draper enrolled in workshops at the New School for Social Research, including W. Eugene Smith's course \"Photography Made Difficult: Photojournalism, the Construction of Picture Stories and Picture Essays\" and began working with the prolific magazine photographer around 1960. In addition to assisting in the darkroom, Draper was a teaching aide for \"Photography Made More Difficult\" hosted at Smith's Flower-District loft.","In 1963 Draper turned his attention to the Kamoinge Workshop and quickly emerged as one of the group's teachers. Draper contributed to major workshop projects in the early to mid-1960s beginning with Portfolio No. 1 through the \"Harlem\" photo-essay in the July 1966 issue of Camera magazine, which featured his photograph John Henry on the cover. Portfolio No. 2 and the photoessay included Draper's poem \"Colonial Legacy.\"","In the late 1960s Draper taught photography courses while taking classes in film production. Between 1966 and 1968 Draper worked with Randall, Ray Francis, and Jimmie Mannas at the Youth in Action program in Bedford-Stuyvesant, teaching photography to teenagers and young adults. He also participated in the Channel 13 Black Journal Workshop where he concentrated on learning motion picture production. In 1968 he enrolled in the graduate program at the New York University Institute of Film and Television along with future Kamoinge member Danny Dawson. Draper gained professional film experience by working for Mannas's Jymie Productions and assisted Mannas with two short documentaries, Head and Heart and The Folks. He was also a cameraman for commercial and independent projects led by NYU professors like cinematographer Bedrich (Beda) Batka and worked on a number of productions as a still photographer. In 1982 he was a script supervisor and photographer for the feature-length film Losing Ground.","In 1967 he began teaching a class in photographic techniques at Central Brooklyn Neighborhood College, which was supported by the Pratt Institute Center for Community Improvement. He left the program in 1969 but returned to Pratt in 1974 to teach a college-level photography course for design students. Draper joined the staff of the Multi-Media Project at Intermediate School 201 in the Bronx in 1971 where Herb Randall, Calvin Wilson, and Ray Francis also served as photographers and teachers. He also worked with the Photography for Rehabilitation program at the New York State Division for Youth in 1974.","In 1971 the director of the Studio Museum in Harlem, Edward Spriggs, called a meeting of photographers to address how they could use photography to support the neighborhood. Draper and Beuford Smith were among the founding members of a group named the Collective Black Photographers. During Draper's tenure as chairman of the group they organized a fundraisers and community photography projects. Draper also served on the Studio Museum's Photography Committee.","Essence sent Draper to Ruleville, Mississippi, to photograph civil rights activist Fannie Lou Hamer and the Freedom Farm Cooperative. These photographs were part of the feature story \"Fannie Lou Hamer Speaks Out\" in the magazine's October 1971 issue. The next month, Essence published Draper's portraits of the some of the mothers of the \"Harlem Six,\" a group of young Black men who were wrongly accused of murder in New York City in 1964.","In 1973 Draper won a Creative Artists Public Service (CAPS) program grant \"to create a set of film-strips about Ruleville, Mississippi . . . for use in New York City public schools and for public presentation.\" CAPS award panels included leading photographers such as Harry Callahan, and not only provided funding for artists but also enriched the creative community. In 1976 the CAPS publication Exposure: Work by Ten Photographers included work by Draper and Anthony Barboza. From 1974 to 1975 Draper served as coordinator of photography for the CAPS program and was an award panelist in 1982.","Interspersed with his teaching assignments, Draper explored other artistic media and forms. In addition to taking screenwriting classes at NYU, he attended workshops at the Frederick Douglass Creative Arts Center in 1982, studying screenwriting with Fred Hudson and Elihu Weiner and videotape production with Vernard Gantt. Building on his experiences with W. Eugene Smith, Draper studied page design at the C. Richard Read Studio. On occasion, he worked as a studio assistant to Herb Robinson and Barboza. He was also a cofounder of Northlight Studios, which operated from 1975 to 1985.","From 1978 to 1982 Draper taught and coordinated photography courses for schools in New Jersey, through the Creative Resources Institute. Afterward, he began teaching photography for Mercer County Community College in Trenton. Draper finally received his bachelor of arts degree from Thomas A. Edison State College in 1987. He participated in organizations like the Trenton Artists Workshop Association (TAWA) and was an artist in residence at Light Work in Syracuse, New York, where he printed his series New Jersey Artists, which included portraits of painters Hughie Lee-Smith and Bernarda Bryson Shahn, among others.","Draper taught at Mercer until his death in 2002.","The biography above, written by Sharayah Cochran, has been reproduced from the catalog \"Working Together: Louis Draper and the Kamoinge Workshop.\"","Louis Draper's sister, Nell Draper-Winston, inherited his estate upon his death in 2002. The collection remained at Mercer Community College in Trenton, New Jersey while Gary Saretzky (Draper's friend and colleague, as well as an Archivist for the Monmouth County Archives) organized it from 2002-2006.","Saretzky created a detailed finding aid for the photographs and archives before transferring them (on Draper-Winston's behalf) to the Albert and Shirley Small Special Collections Library at the University of Virginia in Charlottesville, Virginia. The collection arrived at the University of Virginia on December 26, 2006, and left in November 2012 to come to Candela Books and Photographs in Richmond, Virginia (email to Courtney Tkacz from Heather Riser, Head of Operations, Albert and Shirley Small Special Collections Library, July 1, 2019).","At that time, Candela represented the Louis H. Draper Preservation Trust and housed the collection until it was acquired by the Virginia Museum of Fine Arts in December 2015 as part of a gift-purchase of the archive and 35 photographs for the museum's art collection.","In February 2008, Don Lowing, a darkroom technician at Mercer County Community College located other materials including cameras, disks, and photographic materials (mainly negatives). These additional materials were inventoried by Saretzky and sent to the University of Virginia to be integrated into the rest of the collection (email to Courtney Tkacz from Gary Saretzky, June 28, 2019).","In 2017, the museum was awarded a grant from the National Endowment for the Humanities to fund 29 months of work that transformed this extremely large, physical archive into a rich digital resource. An interdepartmental grant team was assembled from across the museum, including staff members of the Library/Archives, Imaging Resources, Curatorial, and Conservation departments.","While the physical archive had been well organized previously, the digitization process allowed the team to rethink the intellectual arrangement and determine an ideal numbering scheme for a photography archive. The result was a system designed around the organizing principle of the photoshoot itself, and now all related contact sheets, prints, slides, and negatives are described together.","Processing and description of the manuscript materials was performed by Courtney Yevich Tkacz from 2016-2017, and processing and description of the photographic material was performed by Margo Lentz-Meyer from 2017-2019. All materials were digitized in their original sleeves, then rehoused, but all sleeves with Draper's handwriting were retained.","The collection's inclusive dates are 1945-2005, with the bulk of the material dating from the 1960s-1990s. The collection is comprised of correspondence, ephemera, publications, negatives, contact sheets, slides, prints, and photographic equipment.","The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Louis H. Draper Preservation Trust. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The extensive collection documents the life and work of Richmond-born photographer and educator Louis Draper (1935–2002). Manuscript and photographic materials document Draper's experience and work as an African American photographer, including his recognition of his photography as a form of \"engaged resistance\" that not only bore witness to leaders of the civil rights movement, but also offered a richer and more diverse perspective of African American life than provided by the mainstream media. \n\nIn 1963, he was a founding member of the Kamoinge Workshop, a collective of African American photographers, and the collection includes significant materials from the early years of the Kamoinge Workshop and document his perspective on the professional challenges that he and the collective confronted in the process of finding publications that would publish photographs of African Americans made by African Americans. \n\nHis photographs of significant 20th-century artists, writers, musicians, and performers reflect the wide array of personal connections that Draper made after moving to New York from Richmond, Virginia in 1957. Printed photographs and contact sheets in Draper's archive show a broad view of city life and the everyday interactions between people and also offer a unique vision of African American neighborhoods in the 1960s and 1970s.","Virginia Museum of Fine Arts Archives","Louis H. Draper Preservation Trust","Kamoinge Inc.‏","Random House (Firm). Penguin Books, Inc.","United States Civil Service Commission","Junior Courier","Bedford-Stuyvesant Youth in Action","Honeywell Information Systems, Inc.","American Telephone and Telegraph Company","Nikon, Inc.","New Bridge Baptist Church","American Negro Commemorative Society","Shaw-Beach","New York Foundation for the Arts","Pratt Institute. Art School","U.S. Consumer Product Safety Commission","Urban Bikeway Design Collaborative","Museum of Modern Art (New York, N.Y.)","Free Library of Philadelphia","New Jersey State Teen Arts Program","Brooklyn Museum of Art","Riverside Church Weekday School","Mercer County Community College (N.J.)","Gallery Henoch","Rochester Institute of Technology","Virginia State College","New York University. Institute of Graduate Film and Television","Temple University","Thomas Edison State College","Eastman Kodak Company","Recording Institute of America","Indiana University. Independent Study Division","Preston Publications","Bucks County Community College","Edwal Scientific Products","Studio Museum in Harlem","Hackensack Public Schools","New York State Council on the Arts","Creative Resources Institute","Allen Memorial Art Museum","Trenton Writers Guild","Greater Bordentown Chamber of Commerce","The Rotkin Review","Princeton Photography Club","John Young Audio-Visual Production","Schomburg Center for Research in Black Culture","St. Lawrence Rehabilitation Center","Mercer County (N.J.)","Stockton State College","Ansel Adams Gallery (Yosemite National Park, Calif.)","Rider College Art Gallery","Photo Workshop","Mercer Medical Center","Noyes Museum of Art","Photographers Forum","Art Kane Photo Workshop","Morris Museum","Essence","New York University. American Photography Institute","George Eastman House","Art in the Atrium","Johnson and Johnson","Bristol-Myers Squibb Company","Webster University","Charles McCollough Studio","Anacostia Museum and Center for African American History and Culture","University of Texas at Austin‏","General Artists Agency","Pavilion Gallery. Sculpture Garden","Virginia Statesman","Camera (Lucerne, Switzerland)","The Arrow","Like It Is","Photography Project of the President's Council on Youth Opportunity","Industrial Photography","Inside Out","New York Times company","Popular Photography","The Honeywell World","New York post","Associated Press","Photography Year","Black enterprise","College Voice","Dialogue","Trentonian","Trenton Sunday Times. The Magazine","Round-up","Trenton Sunday Times","Hightstown Gazette","Whoot","Garden State Press Clipping Bureau","Press of Atlantic City","Weekend Beacon","New Jersey Clipping Service","Argo","Asbury Park Press","Burlington Times","Courier-Post","Mercer","Time Off","New Jersey Herald","Star-Ledger (Newark, N.J.)","Art Matters","Trenton Times","Viking","United States Highway 1","Princeton Packet","The Monroe Township View","Voice","Princeton Living","The Link","Lawrence Ledger","Light Work (Organization : Syracuse, N.Y.)","Merrimack Publishing Corp.","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman Photographs","Sepia Tones","Image Gallery","Community Gallery","Countee Cullen Library","International Center of Photography","Corcoran Gallery of Art","First Time Photo Gallery","George Washington University","Artists Space (Gallery)","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Memorial Hospital of Burlington County","Mariboe Gallery","Peddie School","Artworks","Princeton Art Association","Allan P. Kirby Arts Center Gallery","The Lawrenceville School","May Gallery","New York University. Graduate School of Arts and Sciences","Trenton Artists Workshop Association","Forum Notes","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Creative Artists Public Service Program","Light Impressions Corporation","Fashion Institute of Technology (New York, N.Y.)","Fashion Institute of Technology (New York, N.Y.). Galleries","Catskill Center for Photography (Woodstock, N.Y.)","Photo Newsletter","James Van DerZee Institute","Obscura","Los Angeles Center For Photographic Studies","Ten.8","Crown Publishers, Inc.","Atlanta University","Aperture, Inc.","Black Photographers Annual","Madison Art Center","Columbia College (Chicago, Ill.)","En Foco, Inc.","Kenyon College","W.W. Norton and Company","Institute for Youth Entrepreneurship","Culturefront","Newsweek","New York (N.Y.). Department of Commerce and Industrial Development","Uniworld Group, Inc. (Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Art Direction","College of New Rochelle","Hofstra University","National Urban League","Gallery 62","Césaire Photo Agency","Photo/Chronicles Ltd.","National Association for the Advancement of Colored People","Just Above Midtown Gallery","Kenkeleba Gallery (New York, N.Y.)","New Jersey State Museum","Gordon Parks Gallery","School of New Resources","Crawford and Sloan Gallery","International Black Photographers","Trenton City Museum","Ellarslie Mansion","Pavilion Galleries","TAWA Soviet Exchange Committee","Photographic Association of the USSR","Planeta Publishers","Sovart Inc.","Chuvash ASSR Photographic Art Society","Perm Scientific Methodological Center for Folk Art and Cultural and Educational Work","People's Photostudio of Perm","Reticulation","Chuvashskiĭ gosudarstvennyĭ universitet im. I.N. Ulʹi︠a︡nova","Mercer County Community College News","Bucks County Technical School (Bucks County, Pa.)","Mercer County Community College (N.J.). Student Activities Department","Mercer County Community College (N.J.). Student Government Association","St. Lawrence Rehabilitation Center. Lobby Gallery","Hopewell Valley News","Artifacts Gallery","Mercer County Library. Ewing Branch","Mercer County Community College (N.J.). East Windsor Municipal Building","Pennington Post","Queenstown Gallery","Hamilton Township Public Library","Messenger-Press","Town Topics","Chronicle","Mercer Messenger","Beacon","New Jersey. Department of Higher Education","Infinity","American Society of Magazine Photographers","Barksdale Gallery","American Academy of Arts and Letters","Audio Visual Product News","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","William Morrow and Company","Black Creation","New York University. Institute of African-American Affairs","Avon Books.","Hearst Corporation","Frederick Douglass Creative Arts Center","Another View, Inc.","Langston Hughes Society","Brown University","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","South Trenton Review","New Jersey Historical Commission","Transmondo","Sekonic","Hasselblad USA","Lindahl","Staticmaster","Draper, Louis H., 1935-2002","Faulkner, William, 1897-1962","Harris, Charles \"Teenie\", 1908-1998","Parker, Pat","Gloster, Dorothy","Williams, Henry A.","Draper, Hansel H.","Beach, George A. (George Anderson), 1902-1994","Massey, Cal, 1927-1972","Hughes, Langston, 1902-1967","Morgan, Margaret","Collins, Kathleen, 1942-1988","Gray, Ronald K.","Gloster, Brandon","Schulte, Roger","Hudson, Fred","Marcus","Szarkowski, John, 1925-2007","Bunnell, Peter C., 1937-","Caponigro, Paul, 1932-","Bat'ka, Bedřich, 1922-1994","Tangney, Ralph","Reno, Mike","Darkroom and creative camera techniques","Jilg, Mark","McNutt, Dennis","Beach, Donald","Felip, John","Carter, David","Moman-Bell, Patricia","Russo, Eleanor","Kolovakos, Gregory, 1951-1990","Holford, Mary","Moutoussamy-Ashe, Jeanne, 1951-","Olander, William, 1950-1989","Collins, Denise","Salewski, Randal","Horwitz, Alan","Levin, David","Remer, Lisa","West, Janice M.","Blackford, Eva","Holl-Madara, Lynn","Siskind, Carroll","Conklin, D. David","Chiego, William J., 1943-","Rotkin, Charles E., 1916-","Rosado, Maria","Price, Pamela","Steele, Diana","Fawcetter, Caroline","Young, John","Willis, Deborah, 1948-","Bey, Dawoud, 1953-","Pope, Sharon","Mathesius, Bill","Feinstein, Harold, 1931-2015","Schneeman, Liane","Williams, H. G.","Adams, Jeanne","Zakia, Richard D. (Richard Donald), 1925-2012","Henderson, Wanda","Naar, Harry I.","Wiley, Mary Helen","Collier, David E., 1929-2012","Kokotajlo, Stan","Troeller, Linda, 1949-","Fabbri, Anne R.","The Noyes Museum","Saretzky, Gary D.","Serbin, Glen","Deering, Bill","Cook, Sue","Simad, Teresa","Carty, Diane","Williams, Ann","The Morris Museum","Rand, Henry","Aparicio, Roxana","Earenfight, Phillip, 1962-","Russell, Lisa","Tolin, Ann","McCollough, Charles","Smith, Beuford, 1941-","Morris, Jennifer","Lehman, Arnold L.","Duganne, Erina","Bertoli, Barbara","Stephanini, Pat","Pavilion Gallery Sculpture Garden","Nini, Rose","Pearce, Jeannie","O'Boyle, Bob","Baum, Ralph","Vestal, David, 1924-2013","Petit, Philippe, 1949-","Norton, Eleanor Holmes, 1937-","Ms.","Rivera, Christine","Cagan, Steve","Doan-Johnson, Susan","McCoy, Regina","Viksjo, Cathy","Post, Kevin","Bledsoe, Lysbeth","Shipley, Barbara","Heisler, Wendy","Star-Ledger","Seidel, Mitchell","Carlson, Michele","Small, Michael C.","Mutterperl, Mindy","Crossman, Lorraine","Fone, Lisa","Addis, Amanda","Purcell, Janet","Monroe Township View","Orsi, Chris","Beres, Derek","Dube, Ilene","Kimbrough, Larry","Fischl and Hartman","General Motors Corporation. Chevrolet Motor Division","Madison, Clarence","Maddox, James","Noyes Museum","Lawrenceville School","Kismaric, Carole, 1942-2002","Palaszczuk, Mary Ellen","Fernandez, Isabelle","Kenyon, Kathleen","Weems, Carrie Mae, 1953-","Walker, Shawn, 1940-","Sullivan, George E. (George Edward), 1927-","Dutton Juvenile","Taha, Halima","Crown Publishers","DeCarava, Roy, 1919-2009","Mannas, James \"Jimmie\" M., 1941-","Rudolph, Sa","Francis, James \"Ray\"","Jackson, Miles M., Jr., 1929-","Mayer, Grace M.","Hoffman, Michael E. (Michael Eugene), 1942-2001","Porter, Allan, 1934-2022","Crawford, Joe","Liska, Jane","Cobb, Vandell","Romais, Miriam","Wilson, Calvin, 1924-","Fournier, Collette","Stewart, Frank, 1949-","Hinzmann, Hilary","Lawrence, Steve","Smith, Evelyn","Fennar, Albert, 1938-","Howard, Herman","Martin, Steve","Barboza, Anthony, 1944-","Barboza, Ken","Clarke, LeRoy, 1938-","Cowans, Adger W., 1936-","Preston, George Nelson, 1938-","Bearden, Romare, 1911-1988","Dix, Seldon","Littles, Dolores Allen","Dawson, C. Daniel","American Visions","Parks, Toni","Pinderhughes, John, 1946-","Randall, Herbert, 1936-","Robinson, Herb","Wilmer, Val (Valerie), 1941-","Photo/Chronicles","Smith, Morgan, 1910-1993","Smith, Marvin, 1910-2003","Smith, Ming, 1950-","Steichen, Edward, 1879-1973","Kenkeleba Gallery","Greene, Cheryll Y., 1943-2013","Sleet, Moneta, Jr., 1926-1996","Stewart, Charles (Chuck), 1927-2017","Wilkinson, Carlton","Kauffman, Aubrey","Leipzig, Melvin, 1935-","Baskakov, Andrew","Brodsky, Judith","Berezin, Valentin Solomonovich","Nesterova, Natalʹi︠a︡, 1944-","Chilnikov, Sergey","Mari ASSR Photographic Art Society","Suprun, Aleksandr","Dobrynkin, A.","Hanley, John P.","Bullock, Joanne B.","Corwin, Luene Holmes, 1937-","Dowd, Jennifer Ann","Mathias, John","Weiss, Celia","Bundy, Roy","Flynn, William J.","Hain, Josh","Rivera, Frank","White, Larry","Barksdale, William E., 1927-","Dietrich, Marilyn","Duncan, Noreen","Lobby Gallery","Hymans, Kay","Lamba, Marie","Stender, Barbara","Williams, Gray","New Jersey Department of Higher Education","Osborne, Linda","Caruso, Jennifer","Moran, Daniel Thomas","Bateson, Michael A.","Davis, Gail","Gray, Jeanne","Clyde","Smith, W. Eugene, 1918-1978","Von Hildebrand, Alice, 1923-2022","Von Hildebrand, Dietrich, 1889-1977","O'Daniel, Therman B. (Therman Benjamin), 1908-1986","Hathaway, Paul R.","Hamer, Fannie Lou, 1917-1977","Johnson, Thomas A., 1928-2008","Gillespie, Marcia","Reynolds, Barbara Ann","Jackson, Jacqueline, 1944-","Moore, Marjorie","Fouch, Barbara","James, Delores","McDougall, Joyce, 1926-2011","Lebovici, Serge, 1915-2000","Avon Books","Clark, Duvie","Ebert, Alan","Bryant, Joyce, 1927-2022","Bower, Sue","Kiley, Frederick S. (Frederick Spencer), 1922-2002","Wright, Giles R.","Allen, Jules, 1947-","Anderson, Julie","Chycota, Johanna","Anderson, Mary B.","Pendergrass, Teddy, 1950-2010","Paul, Billy, 1934-2016","Shinee, Ntozake","Ferman, Terry","Barboza, Leanette","Barboza, Linda Anderson","Barboza, Tim","Bass, George Houston, 1938-1990","Builder, Levy, 1942-","Fuller, Naimah","Bennett, Alan","Bickal, Janet","Blake, Nina","Blake, Eubie, 1887-1983","Bobo, Anne","Bogle, Donald, 1944-","McNatt, Rosemary Bray","Brenner, Glen","Brooks, Wenonah","Bulaj, Marek","Johnson, Barbara Piasecka, 1937-2013","Burton, Sandy","Callender, Arlene","Campbell, Diane","Carty, Delores","Ceglia, Vincent","Chambers, Paul, 1935-1969","Chapman, Glenn Edward","Chavez, Lynn","Chavez, Pete","Chavooshian, Marge","Colavita, James J., 1949-1996","Collins, Lucrentia","Cook, Molly","Simao, Teresa","Crawley, Hazel","Critchlow, Carol","Crotty, Mary","Cummings, Blondell, 1944-2015","Davis, Daryl","Davis, Judy","Davis, Miles, 1926-1991","De Veaux, Alexis, 1948-","Banks, Diane","Deveaux, Pam","Dixon, Mel","Douglas, Clara","Dunham, Katherine, 1909-2006","Esquila, Ramon","Evans, Scott","Fennar, Miya","Koho, Keiko","Fennar, Tad","Folmer, Daniella","Fontaine, Walter","Durniak, John","Galeano, Cheryl","Gibson, Pat","Goldman, Midge","Goodkin, Vera Herman","Guitar Shorty, 1939-2022","Flakes, Jacqueline Hamer, 1966-","Moore, Richard B. (Richard Benjamin), 1893-1978","Harper, Toy","Johnson, Hall, 1887-1970","Harper, Ves","Heck, Soskia","Henry, John","Heywood, Jeni","Hicks, Bernice S.","Hilton, Larry","Hunter, Clementine, 1886-1988","Anderson, Madeline","Iman, 1955-","Jackson, Jesse Louis, 1941-","Jessua, Alain, 1932-2017","Jones, Billy","Kim, Yung Ju","Konrad, Adolf Ferdinand, 1915-2004","Kucay, Susan","Landau, Jacob, 1917-2001","Lawrence, Jacob, 1917-2000","Lehman, Harold","Leipzig, Francesca","Leipzig, Joshua","Graves, Michael, 1934-2015","Lewis, Byron E., Sr., 1931-","Lindfors, Viveca, 1920-1995","Littwin, Michael","Livingston, Bud","Lowing, Donald","Malloy, Tom, 1912-2008","Marshall, Paula","McNichol, Terri","Medina, Pablo, 1948-","Merlino, Joseph","Merlino, Molly","Goldman, Irene","Miller, Robert","Miller, Tony","Michaux, Lewis H., 1885-1976","Novak, Josie","Palmer, Nancy","Pasolini, Pier Paolo, 1922-1975","Passer, Ivan, 1933-2020","Pastira, Sangeeta","Patterson, Latta","Freed, Arthur","Perkoff, Sarah","Ryan, Dave","Polar, Maria","Santiago, Nilsa","Pietroski, Susan","Portee, Natalie","Purdy, Janet, Dr.","Purdy, John","Rachlin, Margaret","Randall, Rosalind","Reaves, Gail","Reaves, Kenny","Reiner, Eric","Reynolds, Rene","Richardson, Al","Richardson, Beverly","Rodriguez, Cecilio","Rosskam, Louise, 1910-2003","Ruffner, Jim","Rutkowski, Catherine","Samad, Marianne","Sandler, Kathe","Sandler, Eve","Sandler, Joan","Santos, Delissa","Sartezky, Anya","Schulte, Judy","Puccio, Victor","Schulte, Lynn M.","Schwartz, Lise","Selwood, Maureen","Shahn, Bernarda Bryson, 1903-2004","Sherman, Terry","Simmons, Ron","Slater, Xandria","Smith, Catherine","Smith, Gregory","Lee-Smith, Hughie, 1915-1999","Smith, Kevin","Smith, Mingus","Standard, Michael","Taylor, John","Taylor, Susan, 1946-","Teneny, Ralph","Sommerville, Tom","Tooker, Holly","Torres, Jose","Van Der Zee, James, 1886-1983","Wallace, Douglas","Weiss, Jiří, 1913-2004","Welliver, Michael","White, Hazel","Wiggins, Ernie","Wilkerson, Lisa","Williams, Ace","Williams, Jim","Wood, Michelle","X., Malcolm, 1925-1965","Draper-Winston, Nell","Winston, Charles","Johnson, Beverly, 1952-","Davidhazy, Andrew","Baldwin, James, 1924-1987","Jackson, Maynard, 1938-2003","Jackson, Valerie Richardson, 1949-","Hamer, Perry","Cook, Susan","Palmer, Douglas, 1951-","Harrell, Hugh","Smith, Aileen","Jorrin, Mario","Calla, Henry","Angelou, Maya, 1928-2014","Maynard, Joan, 1921-1998","Cronkite, Walter, 1916-2009","Cavett, Dick, 1936-","Hurwitz, Leo T., 1909-1991","Chiarenza, Carl, 1935-","Cauthen, Steve, 1960-","Gunn, Bill, 1934-1989","Scott, Seret","Deleo, Fame P.","Toppin, Christopher","Deileo, Fame","Mick, Chianese","Peck, Mary S.","Boeing, Loran K.","Doter, ?","Dill, Timothy","Jaborski, Pierre","Libsohn, Sol, 1914-2001","Linder, Evan","Pope-Lance, Elton","Jean-Bart, Leslie","McBride, Will","Ryan, Joe","Long, Kadar","Malloy","Mike","Hashimoto","Sawyer, Frank","Reed, Eli, 1946-","English"],"collection_title_tesim":["Louis H. Draper Artist Archives (VA-04), 1945/2005"],"collection_ssim":["Louis H. Draper Artist Archives (VA-04), 1945/2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["VA-04","/repositories/2/resources/37"],"unitid_tesim":["VA-04","/repositories/2/resources/37"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Draper, Louis H., 1935-2002","Louis H. Draper Preservation Trust","Kamoinge Inc.‏"],"creator_ssim":["Draper, Louis H., 1935-2002","Louis H. Draper Preservation Trust","Kamoinge Inc.‏"],"creator_persname_ssim":["Draper, Louis H., 1935-2002","Faulkner, William, 1897-1962","Harris, Charles \"Teenie\", 1908-1998","Parker, Pat","Gloster, Dorothy","Williams, Henry A.","Draper, Hansel H.","Shaw-Beach","Beach, George A. (George Anderson), 1902-1994","Massey, Cal, 1927-1972","Hughes, Langston, 1902-1967","Morgan, Margaret","Collins, Kathleen, 1942-1988","Gray, Ronald K.","Gloster, Brandon","Schulte, Roger","Hudson, Fred","Marcus","Szarkowski, John, 1925-2007","Bunnell, Peter C., 1937-","Caponigro, Paul, 1932-","Bat'ka, Bedřich, 1922-1994","Tangney, Ralph","Reno, Mike","Recording Institute of America","Darkroom and creative camera techniques","Jilg, Mark","McNutt, Dennis","Bucks County Community College","Beach, Donald","Felip, John","Edwal Scientific Products","Carter, David","Moman-Bell, Patricia","Russo, Eleanor","Hackensack Public Schools","Kolovakos, Gregory, 1951-1990","New York State Council on the Arts","Holford, Mary","Creative Resources Institute","Moutoussamy-Ashe, Jeanne, 1951-","Olander, William, 1950-1989","Collins, Denise","Salewski, Randal","Horwitz, Alan","Levin, David","Remer, Lisa","West, Janice M.","Blackford, Eva","Greater Bordentown Chamber of Commerce","Holl-Madara, Lynn","Siskind, Carroll","Conklin, D. David","Chiego, William J., 1943-","Rotkin, Charles E., 1916-","The Rotkin Review","Rosado, Maria","Price, Pamela","Steele, Diana","Princeton Photography Club","Fawcetter, Caroline","Young, John","John Young Audio-Visual Production","Willis, Deborah, 1948-","Bey, Dawoud, 1953-","Pope, Sharon","Mathesius, Bill","Feinstein, Harold, 1931-2015","Schneeman, Liane","Williams, H. G.","Adams, Jeanne","Zakia, Richard D. 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I.N. Ulʹi︠a︡nova","Hanley, John P.","Bullock, Joanne B.","Corwin, Luene Holmes, 1937-","Dowd, Jennifer Ann","Mathias, John","Weiss, Celia","Bundy, Roy","Flynn, William J.","Hain, Josh","Rivera, Frank","White, Larry","Barksdale, William E., 1927-","Dietrich, Marilyn","Duncan, Noreen","Lobby Gallery","Hymans, Kay","Lamba, Marie","Hopewell Valley News","Stender, Barbara","Artifacts Gallery","Town Topics","Chronicle","Beacon","Williams, Gray","New Jersey Department of Higher Education","Osborne, Linda","Caruso, Jennifer","Infinity","American Society of Magazine Photographers","Moran, Daniel Thomas","Barksdale Gallery","American Academy of Arts and Letters","Bateson, Michael A.","Audio Visual Product News","Davis, Gail","Gray, Jeanne","Clyde","Smith, W. Eugene, 1918-1978","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","Von Hildebrand, Alice, 1923-2022","Von Hildebrand, Dietrich, 1889-1977","O'Daniel, Therman B. (Therman Benjamin), 1908-1986","William Morrow and Company","Hathaway, Paul R.","Hamer, Fannie Lou, 1917-1977","Johnson, Thomas A., 1928-2008","Gillespie, Marcia","Reynolds, Barbara Ann","Jackson, Jacqueline, 1944-","Moore, Marjorie","Fouch, Barbara","James, Delores","McDougall, Joyce, 1926-2011","Lebovici, Serge, 1915-2000","Avon Books","Hearst Corporation","Clark, Duvie","Ebert, Alan","Bryant, Joyce, 1927-2022","Frederick Douglass Creative Arts Center","Another View, Inc.","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","Bower, Sue","Kiley, Frederick S. (Frederick Spencer), 1922-2002","Wright, Giles R.","New Jersey Historical Commission","Allen, Jules, 1947-","Anderson, Julie","Chycota, Johanna","Anderson, Mary B.","Pendergrass, Teddy, 1950-2010","Paul, Billy, 1934-2016","Shinee, Ntozake","Ferman, Terry","Barboza, Leanette","Barboza, Linda Anderson","Barboza, Tim","Bass, George Houston, 1938-1990","Builder, Levy, 1942-","Fuller, Naimah","Bennett, Alan","Bickal, Janet","Blake, Nina","Blake, Eubie, 1887-1983","Bobo, Anne","Bogle, Donald, 1944-","McNatt, Rosemary Bray","Brenner, Glen","Brooks, Wenonah","Bulaj, Marek","Johnson, Barbara Piasecka, 1937-2013","Burton, Sandy","Callender, Arlene","Campbell, Diane","Carty, Delores","Ceglia, Vincent","Chambers, Paul, 1935-1969","Chapman, Glenn Edward","Chavez, Lynn","Chavez, Pete","Chavooshian, Marge","Colavita, James J., 1949-1996","Collins, Lucrentia","Cook, Molly","Simao, Teresa","Crawley, Hazel","Critchlow, Carol","Crotty, Mary","Cummings, Blondell, 1944-2015","Davis, Daryl","Davis, Judy","Davis, Miles, 1926-1991","De Veaux, Alexis, 1948-","Banks, Diane","Deveaux, Pam","Dixon, Mel","Douglas, Clara","Dunham, Katherine, 1909-2006","Esquila, Ramon","Evans, Scott","Fennar, Miya","Koho, Keiko","Fennar, Tad","Folmer, Daniella","Fontaine, Walter","Durniak, John","Galeano, Cheryl","Gibson, Pat","Goldman, Midge","Goodkin, Vera Herman","Guitar Shorty, 1939-2022","Flakes, Jacqueline Hamer, 1966-","Moore, Richard B. (Richard Benjamin), 1893-1978","Harper, Toy","Johnson, Hall, 1887-1970","Harper, Ves","Heck, Soskia","Henry, John","Heywood, Jeni","Hicks, Bernice S.","Hilton, Larry","Hunter, Clementine, 1886-1988","Anderson, Madeline","Iman, 1955-","Jackson, Jesse Louis, 1941-","Jessua, Alain, 1932-2017","Jones, Billy","Kim, Yung Ju","Konrad, Adolf Ferdinand, 1915-2004","Kucay, Susan","Landau, Jacob, 1917-2001","Lawrence, Jacob, 1917-2000","Lehman, Harold","Leipzig, Francesca","Leipzig, Joshua","Graves, Michael, 1934-2015","Lewis, Byron E., Sr., 1931-","Lindfors, Viveca, 1920-1995","Littwin, Michael","Livingston, Bud","Lowing, Donald","Malloy, Tom, 1912-2008","Marshall, Paula","McNichol, Terri","Medina, Pablo, 1948-","Merlino, Joseph","Merlino, Molly","Goldman, Irene","Miller, Robert","Miller, Tony","Michaux, Lewis H., 1885-1976","Novak, Josie","Palmer, Nancy","Pasolini, Pier Paolo, 1922-1975","Passer, Ivan, 1933-2020","Pastira, Sangeeta","Patterson, Latta","Freed, Arthur","Perkoff, Sarah","Ryan, Dave","Polar, Maria","Santiago, Nilsa","Pietroski, Susan","Portee, Natalie","Purdy, Janet, Dr.","Purdy, John","Rachlin, Margaret","Randall, Rosalind","Reaves, Gail","Reaves, Kenny","Reiner, Eric","Reynolds, Rene","Richardson, Al","Richardson, Beverly","Rodriguez, Cecilio","Rosskam, Louise, 1910-2003","Ruffner, Jim","Rutkowski, Catherine","Samad, Marianne","Sandler, Kathe","Sandler, Eve","Sandler, Joan","Santos, Delissa","Sartezky, Anya","Schulte, Judy","Puccio, Victor","Schulte, Lynn M.","Schwartz, Lise","Selwood, Maureen","Shahn, Bernarda Bryson, 1903-2004","Sherman, Terry","Simmons, Ron","Slater, Xandria","Smith, Catherine","Smith, Gregory","Lee-Smith, Hughie, 1915-1999","Smith, Kevin","Smith, Mingus","Standard, Michael","Taylor, John","Taylor, Susan, 1946-","Teneny, Ralph","Sommerville, Tom","Tooker, Holly","Torres, Jose","Van Der Zee, James, 1886-1983","Wallace, Douglas","Weiss, Jiří, 1913-2004","Welliver, Michael","White, Hazel","Wiggins, Ernie","Wilkerson, Lisa","Williams, Ace","Williams, Jim","Wood, Michelle","X., Malcolm, 1925-1965","Draper-Winston, Nell","Winston, Charles","Johnson, Beverly, 1952-","Davidhazy, Andrew","Baldwin, James, 1924-1987","Jackson, Maynard, 1938-2003","Jackson, Valerie Richardson, 1949-","Hamer, Perry","Cook, Susan","Palmer, Douglas, 1951-","Harrell, Hugh","Smith, Aileen","Jorrin, Mario","Calla, Henry","Angelou, Maya, 1928-2014","Maynard, Joan, 1921-1998","Cronkite, Walter, 1916-2009","Cavett, Dick, 1936-","Hurwitz, Leo T., 1909-1991","Chiarenza, Carl, 1935-","Cauthen, Steve, 1960-","Gunn, Bill, 1934-1989","Scott, Seret","Deleo, Fame P.","Toppin, Christopher","Deileo, Fame","Mick, Chianese","Peck, Mary S.","Boeing, Loran K.","Doter, ?","Dill, Timothy","Jaborski, Pierre","Libsohn, Sol, 1914-2001","Linder, Evan","Pope-Lance, Elton","Jean-Bart, Leslie","McBride, Will","Ryan, Joe","Long, Kadar","Malloy","Mike","Hashimoto","Sawyer, Frank","Reed, Eli, 1946-","Virginia Museum of Fine Arts Archives","Louis H. Draper Preservation Trust","Kamoinge Inc.‏","Random House (Firm). Penguin Books, Inc.","United States Civil Service Commission","Junior Courier","Bedford-Stuyvesant Youth in Action","Honeywell Information Systems, Inc.","American Telephone and Telegraph Company","Nikon, Inc.","New Bridge Baptist Church","American Negro Commemorative Society","Shaw-Beach","New York Foundation for the Arts","Pratt Institute. Art School","U.S. Consumer Product Safety Commission","Urban Bikeway Design Collaborative","Museum of Modern Art (New York, N.Y.)","Free Library of Philadelphia","New Jersey State Teen Arts Program","Brooklyn Museum of Art","Riverside Church Weekday School","Mercer County Community College (N.J.)","Gallery Henoch","Rochester Institute of Technology","Virginia State College","New York University. Institute of Graduate Film and Television","Temple University","Thomas Edison State College","Eastman Kodak Company","Recording Institute of America","Indiana University. Independent Study Division","Preston Publications","Bucks County Community College","Edwal Scientific Products","Studio Museum in Harlem","Hackensack Public Schools","New York State Council on the Arts","Creative Resources Institute","Allen Memorial Art Museum","Trenton Writers Guild","Greater Bordentown Chamber of Commerce","The Rotkin Review","Princeton Photography Club","John Young Audio-Visual Production","Schomburg Center for Research in Black Culture","St. Lawrence Rehabilitation Center","Mercer County (N.J.)","Stockton State College","Ansel Adams Gallery (Yosemite National Park, Calif.)","Rider College Art Gallery","Photo Workshop","Mercer Medical Center","Noyes Museum of Art","Photographers Forum","Art Kane Photo Workshop","Morris Museum","Essence","New York University. American Photography Institute","George Eastman House","Art in the Atrium","Johnson and Johnson","Bristol-Myers Squibb Company","Webster University","Charles McCollough Studio","Anacostia Museum and Center for African American History and Culture","University of Texas at Austin‏","General Artists Agency","Pavilion Gallery. Sculpture Garden","Virginia Statesman","Camera (Lucerne, Switzerland)","The Arrow","Like It Is","Photography Project of the President's Council on Youth Opportunity","Industrial Photography","Inside Out","New York Times company","Popular Photography","The Honeywell World","New York post","Associated Press","Photography Year","Black enterprise","College Voice","Dialogue","Trentonian","Trenton Sunday Times. The Magazine","Round-up","Trenton Sunday Times","Hightstown Gazette","Whoot","Garden State Press Clipping Bureau","Press of Atlantic City","Weekend Beacon","New Jersey Clipping Service","Argo","Asbury Park Press","Burlington Times","Courier-Post","Mercer","Time Off","New Jersey Herald","Star-Ledger (Newark, N.J.)","Art Matters","Trenton Times","Viking","United States Highway 1","Princeton Packet","The Monroe Township View","Voice","Princeton Living","The Link","Lawrence Ledger","Light Work (Organization : Syracuse, N.Y.)","Merrimack Publishing Corp.","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman Photographs","Sepia Tones","Image Gallery","Community Gallery","Countee Cullen Library","International Center of Photography","Corcoran Gallery of Art","First Time Photo Gallery","George Washington University","Artists Space (Gallery)","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Memorial Hospital of Burlington County","Mariboe Gallery","Peddie School","Artworks","Princeton Art Association","Allan P. Kirby Arts Center Gallery","The Lawrenceville School","May Gallery","New York University. Graduate School of Arts and Sciences","Trenton Artists Workshop Association","Forum Notes","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Creative Artists Public Service Program","Light Impressions Corporation","Fashion Institute of Technology (New York, N.Y.)","Fashion Institute of Technology (New York, N.Y.). Galleries","Catskill Center for Photography (Woodstock, N.Y.)","Photo Newsletter","James Van DerZee Institute","Obscura","Los Angeles Center For Photographic Studies","Ten.8","Crown Publishers, Inc.","Atlanta University","Aperture, Inc.","Black Photographers Annual","Madison Art Center","Columbia College (Chicago, Ill.)","En Foco, Inc.","Kenyon College","W.W. Norton and Company","Institute for Youth Entrepreneurship","Culturefront","Newsweek","New York (N.Y.). Department of Commerce and Industrial Development","Uniworld Group, Inc. (Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Art Direction","College of New Rochelle","Hofstra University","National Urban League","Gallery 62","Césaire Photo Agency","Photo/Chronicles Ltd.","National Association for the Advancement of Colored People","Just Above Midtown Gallery","Kenkeleba Gallery (New York, N.Y.)","New Jersey State Museum","Gordon Parks Gallery","School of New Resources","Crawford and Sloan Gallery","International Black Photographers","Trenton City Museum","Ellarslie Mansion","Pavilion Galleries","TAWA Soviet Exchange Committee","Photographic Association of the USSR","Planeta Publishers","Sovart Inc.","Chuvash ASSR Photographic Art Society","Perm Scientific Methodological Center for Folk Art and Cultural and Educational Work","People's Photostudio of Perm","Reticulation","Chuvashskiĭ gosudarstvennyĭ universitet im. I.N. Ulʹi︠a︡nova","Mercer County Community College News","Bucks County Technical School (Bucks County, Pa.)","Mercer County Community College (N.J.). Student Activities Department","Mercer County Community College (N.J.). Student Government Association","St. Lawrence Rehabilitation Center. Lobby Gallery","Hopewell Valley News","Artifacts Gallery","Mercer County Library. Ewing Branch","Mercer County Community College (N.J.). East Windsor Municipal Building","Pennington Post","Queenstown Gallery","Hamilton Township Public Library","Messenger-Press","Town Topics","Chronicle","Mercer Messenger","Beacon","New Jersey. Department of Higher Education","Infinity","American Society of Magazine Photographers","Barksdale Gallery","American Academy of Arts and Letters","Audio Visual Product News","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","William Morrow and Company","Black Creation","New York University. Institute of African-American Affairs","Avon Books.","Hearst Corporation","Frederick Douglass Creative Arts Center","Another View, Inc.","Langston Hughes Society","Brown University","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","South Trenton Review","New Jersey Historical Commission","Transmondo","Sekonic","Hasselblad USA","Lindahl","Staticmaster"],"access_terms_ssm":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Louis H. Draper Preservation Trust. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Photography, Artistic","Photography, Artistic -- Exhibitions","Photography--History--20th century","Photography--History--21st century","Photographers -- Virginia","Photography--Study and teaching"],"access_subjects_ssm":["Photography, Artistic","Photography, Artistic -- Exhibitions","Photography--History--20th century","Photography--History--21st century","Photographers -- Virginia","Photography--Study and teaching"],"has_online_content_ssim":["false"],"extent_ssm":["37.5 Linear Feet 170 boxes; 6,605 items"],"extent_tesim":["37.5 Linear Feet 170 boxes; 6,605 items"],"date_range_isim":[1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/collections/search-archives/louis-h-draper-archive-portal/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eA limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into eleven series. Arrangement within each series varies based upon the material. In general, the manuscript materials are arranged chronologically (where possible), and the photographic material is arranged thematically, often by geographic location. The only series that is arranged alphabetically is Series 3.1: Identified Subjects.\"\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eManuscripts, 1947-2005, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublications, 1959-2005, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003ePhotography: Portraits, 1958-2001, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotography: United States Locations, 1957-1999, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003ePhotography: International Locations, 1978-1990, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003ePhotography: Landscapes and Abstractions, 1960-2000, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 7\u003c/label\u003e\n        \u003citem\u003ePortfolios, 1964, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 8\u003c/label\u003e\n        \u003citem\u003ePhotographic Equipment, 1945-1988, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 9\u003c/label\u003e\n        \u003citem\u003eAudiovisual Materials, 1972-2000, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 10\u003c/label\u003e\n        \u003citem\u003eBorn Digital Files, 1996-2001, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 11\u003c/label\u003e\n        \u003citem\u003ePhotographs by Others, 1946-1998, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into eleven series. Arrangement within each series varies based upon the material. In general, the manuscript materials are arranged chronologically (where possible), and the photographic material is arranged thematically, often by geographic location. The only series that is arranged alphabetically is Series 3.1: Identified Subjects.\"","Series 1\n        Manuscripts, 1947-2005, undated\n      \n      \n        Series 2\n        Publications, 1959-2005, undated\n      \n      \n        Series 3\n        Photography: Portraits, 1958-2001, undated\n      \n      \n        Series 4\n        Photography: United States Locations, 1957-1999, undated\n      \n      \n        Series 5\n        Photography: International Locations, 1978-1990, undated\n      \n      \n        Series 6\n        Photography: Landscapes and Abstractions, 1960-2000, undated\n      \n      \n        Series 7\n        Portfolios, 1964, undated\n      \n      \n        Series 8\n        Photographic Equipment, 1945-1988, undated\n      \n      \n        Series 9\n        Audiovisual Materials, 1972-2000, undated\n      \n      \n        Series 10\n        Born Digital Files, 1996-2001, undated\n      \n      \n        Series 11\n        Photographs by Others, 1946-1998, undated"],"bibliography_html_tesm":["\u003cbibref\u003eWorking Together: Louis Draper and the Kamoinge Workshop, 2020\u003c/bibref\u003e\n    ","\u003cbibref\u003eGrowing up in Civil Rights Richmond: A Community Remembers, 2019\u003c/bibref\u003e\n    ","\u003cbibref\u003eLouis H. Draper: Selected Photographs, 2015\u003c/bibref\u003e\n    ","\u003cbibref\u003eTimeless, 2015\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Sweet Breath of Life: A Poetic Narrative of the African-American Family, 2004\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Artist File: Louis Draper\u003c/bibref\u003e\n    ","\u003cbibref\u003eInternational Artist File: Kamoinge\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Artist Files"],"bibliography_tesim":["Working Together: Louis Draper and the Kamoinge Workshop, 2020","Growing up in Civil Rights Richmond: A Community Remembers, 2019","Louis H. Draper: Selected Photographs, 2015","Timeless, 2015","The Sweet Breath of Life: A Poetic Narrative of the African-American Family, 2004","Virginia Artist File: Louis Draper","International Artist File: Kamoinge"],"bioghist_html_tesm":["\u003cp\u003eLouis Hansel Draper\u003c/p\u003e","\u003cp\u003eBorn: September 24, 1935, Richmond, VA\nDied: February 18, 2002, Trenton, NJ\u003c/p\u003e","\u003cp\u003eWhile a student at Virginia State College (now University) Lou Draper wrote to his father, Hansel, with the news that he had joined the school newspaper. His father—an amateur photographer in Richmond's East End—gave Draper his first camera. After joining the college camera club, he dropped a bottle of acid while trying to develop his film. As a result of trying to mop it up, he was hospitalized and subsequently kicked out of the club. Despite this initial setback, Draper resolved to be a photographer after seeing the exhibition catalogue for The Family of Man (1955). Realizing that the work he admired was made by photographers in New York, Draper left Virginia State during his final semester and, with the support of his family, moved to New York City.\u003c/p\u003e","\u003cp\u003eThroughout the late 1950s Draper worked as a medical clerk while studying at the New York Institute of Photography. He dropped out realizing he could learn the same information through magazines like Modern Photography. In 1958 Draper enrolled in a photography workshop led by Harold Feinstein, where he met professional photographers like David Vestal and Herb Randall. Draper also worked as an assistant to studio photographers Larence Shustak and John Rawlings.\u003c/p\u003e","\u003cp\u003eIn 1959 Draper exhibited two works in the Photography at Mid-Century exhibition curated by Beaumont Newhall at the George Eastman House (now Museum). He also exhibited his work in Greenwich Village galleries, including the Image Gallery run by Larry Siegel.\u003c/p\u003e","\u003cp\u003eDraper enrolled in workshops at the New School for Social Research, including W. Eugene Smith's course \"Photography Made Difficult: Photojournalism, the Construction of Picture Stories and Picture Essays\" and began working with the prolific magazine photographer around 1960. In addition to assisting in the darkroom, Draper was a teaching aide for \"Photography Made More Difficult\" hosted at Smith's Flower-District loft.\u003c/p\u003e","\u003cp\u003eIn 1963 Draper turned his attention to the Kamoinge Workshop and quickly emerged as one of the group's teachers. Draper contributed to major workshop projects in the early to mid-1960s beginning with Portfolio No. 1 through the \"Harlem\" photo-essay in the July 1966 issue of Camera magazine, which featured his photograph John Henry on the cover. Portfolio No. 2 and the photoessay included Draper's poem \"Colonial Legacy.\"\u003c/p\u003e","\u003cp\u003eIn the late 1960s Draper taught photography courses while taking classes in film production. Between 1966 and 1968 Draper worked with Randall, Ray Francis, and Jimmie Mannas at the Youth in Action program in Bedford-Stuyvesant, teaching photography to teenagers and young adults. He also participated in the Channel 13 Black Journal Workshop where he concentrated on learning motion picture production. In 1968 he enrolled in the graduate program at the New York University Institute of Film and Television along with future Kamoinge member Danny Dawson. Draper gained professional film experience by working for Mannas's Jymie Productions and assisted Mannas with two short documentaries, Head and Heart and The Folks. He was also a cameraman for commercial and independent projects led by NYU professors like cinematographer Bedrich (Beda) Batka and worked on a number of productions as a still photographer. In 1982 he was a script supervisor and photographer for the feature-length film Losing Ground.\u003c/p\u003e","\u003cp\u003eIn 1967 he began teaching a class in photographic techniques at Central Brooklyn Neighborhood College, which was supported by the Pratt Institute Center for Community Improvement. He left the program in 1969 but returned to Pratt in 1974 to teach a college-level photography course for design students. Draper joined the staff of the Multi-Media Project at Intermediate School 201 in the Bronx in 1971 where Herb Randall, Calvin Wilson, and Ray Francis also served as photographers and teachers. He also worked with the Photography for Rehabilitation program at the New York State Division for Youth in 1974.\u003c/p\u003e","\u003cp\u003eIn 1971 the director of the Studio Museum in Harlem, Edward Spriggs, called a meeting of photographers to address how they could use photography to support the neighborhood. Draper and Beuford Smith were among the founding members of a group named the Collective Black Photographers. During Draper's tenure as chairman of the group they organized a fundraisers and community photography projects. Draper also served on the Studio Museum's Photography Committee.\u003c/p\u003e","\u003cp\u003eEssence sent Draper to Ruleville, Mississippi, to photograph civil rights activist Fannie Lou Hamer and the Freedom Farm Cooperative. These photographs were part of the feature story \"Fannie Lou Hamer Speaks Out\" in the magazine's October 1971 issue. The next month, Essence published Draper's portraits of the some of the mothers of the \"Harlem Six,\" a group of young Black men who were wrongly accused of murder in New York City in 1964.\u003c/p\u003e","\u003cp\u003eIn 1973 Draper won a Creative Artists Public Service (CAPS) program grant \"to create a set of film-strips about Ruleville, Mississippi . . . for use in New York City public schools and for public presentation.\" CAPS award panels included leading photographers such as Harry Callahan, and not only provided funding for artists but also enriched the creative community. In 1976 the CAPS publication Exposure: Work by Ten Photographers included work by Draper and Anthony Barboza. From 1974 to 1975 Draper served as coordinator of photography for the CAPS program and was an award panelist in 1982.\u003c/p\u003e","\u003cp\u003eInterspersed with his teaching assignments, Draper explored other artistic media and forms. In addition to taking screenwriting classes at NYU, he attended workshops at the Frederick Douglass Creative Arts Center in 1982, studying screenwriting with Fred Hudson and Elihu Weiner and videotape production with Vernard Gantt. Building on his experiences with W. Eugene Smith, Draper studied page design at the C. Richard Read Studio. On occasion, he worked as a studio assistant to Herb Robinson and Barboza. He was also a cofounder of Northlight Studios, which operated from 1975 to 1985.\u003c/p\u003e","\u003cp\u003eFrom 1978 to 1982 Draper taught and coordinated photography courses for schools in New Jersey, through the Creative Resources Institute. Afterward, he began teaching photography for Mercer County Community College in Trenton. Draper finally received his bachelor of arts degree from Thomas A. Edison State College in 1987. He participated in organizations like the Trenton Artists Workshop Association (TAWA) and was an artist in residence at Light Work in Syracuse, New York, where he printed his series New Jersey Artists, which included portraits of painters Hughie Lee-Smith and Bernarda Bryson Shahn, among others.\u003c/p\u003e","\u003cp\u003eDraper taught at Mercer until his death in 2002.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eThe biography above, written by Sharayah Cochran, has been reproduced from the catalog \"Working Together: Louis Draper and the Kamoinge Workshop.\"\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Louis Hansel Draper","Born: September 24, 1935, Richmond, VA\nDied: February 18, 2002, Trenton, NJ","While a student at Virginia State College (now University) Lou Draper wrote to his father, Hansel, with the news that he had joined the school newspaper. His father—an amateur photographer in Richmond's East End—gave Draper his first camera. After joining the college camera club, he dropped a bottle of acid while trying to develop his film. As a result of trying to mop it up, he was hospitalized and subsequently kicked out of the club. Despite this initial setback, Draper resolved to be a photographer after seeing the exhibition catalogue for The Family of Man (1955). Realizing that the work he admired was made by photographers in New York, Draper left Virginia State during his final semester and, with the support of his family, moved to New York City.","Throughout the late 1950s Draper worked as a medical clerk while studying at the New York Institute of Photography. He dropped out realizing he could learn the same information through magazines like Modern Photography. In 1958 Draper enrolled in a photography workshop led by Harold Feinstein, where he met professional photographers like David Vestal and Herb Randall. Draper also worked as an assistant to studio photographers Larence Shustak and John Rawlings.","In 1959 Draper exhibited two works in the Photography at Mid-Century exhibition curated by Beaumont Newhall at the George Eastman House (now Museum). He also exhibited his work in Greenwich Village galleries, including the Image Gallery run by Larry Siegel.","Draper enrolled in workshops at the New School for Social Research, including W. Eugene Smith's course \"Photography Made Difficult: Photojournalism, the Construction of Picture Stories and Picture Essays\" and began working with the prolific magazine photographer around 1960. In addition to assisting in the darkroom, Draper was a teaching aide for \"Photography Made More Difficult\" hosted at Smith's Flower-District loft.","In 1963 Draper turned his attention to the Kamoinge Workshop and quickly emerged as one of the group's teachers. Draper contributed to major workshop projects in the early to mid-1960s beginning with Portfolio No. 1 through the \"Harlem\" photo-essay in the July 1966 issue of Camera magazine, which featured his photograph John Henry on the cover. Portfolio No. 2 and the photoessay included Draper's poem \"Colonial Legacy.\"","In the late 1960s Draper taught photography courses while taking classes in film production. Between 1966 and 1968 Draper worked with Randall, Ray Francis, and Jimmie Mannas at the Youth in Action program in Bedford-Stuyvesant, teaching photography to teenagers and young adults. He also participated in the Channel 13 Black Journal Workshop where he concentrated on learning motion picture production. In 1968 he enrolled in the graduate program at the New York University Institute of Film and Television along with future Kamoinge member Danny Dawson. Draper gained professional film experience by working for Mannas's Jymie Productions and assisted Mannas with two short documentaries, Head and Heart and The Folks. He was also a cameraman for commercial and independent projects led by NYU professors like cinematographer Bedrich (Beda) Batka and worked on a number of productions as a still photographer. In 1982 he was a script supervisor and photographer for the feature-length film Losing Ground.","In 1967 he began teaching a class in photographic techniques at Central Brooklyn Neighborhood College, which was supported by the Pratt Institute Center for Community Improvement. He left the program in 1969 but returned to Pratt in 1974 to teach a college-level photography course for design students. Draper joined the staff of the Multi-Media Project at Intermediate School 201 in the Bronx in 1971 where Herb Randall, Calvin Wilson, and Ray Francis also served as photographers and teachers. He also worked with the Photography for Rehabilitation program at the New York State Division for Youth in 1974.","In 1971 the director of the Studio Museum in Harlem, Edward Spriggs, called a meeting of photographers to address how they could use photography to support the neighborhood. Draper and Beuford Smith were among the founding members of a group named the Collective Black Photographers. During Draper's tenure as chairman of the group they organized a fundraisers and community photography projects. Draper also served on the Studio Museum's Photography Committee.","Essence sent Draper to Ruleville, Mississippi, to photograph civil rights activist Fannie Lou Hamer and the Freedom Farm Cooperative. These photographs were part of the feature story \"Fannie Lou Hamer Speaks Out\" in the magazine's October 1971 issue. The next month, Essence published Draper's portraits of the some of the mothers of the \"Harlem Six,\" a group of young Black men who were wrongly accused of murder in New York City in 1964.","In 1973 Draper won a Creative Artists Public Service (CAPS) program grant \"to create a set of film-strips about Ruleville, Mississippi . . . for use in New York City public schools and for public presentation.\" CAPS award panels included leading photographers such as Harry Callahan, and not only provided funding for artists but also enriched the creative community. In 1976 the CAPS publication Exposure: Work by Ten Photographers included work by Draper and Anthony Barboza. From 1974 to 1975 Draper served as coordinator of photography for the CAPS program and was an award panelist in 1982.","Interspersed with his teaching assignments, Draper explored other artistic media and forms. In addition to taking screenwriting classes at NYU, he attended workshops at the Frederick Douglass Creative Arts Center in 1982, studying screenwriting with Fred Hudson and Elihu Weiner and videotape production with Vernard Gantt. Building on his experiences with W. Eugene Smith, Draper studied page design at the C. Richard Read Studio. On occasion, he worked as a studio assistant to Herb Robinson and Barboza. He was also a cofounder of Northlight Studios, which operated from 1975 to 1985.","From 1978 to 1982 Draper taught and coordinated photography courses for schools in New Jersey, through the Creative Resources Institute. Afterward, he began teaching photography for Mercer County Community College in Trenton. Draper finally received his bachelor of arts degree from Thomas A. Edison State College in 1987. He participated in organizations like the Trenton Artists Workshop Association (TAWA) and was an artist in residence at Light Work in Syracuse, New York, where he printed his series New Jersey Artists, which included portraits of painters Hughie Lee-Smith and Bernarda Bryson Shahn, among others.","Draper taught at Mercer until his death in 2002.","The biography above, written by Sharayah Cochran, has been reproduced from the catalog \"Working Together: Louis Draper and the Kamoinge Workshop.\""],"custodhist_html_tesm":["\u003cp\u003eLouis Draper's sister, Nell Draper-Winston, inherited his estate upon his death in 2002. The collection remained at Mercer Community College in Trenton, New Jersey while Gary Saretzky (Draper's friend and colleague, as well as an Archivist for the Monmouth County Archives) organized it from 2002-2006. \u003c/p\u003e","\u003cp\u003eSaretzky created a detailed finding aid for the photographs and archives before transferring them (on Draper-Winston's behalf) to the Albert and Shirley Small Special Collections Library at the University of Virginia in Charlottesville, Virginia. The collection arrived at the University of Virginia on December 26, 2006, and left in November 2012 to come to Candela Books and Photographs in Richmond, Virginia (\u003ci\u003eemail to Courtney Tkacz from Heather Riser, Head of Operations, Albert and Shirley Small Special Collections Library, July 1, 2019\u003c/i\u003e). \u003c/p\u003e","\u003cp\u003eAt that time, Candela represented the Louis H. Draper Preservation Trust and housed the collection until it was acquired by the Virginia Museum of Fine Arts in December 2015 as part of a gift-purchase of the archive and 35 photographs for the museum's art collection. \u003c/p\u003e","\u003cp\u003eIn February 2008, Don Lowing, a darkroom technician at Mercer County Community College located other materials including cameras, disks, and photographic materials (mainly negatives). These additional materials were inventoried by Saretzky and sent to the University of Virginia to be integrated into the rest of the collection (\u003ci\u003eemail to Courtney Tkacz from Gary Saretzky, June 28, 2019\u003c/i\u003e). \u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Louis Draper's sister, Nell Draper-Winston, inherited his estate upon his death in 2002. The collection remained at Mercer Community College in Trenton, New Jersey while Gary Saretzky (Draper's friend and colleague, as well as an Archivist for the Monmouth County Archives) organized it from 2002-2006.","Saretzky created a detailed finding aid for the photographs and archives before transferring them (on Draper-Winston's behalf) to the Albert and Shirley Small Special Collections Library at the University of Virginia in Charlottesville, Virginia. The collection arrived at the University of Virginia on December 26, 2006, and left in November 2012 to come to Candela Books and Photographs in Richmond, Virginia (email to Courtney Tkacz from Heather Riser, Head of Operations, Albert and Shirley Small Special Collections Library, July 1, 2019).","At that time, Candela represented the Louis H. Draper Preservation Trust and housed the collection until it was acquired by the Virginia Museum of Fine Arts in December 2015 as part of a gift-purchase of the archive and 35 photographs for the museum's art collection.","In February 2008, Don Lowing, a darkroom technician at Mercer County Community College located other materials including cameras, disks, and photographic materials (mainly negatives). These additional materials were inventoried by Saretzky and sent to the University of Virginia to be integrated into the rest of the collection (email to Courtney Tkacz from Gary Saretzky, June 28, 2019)."],"prefercite_html_tesm":["\u003cp\u003eLouis H. Draper Artist Archives (VA-04). Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Louis H. Draper Artist Archives (VA-04). Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn 2017, the museum was awarded a grant from the National Endowment for the Humanities to fund 29 months of work that transformed this extremely large, physical archive into a rich digital resource. An interdepartmental grant team was assembled from across the museum, including staff members of the Library/Archives, Imaging Resources, Curatorial, and Conservation departments.\u003c/p\u003e","\u003cp\u003eWhile the physical archive had been well organized previously, the digitization process allowed the team to rethink the intellectual arrangement and determine an ideal numbering scheme for a photography archive. The result was a system designed around the organizing principle of the photoshoot itself, and now all related contact sheets, prints, slides, and negatives are described together.\u003c/p\u003e","\u003cp\u003eProcessing and description of the manuscript materials was performed by Courtney Yevich Tkacz from 2016-2017, and processing and description of the photographic material was performed by Margo Lentz-Meyer from 2017-2019. All materials were digitized in their original sleeves, then rehoused, but all sleeves with Draper's handwriting were retained.    \u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2017, the museum was awarded a grant from the National Endowment for the Humanities to fund 29 months of work that transformed this extremely large, physical archive into a rich digital resource. An interdepartmental grant team was assembled from across the museum, including staff members of the Library/Archives, Imaging Resources, Curatorial, and Conservation departments.","While the physical archive had been well organized previously, the digitization process allowed the team to rethink the intellectual arrangement and determine an ideal numbering scheme for a photography archive. The result was a system designed around the organizing principle of the photoshoot itself, and now all related contact sheets, prints, slides, and negatives are described together.","Processing and description of the manuscript materials was performed by Courtney Yevich Tkacz from 2016-2017, and processing and description of the photographic material was performed by Margo Lentz-Meyer from 2017-2019. All materials were digitized in their original sleeves, then rehoused, but all sleeves with Draper's handwriting were retained."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1945-2005, with the bulk of the material dating from the 1960s-1990s. The collection is comprised of correspondence, ephemera, publications, negatives, contact sheets, slides, prints, and photographic equipment.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1945-2005, with the bulk of the material dating from the 1960s-1990s. The collection is comprised of correspondence, ephemera, publications, negatives, contact sheets, slides, prints, and photographic equipment."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Louis H. Draper Preservation Trust. Other digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eTransmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders. \u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Louis H. Draper Preservation Trust. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_80d4d02edaa46a99725ed524cbb90700\"\u003eThe extensive collection documents the life and work of Richmond-born photographer and educator Louis Draper (1935–2002). Manuscript and photographic materials document Draper's experience and work as an African American photographer, including his recognition of his photography as a form of \"engaged resistance\" that not only bore witness to leaders of the civil rights movement, but also offered a richer and more diverse perspective of African American life than provided by the mainstream media. \n\nIn 1963, he was a founding member of the Kamoinge Workshop, a collective of African American photographers, and the collection includes significant materials from the early years of the Kamoinge Workshop and document his perspective on the professional challenges that he and the collective confronted in the process of finding publications that would publish photographs of African Americans made by African Americans. \n\nHis photographs of significant 20th-century artists, writers, musicians, and performers reflect the wide array of personal connections that Draper made after moving to New York from Richmond, Virginia in 1957. Printed photographs and contact sheets in Draper's archive show a broad view of city life and the everyday interactions between people and also offer a unique vision of African American neighborhoods in the 1960s and 1970s.\u003c/abstract\u003e\n    "],"abstract_tesim":["The extensive collection documents the life and work of Richmond-born photographer and educator Louis Draper (1935–2002). Manuscript and photographic materials document Draper's experience and work as an African American photographer, including his recognition of his photography as a form of \"engaged resistance\" that not only bore witness to leaders of the civil rights movement, but also offered a richer and more diverse perspective of African American life than provided by the mainstream media. \n\nIn 1963, he was a founding member of the Kamoinge Workshop, a collective of African American photographers, and the collection includes significant materials from the early years of the Kamoinge Workshop and document his perspective on the professional challenges that he and the collective confronted in the process of finding publications that would publish photographs of African Americans made by African Americans. \n\nHis photographs of significant 20th-century artists, writers, musicians, and performers reflect the wide array of personal connections that Draper made after moving to New York from Richmond, Virginia in 1957. Printed photographs and contact sheets in Draper's archive show a broad view of city life and the everyday interactions between people and also offer a unique vision of African American neighborhoods in the 1960s and 1970s."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Louis H. Draper Preservation Trust","Kamoinge Inc.‏","Random House (Firm). Penguin Books, Inc.","United States Civil Service Commission","Junior Courier","Bedford-Stuyvesant Youth in Action","Honeywell Information Systems, Inc.","American Telephone and Telegraph Company","Nikon, Inc.","New Bridge Baptist Church","American Negro Commemorative Society","Shaw-Beach","New York Foundation for the Arts","Pratt Institute. Art School","U.S. Consumer Product Safety Commission","Urban Bikeway Design Collaborative","Museum of Modern Art (New York, N.Y.)","Free Library of Philadelphia","New Jersey State Teen Arts Program","Brooklyn Museum of Art","Riverside Church Weekday School","Mercer County Community College (N.J.)","Gallery Henoch","Rochester Institute of Technology","Virginia State College","New York University. Institute of Graduate Film and Television","Temple University","Thomas Edison State College","Eastman Kodak Company","Recording Institute of America","Indiana University. Independent Study Division","Preston Publications","Bucks County Community College","Edwal Scientific Products","Studio Museum in Harlem","Hackensack Public Schools","New York State Council on the Arts","Creative Resources Institute","Allen Memorial Art Museum","Trenton Writers Guild","Greater Bordentown Chamber of Commerce","The Rotkin Review","Princeton Photography Club","John Young Audio-Visual Production","Schomburg Center for Research in Black Culture","St. Lawrence Rehabilitation Center","Mercer County (N.J.)","Stockton State College","Ansel Adams Gallery (Yosemite National Park, Calif.)","Rider College Art Gallery","Photo Workshop","Mercer Medical Center","Noyes Museum of Art","Photographers Forum","Art Kane Photo Workshop","Morris Museum","Essence","New York University. American Photography Institute","George Eastman House","Art in the Atrium","Johnson and Johnson","Bristol-Myers Squibb Company","Webster University","Charles McCollough Studio","Anacostia Museum and Center for African American History and Culture","University of Texas at Austin‏","General Artists Agency","Pavilion Gallery. Sculpture Garden","Virginia Statesman","Camera (Lucerne, Switzerland)","The Arrow","Like It Is","Photography Project of the President's Council on Youth Opportunity","Industrial Photography","Inside Out","New York Times company","Popular Photography","The Honeywell World","New York post","Associated Press","Photography Year","Black enterprise","College Voice","Dialogue","Trentonian","Trenton Sunday Times. The Magazine","Round-up","Trenton Sunday Times","Hightstown Gazette","Whoot","Garden State Press Clipping Bureau","Press of Atlantic City","Weekend Beacon","New Jersey Clipping Service","Argo","Asbury Park Press","Burlington Times","Courier-Post","Mercer","Time Off","New Jersey Herald","Star-Ledger (Newark, N.J.)","Art Matters","Trenton Times","Viking","United States Highway 1","Princeton Packet","The Monroe Township View","Voice","Princeton Living","The Link","Lawrence Ledger","Light Work (Organization : Syracuse, N.Y.)","Merrimack Publishing Corp.","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman Photographs","Sepia Tones","Image Gallery","Community Gallery","Countee Cullen Library","International Center of Photography","Corcoran Gallery of Art","First Time Photo Gallery","George Washington University","Artists Space (Gallery)","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Memorial Hospital of Burlington County","Mariboe Gallery","Peddie School","Artworks","Princeton Art Association","Allan P. Kirby Arts Center Gallery","The Lawrenceville School","May Gallery","New York University. Graduate School of Arts and Sciences","Trenton Artists Workshop Association","Forum Notes","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Creative Artists Public Service Program","Light Impressions Corporation","Fashion Institute of Technology (New York, N.Y.)","Fashion Institute of Technology (New York, N.Y.). Galleries","Catskill Center for Photography (Woodstock, N.Y.)","Photo Newsletter","James Van DerZee Institute","Obscura","Los Angeles Center For Photographic Studies","Ten.8","Crown Publishers, Inc.","Atlanta University","Aperture, Inc.","Black Photographers Annual","Madison Art Center","Columbia College (Chicago, Ill.)","En Foco, Inc.","Kenyon College","W.W. Norton and Company","Institute for Youth Entrepreneurship","Culturefront","Newsweek","New York (N.Y.). Department of Commerce and Industrial Development","Uniworld Group, Inc. (Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Art Direction","College of New Rochelle","Hofstra University","National Urban League","Gallery 62","Césaire Photo Agency","Photo/Chronicles Ltd.","National Association for the Advancement of Colored People","Just Above Midtown Gallery","Kenkeleba Gallery (New York, N.Y.)","New Jersey State Museum","Gordon Parks Gallery","School of New Resources","Crawford and Sloan Gallery","International Black Photographers","Trenton City Museum","Ellarslie Mansion","Pavilion Galleries","TAWA Soviet Exchange Committee","Photographic Association of the USSR","Planeta Publishers","Sovart Inc.","Chuvash ASSR Photographic Art Society","Perm Scientific Methodological Center for Folk Art and Cultural and Educational Work","People's Photostudio of Perm","Reticulation","Chuvashskiĭ gosudarstvennyĭ universitet im. I.N. Ulʹi︠a︡nova","Mercer County Community College News","Bucks County Technical School (Bucks County, Pa.)","Mercer County Community College (N.J.). Student Activities Department","Mercer County Community College (N.J.). Student Government Association","St. Lawrence Rehabilitation Center. Lobby Gallery","Hopewell Valley News","Artifacts Gallery","Mercer County Library. Ewing Branch","Mercer County Community College (N.J.). East Windsor Municipal Building","Pennington Post","Queenstown Gallery","Hamilton Township Public Library","Messenger-Press","Town Topics","Chronicle","Mercer Messenger","Beacon","New Jersey. Department of Higher Education","Infinity","American Society of Magazine Photographers","Barksdale Gallery","American Academy of Arts and Letters","Audio Visual Product News","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","William Morrow and Company","Black Creation","New York University. Institute of African-American Affairs","Avon Books.","Hearst Corporation","Frederick Douglass Creative Arts Center","Another View, Inc.","Langston Hughes Society","Brown University","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","South Trenton Review","New Jersey Historical Commission","Transmondo","Sekonic","Hasselblad USA","Lindahl","Staticmaster"],"names_coll_ssim":["Louis H. Draper Preservation Trust","Kamoinge Inc.‏","Kamoinge Inc.‏","Draper, Louis H., 1935-2002"],"persname_ssim":["Draper, Louis H., 1935-2002","Faulkner, William, 1897-1962","Harris, Charles \"Teenie\", 1908-1998","Parker, Pat","Gloster, Dorothy","Williams, Henry A.","Draper, Hansel H.","Shaw-Beach","Beach, George A. (George Anderson), 1902-1994","Massey, Cal, 1927-1972","Hughes, Langston, 1902-1967","Morgan, Margaret","Collins, Kathleen, 1942-1988","Gray, Ronald K.","Gloster, Brandon","Schulte, Roger","Hudson, Fred","Marcus","Szarkowski, John, 1925-2007","Bunnell, Peter C., 1937-","Caponigro, Paul, 1932-","Bat'ka, Bedřich, 1922-1994","Tangney, Ralph","Reno, Mike","Recording Institute of America","Darkroom and creative camera techniques","Jilg, Mark","McNutt, Dennis","Bucks County Community College","Beach, Donald","Felip, John","Edwal Scientific Products","Carter, David","Moman-Bell, Patricia","Russo, Eleanor","Hackensack Public Schools","Kolovakos, Gregory, 1951-1990","New York State Council on the Arts","Holford, Mary","Creative Resources Institute","Moutoussamy-Ashe, Jeanne, 1951-","Olander, William, 1950-1989","Collins, Denise","Salewski, Randal","Horwitz, Alan","Levin, David","Remer, Lisa","West, Janice M.","Blackford, Eva","Greater Bordentown Chamber of Commerce","Holl-Madara, Lynn","Siskind, Carroll","Conklin, D. David","Chiego, William J., 1943-","Rotkin, Charles E., 1916-","The Rotkin Review","Rosado, Maria","Price, Pamela","Steele, Diana","Princeton Photography Club","Fawcetter, Caroline","Young, John","John Young Audio-Visual Production","Willis, Deborah, 1948-","Bey, Dawoud, 1953-","Pope, Sharon","Mathesius, Bill","Feinstein, Harold, 1931-2015","Schneeman, Liane","Williams, H. G.","Adams, Jeanne","Zakia, Richard D. (Richard Donald), 1925-2012","Henderson, Wanda","Naar, Harry I.","Photo Workshop","Wiley, Mary Helen","Collier, David E., 1929-2012","Kokotajlo, Stan","Troeller, Linda, 1949-","Fabbri, Anne R.","The Noyes Museum","Saretzky, Gary D.","Serbin, Glen","Deering, Bill","Art Kane Photo Workshop","Cook, Sue","Simad, Teresa","Carty, Diane","Williams, Ann","The Morris Museum","Rand, Henry","Aparicio, Roxana","George Eastman House","Earenfight, Phillip, 1962-","Russell, Lisa","Tolin, Ann","McCollough, Charles","Charles McCollough Studio","Smith, Beuford, 1941-","Morris, Jennifer","Anacostia Museum and Center for African American History and Culture","Lehman, Arnold L.","Duganne, Erina","General Artists Agency","Bertoli, Barbara","Stephanini, Pat","Pavilion Gallery Sculpture Garden","Nini, Rose","Pearce, Jeannie","O'Boyle, Bob","Virginia Statesman","Like It Is","Photography Project of the President's Council on Youth Opportunity","Baum, Ralph","Industrial Photography","Inside Out","Vestal, David, 1924-2013","Associated Press","Petit, Philippe, 1949-","Photography Year","Norton, Eleanor Holmes, 1937-","Ms.","Rivera, Christine","Dialogue","Cagan, Steve","Doan-Johnson, Susan","Hightstown Gazette","McCoy, Regina","Press of Atlantic City","Weekend Beacon","Viksjo, Cathy","Argo","Post, Kevin","Asbury Park Press","Burlington Times","Bledsoe, Lysbeth","Courier-Post","Shipley, Barbara","Heisler, Wendy","New Jersey Herald","Star-Ledger","Seidel, Mitchell","Carlson, Michele","Small, Michael C.","Mutterperl, Mindy","Crossman, Lorraine","Fone, Lisa","Addis, Amanda","Purcell, Janet","Monroe Township View","Orsi, Chris","Princeton Living","Beres, Derek","Dube, Ilene","Merrimack Publishing Corp.","Kimbrough, Larry","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman","Sepia Tones","General Motors Corporation. Chevrolet Motor Division","Image Gallery","Community Gallery","Madison, Clarence","First Time Photo Gallery","Maddox, James","Noyes Museum","Morris Museum","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Mariboe Gallery","Princeton Art Association","Allan P. Kirby Arts Center Gallery","Lawrenceville School","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Light Impressions Corporation","Kismaric, Carole, 1942-2002","Palaszczuk, Mary Ellen","Fernandez, Isabelle","Catskill Center for Photography (Woodstock, N.Y.)","Kenyon, Kathleen","Obscura","Los Angeles Center For Photographic Studies","Weems, Carrie Mae, 1953-","Ten.8","Walker, Shawn, 1940-","Sullivan, George E. (George Edward), 1927-","Dutton Juvenile","Taha, Halima","Crown Publishers","DeCarava, Roy, 1919-2009","Mannas, James \"Jimmie\" M., 1941-","Rudolph, Sa","Francis, James \"Ray\"","Jackson, Miles M., Jr., 1929-","Mayer, Grace M.","Hoffman, Michael E. (Michael Eugene), 1942-2001","Porter, Allan, 1934-2022","Crawford, Joe","Liska, Jane","Columbia College (Chicago, Ill.)","Cobb, Vandell","Romais, Miriam","Kenyon College","Wilson, Calvin, 1924-","Fournier, Collette","Stewart, Frank, 1949-","W.W. Norton and Company","Hinzmann, Hilary","Institute for Youth Entrepreneurship","Lawrence, Steve","Culturefront","Smith, Evelyn","Fennar, Albert, 1938-","Howard, Herman","Martin, Steve","Newsweek","Barboza, Anthony, 1944-","Barboza, Ken","Clarke, LeRoy, 1938-","New York (N.Y.). Department of Commerce and Industrial Development","Uniworld Group, Inc. (Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Cowans, Adger W., 1936-","Art Direction","Preston, George Nelson, 1938-","Bearden, Romare, 1911-1988","College of New Rochelle","Dix, Seldon","Littles, Dolores Allen","Dawson, C. Daniel","American Visions","Parks, Toni","Pinderhughes, John, 1946-","Randall, Herbert, 1936-","Robinson, Herb","National Urban League","Gallery 62","Wilmer, Val (Valerie), 1941-","Photo/Chronicles","Smith, Morgan, 1910-1993","Smith, Marvin, 1910-2003","Smith, Ming, 1950-","Steichen, Edward, 1879-1973","Just Above Midtown Gallery","Kenkeleba Gallery","Gordon Parks Gallery","School of New Resources","Crawford and Sloan Gallery","Greene, Cheryll Y., 1943-2013","Sleet, Moneta, Jr., 1926-1996","Stewart, Charles (Chuck), 1927-2017","Wilkinson, Carlton","Kauffman, Aubrey","Leipzig, Melvin, 1935-","Baskakov, Andrew","Brodsky, Judith","Berezin, Valentin Solomonovich","Planeta Publishers","Sovart Inc.","Nesterova, Natalʹi︠a︡, 1944-","Chilnikov, Sergey","Chuvash ASSR Photographic Art Society","Mari ASSR Photographic Art Society","Suprun, Aleksandr","Perm Scientific Methodological Center for Folk Art and Cultural and Educational Work","People's Photostudio of Perm","Reticulation","Dobrynkin, A.","Chuvashskiĭ gosudarstvennyĭ universitet im. I.N. Ulʹi︠a︡nova","Hanley, John P.","Bullock, Joanne B.","Corwin, Luene Holmes, 1937-","Dowd, Jennifer Ann","Mathias, John","Weiss, Celia","Bundy, Roy","Flynn, William J.","Hain, Josh","Rivera, Frank","White, Larry","Barksdale, William E., 1927-","Dietrich, Marilyn","Duncan, Noreen","Lobby Gallery","Hymans, Kay","Lamba, Marie","Hopewell Valley News","Stender, Barbara","Artifacts Gallery","Town Topics","Chronicle","Beacon","Williams, Gray","New Jersey Department of Higher Education","Osborne, Linda","Caruso, Jennifer","Infinity","American Society of Magazine Photographers","Moran, Daniel Thomas","Barksdale Gallery","American Academy of Arts and Letters","Bateson, Michael A.","Audio Visual Product News","Davis, Gail","Gray, Jeanne","Clyde","Smith, W. Eugene, 1918-1978","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","Von Hildebrand, Alice, 1923-2022","Von Hildebrand, Dietrich, 1889-1977","O'Daniel, Therman B. (Therman Benjamin), 1908-1986","William Morrow and Company","Hathaway, Paul R.","Hamer, Fannie Lou, 1917-1977","Johnson, Thomas A., 1928-2008","Gillespie, Marcia","Reynolds, Barbara Ann","Jackson, Jacqueline, 1944-","Moore, Marjorie","Fouch, Barbara","James, Delores","McDougall, Joyce, 1926-2011","Lebovici, Serge, 1915-2000","Avon Books","Hearst Corporation","Clark, Duvie","Ebert, Alan","Bryant, Joyce, 1927-2022","Frederick Douglass Creative Arts Center","Another View, Inc.","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","Bower, Sue","Kiley, Frederick S. 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Draper Artist Archives (VA-04), 1945/2005","Series 1: Manuscripts, 1947/2005","Sub-Series 1.3: Professional Organizations, 1964/2003","Paper","box VA-04 Box 4","folder Folder 21","Item VA04.01.3.191","Studio Museum in Harlem","Kamoinge Inc.‏","Harlem (New York, N.Y.)","Photographers","Kamoinge Inc.","African American photographers","Black photographers","English","Digitization has been made possible in part by the National Endowment for the Humanities: Exploring the Human Endeavor.","This item was removed by Paper Conservation on December 12, 2019 to be prepared for exhibition. Between January 22-24, 2020, this item was placed in the exhibition \"Working Together: Louis Draper and the Kamoinge Workshop.\" This item was returned to the archives on January 18, 2023.","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"parent_unittitles_ssm":["Louis H. Draper Artist Archives (VA-04), 1945/2005","Series 1: Manuscripts, 1947/2005","Sub-Series 1.3: Professional Organizations, 1964/2003"],"parent_unittitles_tesim":["Louis H. Draper Artist Archives (VA-04), 1945/2005","Series 1: Manuscripts, 1947/2005","Sub-Series 1.3: Professional Organizations, 1964/2003"],"normalized_date_ssm":["1972"],"unitdate_inclusive_ssm":["Oct. 1-Nov. 12, 1972"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":599,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Louis H. Draper Artist Archives (VA-04), 1945/2005"],"physdesc_tesim":["Paper"],"extent_ssm":["1 item"],"extent_tesim":["1 item"],"physfacet_tesim":["Invitations"],"containers_ssim":["box VA-04 Box 4","folder Folder 21","Item VA04.01.3.191"],"creator_ssim":["Studio Museum in Harlem","Kamoinge Inc.‏"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"corpname_ssim":["Studio Museum in Harlem","Kamoinge Inc.‏"],"names_ssim":["Studio Museum in Harlem","Kamoinge Inc.‏"],"geogname_ssim":["Harlem (New York, N.Y.)"],"geogname_ssm":["Harlem (New York, N.Y.)"],"places_ssim":["Harlem (New York, N.Y.)"],"access_subjects_ssim":["Photographers","Kamoinge Inc.","African American photographers","Black photographers"],"access_subjects_ssm":["Photographers","Kamoinge Inc.","African American photographers","Black photographers"],"acqinfo_ssim":["Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund."],"language_ssim":["English"],"date_range_isim":[1972],"odd_html_tesm":["\u003cp\u003eDigitization has been made possible in part by the National Endowment for the Humanities: Exploring the Human Endeavor.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Digitization has been made possible in part by the National Endowment for the Humanities: Exploring the Human Endeavor."],"originalsloc_html_tesm":["\u003cp\u003eThis item was removed by Paper Conservation on December 12, 2019 to be prepared for exhibition. Between January 22-24, 2020, this item was placed in the exhibition \"Working Together: Louis Draper and the Kamoinge Workshop.\" This item was returned to the archives on January 18, 2023.\u003c/p\u003e"],"originalsloc_heading_ssm":["Exhibition History"],"originalsloc_tesim":["This item was removed by Paper Conservation on December 12, 2019 to be prepared for exhibition. Between January 22-24, 2020, this item was placed in the exhibition \"Working Together: Louis Draper and the Kamoinge Workshop.\" This item was returned to the archives on January 18, 2023."],"prefercite_html_tesm":["\u003cp\u003eLouis H. Draper Artist Archives (VA-04). Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Louis H. Draper Artist Archives (VA-04). Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund. VMFA Archives, Richmond, Virginia."],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#0/components#2/components#198","timestamp":"2026-08-27T00:05:08.613Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_37","ead_ssi":"virmu_repositories_2_resources_37","_root_":"virmu_repositories_2_resources_37","_nest_parent_":"virmu_repositories_2_resources_37","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_37.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/37","title_filing_ssi":"Draper, Louis (VA-04)","title_ssm":["Louis H. Draper Artist Archives (VA-04)"],"title_tesim":["Louis H. Draper Artist Archives (VA-04)"],"unitdate_ssm":["1945-2005"],"unitdate_inclusive_ssm":["1945-2005"],"normalized_date_ssm":["1945/2005"],"normalized_title_ssm":["Louis H. Draper Artist Archives (VA-04), 1945/2005"],"text":["Louis H. Draper Artist Archives (VA-04), 1945/2005","VA-04","/repositories/2/resources/37","Photography, Artistic","Photography, Artistic -- Exhibitions","Photography--History--20th century","Photography--History--21st century","Photographers -- Virginia","Photography--Study and teaching","The collection is open for research. Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into eleven series. Arrangement within each series varies based upon the material. In general, the manuscript materials are arranged chronologically (where possible), and the photographic material is arranged thematically, often by geographic location. The only series that is arranged alphabetically is Series 3.1: Identified Subjects.\"","Series 1\n        Manuscripts, 1947-2005, undated\n      \n      \n        Series 2\n        Publications, 1959-2005, undated\n      \n      \n        Series 3\n        Photography: Portraits, 1958-2001, undated\n      \n      \n        Series 4\n        Photography: United States Locations, 1957-1999, undated\n      \n      \n        Series 5\n        Photography: International Locations, 1978-1990, undated\n      \n      \n        Series 6\n        Photography: Landscapes and Abstractions, 1960-2000, undated\n      \n      \n        Series 7\n        Portfolios, 1964, undated\n      \n      \n        Series 8\n        Photographic Equipment, 1945-1988, undated\n      \n      \n        Series 9\n        Audiovisual Materials, 1972-2000, undated\n      \n      \n        Series 10\n        Born Digital Files, 1996-2001, undated\n      \n      \n        Series 11\n        Photographs by Others, 1946-1998, undated","Working Together: Louis Draper and the Kamoinge Workshop, 2020","Growing up in Civil Rights Richmond: A Community Remembers, 2019","Louis H. Draper: Selected Photographs, 2015","Timeless, 2015","The Sweet Breath of Life: A Poetic Narrative of the African-American Family, 2004","Virginia Artist File: Louis Draper","International Artist File: Kamoinge","Louis Hansel Draper","Born: September 24, 1935, Richmond, VA\nDied: February 18, 2002, Trenton, NJ","While a student at Virginia State College (now University) Lou Draper wrote to his father, Hansel, with the news that he had joined the school newspaper. His father—an amateur photographer in Richmond's East End—gave Draper his first camera. After joining the college camera club, he dropped a bottle of acid while trying to develop his film. As a result of trying to mop it up, he was hospitalized and subsequently kicked out of the club. Despite this initial setback, Draper resolved to be a photographer after seeing the exhibition catalogue for The Family of Man (1955). Realizing that the work he admired was made by photographers in New York, Draper left Virginia State during his final semester and, with the support of his family, moved to New York City.","Throughout the late 1950s Draper worked as a medical clerk while studying at the New York Institute of Photography. He dropped out realizing he could learn the same information through magazines like Modern Photography. In 1958 Draper enrolled in a photography workshop led by Harold Feinstein, where he met professional photographers like David Vestal and Herb Randall. Draper also worked as an assistant to studio photographers Larence Shustak and John Rawlings.","In 1959 Draper exhibited two works in the Photography at Mid-Century exhibition curated by Beaumont Newhall at the George Eastman House (now Museum). He also exhibited his work in Greenwich Village galleries, including the Image Gallery run by Larry Siegel.","Draper enrolled in workshops at the New School for Social Research, including W. Eugene Smith's course \"Photography Made Difficult: Photojournalism, the Construction of Picture Stories and Picture Essays\" and began working with the prolific magazine photographer around 1960. In addition to assisting in the darkroom, Draper was a teaching aide for \"Photography Made More Difficult\" hosted at Smith's Flower-District loft.","In 1963 Draper turned his attention to the Kamoinge Workshop and quickly emerged as one of the group's teachers. Draper contributed to major workshop projects in the early to mid-1960s beginning with Portfolio No. 1 through the \"Harlem\" photo-essay in the July 1966 issue of Camera magazine, which featured his photograph John Henry on the cover. Portfolio No. 2 and the photoessay included Draper's poem \"Colonial Legacy.\"","In the late 1960s Draper taught photography courses while taking classes in film production. Between 1966 and 1968 Draper worked with Randall, Ray Francis, and Jimmie Mannas at the Youth in Action program in Bedford-Stuyvesant, teaching photography to teenagers and young adults. He also participated in the Channel 13 Black Journal Workshop where he concentrated on learning motion picture production. In 1968 he enrolled in the graduate program at the New York University Institute of Film and Television along with future Kamoinge member Danny Dawson. Draper gained professional film experience by working for Mannas's Jymie Productions and assisted Mannas with two short documentaries, Head and Heart and The Folks. He was also a cameraman for commercial and independent projects led by NYU professors like cinematographer Bedrich (Beda) Batka and worked on a number of productions as a still photographer. In 1982 he was a script supervisor and photographer for the feature-length film Losing Ground.","In 1967 he began teaching a class in photographic techniques at Central Brooklyn Neighborhood College, which was supported by the Pratt Institute Center for Community Improvement. He left the program in 1969 but returned to Pratt in 1974 to teach a college-level photography course for design students. Draper joined the staff of the Multi-Media Project at Intermediate School 201 in the Bronx in 1971 where Herb Randall, Calvin Wilson, and Ray Francis also served as photographers and teachers. He also worked with the Photography for Rehabilitation program at the New York State Division for Youth in 1974.","In 1971 the director of the Studio Museum in Harlem, Edward Spriggs, called a meeting of photographers to address how they could use photography to support the neighborhood. Draper and Beuford Smith were among the founding members of a group named the Collective Black Photographers. During Draper's tenure as chairman of the group they organized a fundraisers and community photography projects. Draper also served on the Studio Museum's Photography Committee.","Essence sent Draper to Ruleville, Mississippi, to photograph civil rights activist Fannie Lou Hamer and the Freedom Farm Cooperative. These photographs were part of the feature story \"Fannie Lou Hamer Speaks Out\" in the magazine's October 1971 issue. The next month, Essence published Draper's portraits of the some of the mothers of the \"Harlem Six,\" a group of young Black men who were wrongly accused of murder in New York City in 1964.","In 1973 Draper won a Creative Artists Public Service (CAPS) program grant \"to create a set of film-strips about Ruleville, Mississippi . . . for use in New York City public schools and for public presentation.\" CAPS award panels included leading photographers such as Harry Callahan, and not only provided funding for artists but also enriched the creative community. In 1976 the CAPS publication Exposure: Work by Ten Photographers included work by Draper and Anthony Barboza. From 1974 to 1975 Draper served as coordinator of photography for the CAPS program and was an award panelist in 1982.","Interspersed with his teaching assignments, Draper explored other artistic media and forms. In addition to taking screenwriting classes at NYU, he attended workshops at the Frederick Douglass Creative Arts Center in 1982, studying screenwriting with Fred Hudson and Elihu Weiner and videotape production with Vernard Gantt. Building on his experiences with W. Eugene Smith, Draper studied page design at the C. Richard Read Studio. On occasion, he worked as a studio assistant to Herb Robinson and Barboza. He was also a cofounder of Northlight Studios, which operated from 1975 to 1985.","From 1978 to 1982 Draper taught and coordinated photography courses for schools in New Jersey, through the Creative Resources Institute. Afterward, he began teaching photography for Mercer County Community College in Trenton. Draper finally received his bachelor of arts degree from Thomas A. Edison State College in 1987. He participated in organizations like the Trenton Artists Workshop Association (TAWA) and was an artist in residence at Light Work in Syracuse, New York, where he printed his series New Jersey Artists, which included portraits of painters Hughie Lee-Smith and Bernarda Bryson Shahn, among others.","Draper taught at Mercer until his death in 2002.","The biography above, written by Sharayah Cochran, has been reproduced from the catalog \"Working Together: Louis Draper and the Kamoinge Workshop.\"","Louis Draper's sister, Nell Draper-Winston, inherited his estate upon his death in 2002. The collection remained at Mercer Community College in Trenton, New Jersey while Gary Saretzky (Draper's friend and colleague, as well as an Archivist for the Monmouth County Archives) organized it from 2002-2006.","Saretzky created a detailed finding aid for the photographs and archives before transferring them (on Draper-Winston's behalf) to the Albert and Shirley Small Special Collections Library at the University of Virginia in Charlottesville, Virginia. The collection arrived at the University of Virginia on December 26, 2006, and left in November 2012 to come to Candela Books and Photographs in Richmond, Virginia (email to Courtney Tkacz from Heather Riser, Head of Operations, Albert and Shirley Small Special Collections Library, July 1, 2019).","At that time, Candela represented the Louis H. Draper Preservation Trust and housed the collection until it was acquired by the Virginia Museum of Fine Arts in December 2015 as part of a gift-purchase of the archive and 35 photographs for the museum's art collection.","In February 2008, Don Lowing, a darkroom technician at Mercer County Community College located other materials including cameras, disks, and photographic materials (mainly negatives). These additional materials were inventoried by Saretzky and sent to the University of Virginia to be integrated into the rest of the collection (email to Courtney Tkacz from Gary Saretzky, June 28, 2019).","In 2017, the museum was awarded a grant from the National Endowment for the Humanities to fund 29 months of work that transformed this extremely large, physical archive into a rich digital resource. An interdepartmental grant team was assembled from across the museum, including staff members of the Library/Archives, Imaging Resources, Curatorial, and Conservation departments.","While the physical archive had been well organized previously, the digitization process allowed the team to rethink the intellectual arrangement and determine an ideal numbering scheme for a photography archive. The result was a system designed around the organizing principle of the photoshoot itself, and now all related contact sheets, prints, slides, and negatives are described together.","Processing and description of the manuscript materials was performed by Courtney Yevich Tkacz from 2016-2017, and processing and description of the photographic material was performed by Margo Lentz-Meyer from 2017-2019. All materials were digitized in their original sleeves, then rehoused, but all sleeves with Draper's handwriting were retained.","The collection's inclusive dates are 1945-2005, with the bulk of the material dating from the 1960s-1990s. The collection is comprised of correspondence, ephemera, publications, negatives, contact sheets, slides, prints, and photographic equipment.","The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Louis H. Draper Preservation Trust. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The extensive collection documents the life and work of Richmond-born photographer and educator Louis Draper (1935–2002). Manuscript and photographic materials document Draper's experience and work as an African American photographer, including his recognition of his photography as a form of \"engaged resistance\" that not only bore witness to leaders of the civil rights movement, but also offered a richer and more diverse perspective of African American life than provided by the mainstream media. \n\nIn 1963, he was a founding member of the Kamoinge Workshop, a collective of African American photographers, and the collection includes significant materials from the early years of the Kamoinge Workshop and document his perspective on the professional challenges that he and the collective confronted in the process of finding publications that would publish photographs of African Americans made by African Americans. \n\nHis photographs of significant 20th-century artists, writers, musicians, and performers reflect the wide array of personal connections that Draper made after moving to New York from Richmond, Virginia in 1957. Printed photographs and contact sheets in Draper's archive show a broad view of city life and the everyday interactions between people and also offer a unique vision of African American neighborhoods in the 1960s and 1970s.","Virginia Museum of Fine Arts Archives","Louis H. Draper Preservation Trust","Kamoinge Inc.‏","Random House (Firm). Penguin Books, Inc.","United States Civil Service Commission","Junior Courier","Bedford-Stuyvesant Youth in Action","Honeywell Information Systems, Inc.","American Telephone and Telegraph Company","Nikon, Inc.","New Bridge Baptist Church","American Negro Commemorative Society","Shaw-Beach","New York Foundation for the Arts","Pratt Institute. Art School","U.S. Consumer Product Safety Commission","Urban Bikeway Design Collaborative","Museum of Modern Art (New York, N.Y.)","Free Library of Philadelphia","New Jersey State Teen Arts Program","Brooklyn Museum of Art","Riverside Church Weekday School","Mercer County Community College (N.J.)","Gallery Henoch","Rochester Institute of Technology","Virginia State College","New York University. Institute of Graduate Film and Television","Temple University","Thomas Edison State College","Eastman Kodak Company","Recording Institute of America","Indiana University. Independent Study Division","Preston Publications","Bucks County Community College","Edwal Scientific Products","Studio Museum in Harlem","Hackensack Public Schools","New York State Council on the Arts","Creative Resources Institute","Allen Memorial Art Museum","Trenton Writers Guild","Greater Bordentown Chamber of Commerce","The Rotkin Review","Princeton Photography Club","John Young Audio-Visual Production","Schomburg Center for Research in Black Culture","St. Lawrence Rehabilitation Center","Mercer County (N.J.)","Stockton State College","Ansel Adams Gallery (Yosemite National Park, Calif.)","Rider College Art Gallery","Photo Workshop","Mercer Medical Center","Noyes Museum of Art","Photographers Forum","Art Kane Photo Workshop","Morris Museum","Essence","New York University. American Photography Institute","George Eastman House","Art in the Atrium","Johnson and Johnson","Bristol-Myers Squibb Company","Webster University","Charles McCollough Studio","Anacostia Museum and Center for African American History and Culture","University of Texas at Austin‏","General Artists Agency","Pavilion Gallery. Sculpture Garden","Virginia Statesman","Camera (Lucerne, Switzerland)","The Arrow","Like It Is","Photography Project of the President's Council on Youth Opportunity","Industrial Photography","Inside Out","New York Times company","Popular Photography","The Honeywell World","New York post","Associated Press","Photography Year","Black enterprise","College Voice","Dialogue","Trentonian","Trenton Sunday Times. The Magazine","Round-up","Trenton Sunday Times","Hightstown Gazette","Whoot","Garden State Press Clipping Bureau","Press of Atlantic City","Weekend Beacon","New Jersey Clipping Service","Argo","Asbury Park Press","Burlington Times","Courier-Post","Mercer","Time Off","New Jersey Herald","Star-Ledger (Newark, N.J.)","Art Matters","Trenton Times","Viking","United States Highway 1","Princeton Packet","The Monroe Township View","Voice","Princeton Living","The Link","Lawrence Ledger","Light Work (Organization : Syracuse, N.Y.)","Merrimack Publishing Corp.","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman Photographs","Sepia Tones","Image Gallery","Community Gallery","Countee Cullen Library","International Center of Photography","Corcoran Gallery of Art","First Time Photo Gallery","George Washington University","Artists Space (Gallery)","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Memorial Hospital of Burlington County","Mariboe Gallery","Peddie School","Artworks","Princeton Art Association","Allan P. Kirby Arts Center Gallery","The Lawrenceville School","May Gallery","New York University. Graduate School of Arts and Sciences","Trenton Artists Workshop Association","Forum Notes","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Creative Artists Public Service Program","Light Impressions Corporation","Fashion Institute of Technology (New York, N.Y.)","Fashion Institute of Technology (New York, N.Y.). Galleries","Catskill Center for Photography (Woodstock, N.Y.)","Photo Newsletter","James Van DerZee Institute","Obscura","Los Angeles Center For Photographic Studies","Ten.8","Crown Publishers, Inc.","Atlanta University","Aperture, Inc.","Black Photographers Annual","Madison Art Center","Columbia College (Chicago, Ill.)","En Foco, Inc.","Kenyon College","W.W. Norton and Company","Institute for Youth Entrepreneurship","Culturefront","Newsweek","New York (N.Y.). Department of Commerce and Industrial Development","Uniworld Group, Inc. (Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Art Direction","College of New Rochelle","Hofstra University","National Urban League","Gallery 62","Césaire Photo Agency","Photo/Chronicles Ltd.","National Association for the Advancement of Colored People","Just Above Midtown Gallery","Kenkeleba Gallery (New York, N.Y.)","New Jersey State Museum","Gordon Parks Gallery","School of New Resources","Crawford and Sloan Gallery","International Black Photographers","Trenton City Museum","Ellarslie Mansion","Pavilion Galleries","TAWA Soviet Exchange Committee","Photographic Association of the USSR","Planeta Publishers","Sovart Inc.","Chuvash ASSR Photographic Art Society","Perm Scientific Methodological Center for Folk Art and Cultural and Educational Work","People's Photostudio of Perm","Reticulation","Chuvashskiĭ gosudarstvennyĭ universitet im. I.N. Ulʹi︠a︡nova","Mercer County Community College News","Bucks County Technical School (Bucks County, Pa.)","Mercer County Community College (N.J.). Student Activities Department","Mercer County Community College (N.J.). Student Government Association","St. Lawrence Rehabilitation Center. Lobby Gallery","Hopewell Valley News","Artifacts Gallery","Mercer County Library. Ewing Branch","Mercer County Community College (N.J.). East Windsor Municipal Building","Pennington Post","Queenstown Gallery","Hamilton Township Public Library","Messenger-Press","Town Topics","Chronicle","Mercer Messenger","Beacon","New Jersey. Department of Higher Education","Infinity","American Society of Magazine Photographers","Barksdale Gallery","American Academy of Arts and Letters","Audio Visual Product News","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","William Morrow and Company","Black Creation","New York University. Institute of African-American Affairs","Avon Books.","Hearst Corporation","Frederick Douglass Creative Arts Center","Another View, Inc.","Langston Hughes Society","Brown University","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","South Trenton Review","New Jersey Historical Commission","Transmondo","Sekonic","Hasselblad USA","Lindahl","Staticmaster","Draper, Louis H., 1935-2002","Faulkner, William, 1897-1962","Harris, Charles \"Teenie\", 1908-1998","Parker, Pat","Gloster, Dorothy","Williams, Henry A.","Draper, Hansel H.","Beach, George A. (George Anderson), 1902-1994","Massey, Cal, 1927-1972","Hughes, Langston, 1902-1967","Morgan, Margaret","Collins, Kathleen, 1942-1988","Gray, Ronald K.","Gloster, Brandon","Schulte, Roger","Hudson, Fred","Marcus","Szarkowski, John, 1925-2007","Bunnell, Peter C., 1937-","Caponigro, Paul, 1932-","Bat'ka, Bedřich, 1922-1994","Tangney, Ralph","Reno, Mike","Darkroom and creative camera techniques","Jilg, Mark","McNutt, Dennis","Beach, Donald","Felip, John","Carter, David","Moman-Bell, Patricia","Russo, Eleanor","Kolovakos, Gregory, 1951-1990","Holford, Mary","Moutoussamy-Ashe, Jeanne, 1951-","Olander, William, 1950-1989","Collins, Denise","Salewski, Randal","Horwitz, Alan","Levin, David","Remer, Lisa","West, Janice M.","Blackford, Eva","Holl-Madara, Lynn","Siskind, Carroll","Conklin, D. David","Chiego, William J., 1943-","Rotkin, Charles E., 1916-","Rosado, Maria","Price, Pamela","Steele, Diana","Fawcetter, Caroline","Young, John","Willis, Deborah, 1948-","Bey, Dawoud, 1953-","Pope, Sharon","Mathesius, Bill","Feinstein, Harold, 1931-2015","Schneeman, Liane","Williams, H. G.","Adams, Jeanne","Zakia, Richard D. (Richard Donald), 1925-2012","Henderson, Wanda","Naar, Harry I.","Wiley, Mary Helen","Collier, David E., 1929-2012","Kokotajlo, Stan","Troeller, Linda, 1949-","Fabbri, Anne R.","The Noyes Museum","Saretzky, Gary D.","Serbin, Glen","Deering, Bill","Cook, Sue","Simad, Teresa","Carty, Diane","Williams, Ann","The Morris Museum","Rand, Henry","Aparicio, Roxana","Earenfight, Phillip, 1962-","Russell, Lisa","Tolin, Ann","McCollough, Charles","Smith, Beuford, 1941-","Morris, Jennifer","Lehman, Arnold L.","Duganne, Erina","Bertoli, Barbara","Stephanini, Pat","Pavilion Gallery Sculpture Garden","Nini, Rose","Pearce, Jeannie","O'Boyle, Bob","Baum, Ralph","Vestal, David, 1924-2013","Petit, Philippe, 1949-","Norton, Eleanor Holmes, 1937-","Ms.","Rivera, Christine","Cagan, Steve","Doan-Johnson, Susan","McCoy, Regina","Viksjo, Cathy","Post, Kevin","Bledsoe, Lysbeth","Shipley, Barbara","Heisler, Wendy","Star-Ledger","Seidel, Mitchell","Carlson, Michele","Small, Michael C.","Mutterperl, Mindy","Crossman, Lorraine","Fone, Lisa","Addis, Amanda","Purcell, Janet","Monroe Township View","Orsi, Chris","Beres, Derek","Dube, Ilene","Kimbrough, Larry","Fischl and Hartman","General Motors Corporation. Chevrolet Motor Division","Madison, Clarence","Maddox, James","Noyes Museum","Lawrenceville School","Kismaric, Carole, 1942-2002","Palaszczuk, Mary Ellen","Fernandez, Isabelle","Kenyon, Kathleen","Weems, Carrie Mae, 1953-","Walker, Shawn, 1940-","Sullivan, George E. (George Edward), 1927-","Dutton Juvenile","Taha, Halima","Crown Publishers","DeCarava, Roy, 1919-2009","Mannas, James \"Jimmie\" M., 1941-","Rudolph, Sa","Francis, James \"Ray\"","Jackson, Miles M., Jr., 1929-","Mayer, Grace M.","Hoffman, Michael E. (Michael Eugene), 1942-2001","Porter, Allan, 1934-2022","Crawford, Joe","Liska, Jane","Cobb, Vandell","Romais, Miriam","Wilson, Calvin, 1924-","Fournier, Collette","Stewart, Frank, 1949-","Hinzmann, Hilary","Lawrence, Steve","Smith, Evelyn","Fennar, Albert, 1938-","Howard, Herman","Martin, Steve","Barboza, Anthony, 1944-","Barboza, Ken","Clarke, LeRoy, 1938-","Cowans, Adger W., 1936-","Preston, George Nelson, 1938-","Bearden, Romare, 1911-1988","Dix, Seldon","Littles, Dolores Allen","Dawson, C. Daniel","American Visions","Parks, Toni","Pinderhughes, John, 1946-","Randall, Herbert, 1936-","Robinson, Herb","Wilmer, Val (Valerie), 1941-","Photo/Chronicles","Smith, Morgan, 1910-1993","Smith, Marvin, 1910-2003","Smith, Ming, 1950-","Steichen, Edward, 1879-1973","Kenkeleba Gallery","Greene, Cheryll Y., 1943-2013","Sleet, Moneta, Jr., 1926-1996","Stewart, Charles (Chuck), 1927-2017","Wilkinson, Carlton","Kauffman, Aubrey","Leipzig, Melvin, 1935-","Baskakov, Andrew","Brodsky, Judith","Berezin, Valentin Solomonovich","Nesterova, Natalʹi︠a︡, 1944-","Chilnikov, Sergey","Mari ASSR Photographic Art Society","Suprun, Aleksandr","Dobrynkin, A.","Hanley, John P.","Bullock, Joanne B.","Corwin, Luene Holmes, 1937-","Dowd, Jennifer Ann","Mathias, John","Weiss, Celia","Bundy, Roy","Flynn, William J.","Hain, Josh","Rivera, Frank","White, Larry","Barksdale, William E., 1927-","Dietrich, Marilyn","Duncan, Noreen","Lobby Gallery","Hymans, Kay","Lamba, Marie","Stender, Barbara","Williams, Gray","New Jersey Department of Higher Education","Osborne, Linda","Caruso, Jennifer","Moran, Daniel Thomas","Bateson, Michael A.","Davis, Gail","Gray, Jeanne","Clyde","Smith, W. Eugene, 1918-1978","Von Hildebrand, Alice, 1923-2022","Von Hildebrand, Dietrich, 1889-1977","O'Daniel, Therman B. (Therman Benjamin), 1908-1986","Hathaway, Paul R.","Hamer, Fannie Lou, 1917-1977","Johnson, Thomas A., 1928-2008","Gillespie, Marcia","Reynolds, Barbara Ann","Jackson, Jacqueline, 1944-","Moore, Marjorie","Fouch, Barbara","James, Delores","McDougall, Joyce, 1926-2011","Lebovici, Serge, 1915-2000","Avon Books","Clark, Duvie","Ebert, Alan","Bryant, Joyce, 1927-2022","Bower, Sue","Kiley, Frederick S. 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Chevrolet Motor Division","Image Gallery","Community Gallery","Madison, Clarence","First Time Photo Gallery","Maddox, James","Noyes Museum","Morris Museum","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Mariboe Gallery","Princeton Art Association","Allan P. Kirby Arts Center Gallery","Lawrenceville School","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Light Impressions Corporation","Kismaric, Carole, 1942-2002","Palaszczuk, Mary Ellen","Fernandez, Isabelle","Catskill Center for Photography (Woodstock, N.Y.)","Kenyon, Kathleen","Obscura","Los Angeles Center For Photographic Studies","Weems, Carrie Mae, 1953-","Ten.8","Walker, Shawn, 1940-","Sullivan, George E. 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(Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Cowans, Adger W., 1936-","Art Direction","Preston, George Nelson, 1938-","Bearden, Romare, 1911-1988","College of New Rochelle","Dix, Seldon","Littles, Dolores Allen","Dawson, C. 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American Photography Institute","George Eastman House","Art in the Atrium","Johnson and Johnson","Bristol-Myers Squibb Company","Webster University","Charles McCollough Studio","Anacostia Museum and Center for African American History and Culture","University of Texas at Austin‏","General Artists Agency","Pavilion Gallery. Sculpture Garden","Virginia Statesman","Camera (Lucerne, Switzerland)","The Arrow","Like It Is","Photography Project of the President's Council on Youth Opportunity","Industrial Photography","Inside Out","New York Times company","Popular Photography","The Honeywell World","New York post","Associated Press","Photography Year","Black enterprise","College Voice","Dialogue","Trentonian","Trenton Sunday Times. The Magazine","Round-up","Trenton Sunday Times","Hightstown Gazette","Whoot","Garden State Press Clipping Bureau","Press of Atlantic City","Weekend Beacon","New Jersey Clipping Service","Argo","Asbury Park Press","Burlington Times","Courier-Post","Mercer","Time Off","New Jersey Herald","Star-Ledger (Newark, N.J.)","Art Matters","Trenton Times","Viking","United States Highway 1","Princeton Packet","The Monroe Township View","Voice","Princeton Living","The Link","Lawrence Ledger","Light Work (Organization : Syracuse, N.Y.)","Merrimack Publishing Corp.","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman Photographs","Sepia Tones","Image Gallery","Community Gallery","Countee Cullen Library","International Center of Photography","Corcoran Gallery of Art","First Time Photo Gallery","George Washington University","Artists Space (Gallery)","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Memorial Hospital of Burlington County","Mariboe Gallery","Peddie School","Artworks","Princeton Art Association","Allan P. 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Institute of African-American Affairs","Avon Books.","Hearst Corporation","Frederick Douglass Creative Arts Center","Another View, Inc.","Langston Hughes Society","Brown University","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","South Trenton Review","New Jersey Historical Commission","Transmondo","Sekonic","Hasselblad USA","Lindahl","Staticmaster"],"creators_ssim":["Draper, Louis H., 1935-2002","Faulkner, William, 1897-1962","Harris, Charles \"Teenie\", 1908-1998","Parker, Pat","Gloster, Dorothy","Williams, Henry A.","Draper, Hansel H.","Shaw-Beach","Beach, George A. (George Anderson), 1902-1994","Massey, Cal, 1927-1972","Hughes, Langston, 1902-1967","Morgan, Margaret","Collins, Kathleen, 1942-1988","Gray, Ronald K.","Gloster, Brandon","Schulte, Roger","Hudson, Fred","Marcus","Szarkowski, John, 1925-2007","Bunnell, Peter C., 1937-","Caponigro, Paul, 1932-","Bat'ka, Bedřich, 1922-1994","Tangney, Ralph","Reno, Mike","Recording Institute of America","Darkroom and creative camera techniques","Jilg, Mark","McNutt, Dennis","Bucks County Community College","Beach, Donald","Felip, John","Edwal Scientific Products","Carter, David","Moman-Bell, Patricia","Russo, Eleanor","Hackensack Public Schools","Kolovakos, Gregory, 1951-1990","New York State Council on the Arts","Holford, Mary","Creative Resources Institute","Moutoussamy-Ashe, Jeanne, 1951-","Olander, William, 1950-1989","Collins, Denise","Salewski, Randal","Horwitz, Alan","Levin, David","Remer, Lisa","West, Janice M.","Blackford, Eva","Greater Bordentown Chamber of Commerce","Holl-Madara, Lynn","Siskind, Carroll","Conklin, D. David","Chiego, William J., 1943-","Rotkin, Charles E., 1916-","The Rotkin Review","Rosado, Maria","Price, Pamela","Steele, Diana","Princeton Photography Club","Fawcetter, Caroline","Young, John","John Young Audio-Visual Production","Willis, Deborah, 1948-","Bey, Dawoud, 1953-","Pope, Sharon","Mathesius, Bill","Feinstein, Harold, 1931-2015","Schneeman, Liane","Williams, H. G.","Adams, Jeanne","Zakia, Richard D. (Richard Donald), 1925-2012","Henderson, Wanda","Naar, Harry I.","Photo Workshop","Wiley, Mary Helen","Collier, David E., 1929-2012","Kokotajlo, Stan","Troeller, Linda, 1949-","Fabbri, Anne R.","The Noyes Museum","Saretzky, Gary D.","Serbin, Glen","Deering, Bill","Art Kane Photo Workshop","Cook, Sue","Simad, Teresa","Carty, Diane","Williams, Ann","The Morris Museum","Rand, Henry","Aparicio, Roxana","George Eastman House","Earenfight, Phillip, 1962-","Russell, Lisa","Tolin, Ann","McCollough, Charles","Charles McCollough Studio","Smith, Beuford, 1941-","Morris, Jennifer","Anacostia Museum and Center for African American History and Culture","Lehman, Arnold L.","Duganne, Erina","General Artists Agency","Bertoli, Barbara","Stephanini, Pat","Pavilion Gallery Sculpture Garden","Nini, Rose","Pearce, Jeannie","O'Boyle, Bob","Virginia Statesman","Like It Is","Photography Project of the President's Council on Youth Opportunity","Baum, Ralph","Industrial Photography","Inside Out","Vestal, David, 1924-2013","Associated Press","Petit, Philippe, 1949-","Photography Year","Norton, Eleanor Holmes, 1937-","Ms.","Rivera, Christine","Dialogue","Cagan, Steve","Doan-Johnson, Susan","Hightstown Gazette","McCoy, Regina","Press of Atlantic City","Weekend Beacon","Viksjo, Cathy","Argo","Post, Kevin","Asbury Park Press","Burlington Times","Bledsoe, Lysbeth","Courier-Post","Shipley, Barbara","Heisler, Wendy","New Jersey Herald","Star-Ledger","Seidel, Mitchell","Carlson, Michele","Small, Michael C.","Mutterperl, Mindy","Crossman, Lorraine","Fone, Lisa","Addis, Amanda","Purcell, Janet","Monroe Township View","Orsi, Chris","Princeton Living","Beres, Derek","Dube, Ilene","Merrimack Publishing Corp.","Kimbrough, Larry","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman","Sepia Tones","General Motors Corporation. Chevrolet Motor Division","Image Gallery","Community Gallery","Madison, Clarence","First Time Photo Gallery","Maddox, James","Noyes Museum","Morris Museum","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Mariboe Gallery","Princeton Art Association","Allan P. Kirby Arts Center Gallery","Lawrenceville School","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Light Impressions Corporation","Kismaric, Carole, 1942-2002","Palaszczuk, Mary Ellen","Fernandez, Isabelle","Catskill Center for Photography (Woodstock, N.Y.)","Kenyon, Kathleen","Obscura","Los Angeles Center For Photographic Studies","Weems, Carrie Mae, 1953-","Ten.8","Walker, Shawn, 1940-","Sullivan, George E. (George Edward), 1927-","Dutton Juvenile","Taha, Halima","Crown Publishers","DeCarava, Roy, 1919-2009","Mannas, James \"Jimmie\" M., 1941-","Rudolph, Sa","Francis, James \"Ray\"","Jackson, Miles M., Jr., 1929-","Mayer, Grace M.","Hoffman, Michael E. (Michael Eugene), 1942-2001","Porter, Allan, 1934-2022","Crawford, Joe","Liska, Jane","Columbia College (Chicago, Ill.)","Cobb, Vandell","Romais, Miriam","Kenyon College","Wilson, Calvin, 1924-","Fournier, Collette","Stewart, Frank, 1949-","W.W. Norton and Company","Hinzmann, Hilary","Institute for Youth Entrepreneurship","Lawrence, Steve","Culturefront","Smith, Evelyn","Fennar, Albert, 1938-","Howard, Herman","Martin, Steve","Newsweek","Barboza, Anthony, 1944-","Barboza, Ken","Clarke, LeRoy, 1938-","New York (N.Y.). Department of Commerce and Industrial Development","Uniworld Group, Inc. (Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Cowans, Adger W., 1936-","Art Direction","Preston, George Nelson, 1938-","Bearden, Romare, 1911-1988","College of New Rochelle","Dix, Seldon","Littles, Dolores Allen","Dawson, C. Daniel","American Visions","Parks, Toni","Pinderhughes, John, 1946-","Randall, Herbert, 1936-","Robinson, Herb","National Urban League","Gallery 62","Wilmer, Val (Valerie), 1941-","Photo/Chronicles","Smith, Morgan, 1910-1993","Smith, Marvin, 1910-2003","Smith, Ming, 1950-","Steichen, Edward, 1879-1973","Just Above Midtown Gallery","Kenkeleba Gallery","Gordon Parks Gallery","School of New Resources","Crawford and Sloan Gallery","Greene, Cheryll Y., 1943-2013","Sleet, Moneta, Jr., 1926-1996","Stewart, Charles (Chuck), 1927-2017","Wilkinson, Carlton","Kauffman, Aubrey","Leipzig, Melvin, 1935-","Baskakov, Andrew","Brodsky, Judith","Berezin, Valentin Solomonovich","Planeta Publishers","Sovart Inc.","Nesterova, Natalʹi︠a︡, 1944-","Chilnikov, Sergey","Chuvash ASSR Photographic Art Society","Mari ASSR Photographic Art Society","Suprun, Aleksandr","Perm Scientific Methodological Center for Folk Art and Cultural and Educational Work","People's Photostudio of Perm","Reticulation","Dobrynkin, A.","Chuvashskiĭ gosudarstvennyĭ universitet im. I.N. Ulʹi︠a︡nova","Hanley, John P.","Bullock, Joanne B.","Corwin, Luene Holmes, 1937-","Dowd, Jennifer Ann","Mathias, John","Weiss, Celia","Bundy, Roy","Flynn, William J.","Hain, Josh","Rivera, Frank","White, Larry","Barksdale, William E., 1927-","Dietrich, Marilyn","Duncan, Noreen","Lobby Gallery","Hymans, Kay","Lamba, Marie","Hopewell Valley News","Stender, Barbara","Artifacts Gallery","Town Topics","Chronicle","Beacon","Williams, Gray","New Jersey Department of Higher Education","Osborne, Linda","Caruso, Jennifer","Infinity","American Society of Magazine Photographers","Moran, Daniel Thomas","Barksdale Gallery","American Academy of Arts and Letters","Bateson, Michael A.","Audio Visual Product News","Davis, Gail","Gray, Jeanne","Clyde","Smith, W. Eugene, 1918-1978","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","Von Hildebrand, Alice, 1923-2022","Von Hildebrand, Dietrich, 1889-1977","O'Daniel, Therman B. (Therman Benjamin), 1908-1986","William Morrow and Company","Hathaway, Paul R.","Hamer, Fannie Lou, 1917-1977","Johnson, Thomas A., 1928-2008","Gillespie, Marcia","Reynolds, Barbara Ann","Jackson, Jacqueline, 1944-","Moore, Marjorie","Fouch, Barbara","James, Delores","McDougall, Joyce, 1926-2011","Lebovici, Serge, 1915-2000","Avon Books","Hearst Corporation","Clark, Duvie","Ebert, Alan","Bryant, Joyce, 1927-2022","Frederick Douglass Creative Arts Center","Another View, Inc.","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","Bower, Sue","Kiley, Frederick S. (Frederick Spencer), 1922-2002","Wright, Giles R.","New Jersey Historical Commission","Allen, Jules, 1947-","Anderson, Julie","Chycota, Johanna","Anderson, Mary B.","Pendergrass, Teddy, 1950-2010","Paul, Billy, 1934-2016","Shinee, Ntozake","Ferman, Terry","Barboza, Leanette","Barboza, Linda Anderson","Barboza, Tim","Bass, George Houston, 1938-1990","Builder, Levy, 1942-","Fuller, Naimah","Bennett, Alan","Bickal, Janet","Blake, Nina","Blake, Eubie, 1887-1983","Bobo, Anne","Bogle, Donald, 1944-","McNatt, Rosemary Bray","Brenner, Glen","Brooks, Wenonah","Bulaj, Marek","Johnson, Barbara Piasecka, 1937-2013","Burton, Sandy","Callender, Arlene","Campbell, Diane","Carty, Delores","Ceglia, Vincent","Chambers, Paul, 1935-1969","Chapman, Glenn Edward","Chavez, Lynn","Chavez, Pete","Chavooshian, Marge","Colavita, James J., 1949-1996","Collins, Lucrentia","Cook, Molly","Simao, Teresa","Crawley, Hazel","Critchlow, Carol","Crotty, Mary","Cummings, Blondell, 1944-2015","Davis, Daryl","Davis, Judy","Davis, Miles, 1926-1991","De Veaux, Alexis, 1948-","Banks, Diane","Deveaux, Pam","Dixon, Mel","Douglas, Clara","Dunham, Katherine, 1909-2006","Esquila, Ramon","Evans, Scott","Fennar, Miya","Koho, Keiko","Fennar, Tad","Folmer, Daniella","Fontaine, Walter","Durniak, John","Galeano, Cheryl","Gibson, Pat","Goldman, Midge","Goodkin, Vera Herman","Guitar Shorty, 1939-2022","Flakes, Jacqueline Hamer, 1966-","Moore, Richard B. (Richard Benjamin), 1893-1978","Harper, Toy","Johnson, Hall, 1887-1970","Harper, Ves","Heck, Soskia","Henry, John","Heywood, Jeni","Hicks, Bernice S.","Hilton, Larry","Hunter, Clementine, 1886-1988","Anderson, Madeline","Iman, 1955-","Jackson, Jesse Louis, 1941-","Jessua, Alain, 1932-2017","Jones, Billy","Kim, Yung Ju","Konrad, Adolf Ferdinand, 1915-2004","Kucay, Susan","Landau, Jacob, 1917-2001","Lawrence, Jacob, 1917-2000","Lehman, Harold","Leipzig, Francesca","Leipzig, Joshua","Graves, Michael, 1934-2015","Lewis, Byron E., Sr., 1931-","Lindfors, Viveca, 1920-1995","Littwin, Michael","Livingston, Bud","Lowing, Donald","Malloy, Tom, 1912-2008","Marshall, Paula","McNichol, Terri","Medina, Pablo, 1948-","Merlino, Joseph","Merlino, Molly","Goldman, Irene","Miller, Robert","Miller, Tony","Michaux, Lewis H., 1885-1976","Novak, Josie","Palmer, Nancy","Pasolini, Pier Paolo, 1922-1975","Passer, Ivan, 1933-2020","Pastira, Sangeeta","Patterson, Latta","Freed, Arthur","Perkoff, Sarah","Ryan, Dave","Polar, Maria","Santiago, Nilsa","Pietroski, Susan","Portee, Natalie","Purdy, Janet, Dr.","Purdy, John","Rachlin, Margaret","Randall, Rosalind","Reaves, Gail","Reaves, Kenny","Reiner, Eric","Reynolds, Rene","Richardson, Al","Richardson, Beverly","Rodriguez, Cecilio","Rosskam, Louise, 1910-2003","Ruffner, Jim","Rutkowski, Catherine","Samad, Marianne","Sandler, Kathe","Sandler, Eve","Sandler, Joan","Santos, Delissa","Sartezky, Anya","Schulte, Judy","Puccio, Victor","Schulte, Lynn M.","Schwartz, Lise","Selwood, Maureen","Shahn, Bernarda Bryson, 1903-2004","Sherman, Terry","Simmons, Ron","Slater, Xandria","Smith, Catherine","Smith, Gregory","Lee-Smith, Hughie, 1915-1999","Smith, Kevin","Smith, Mingus","Standard, Michael","Taylor, John","Taylor, Susan, 1946-","Teneny, Ralph","Sommerville, Tom","Tooker, Holly","Torres, Jose","Van Der Zee, James, 1886-1983","Wallace, Douglas","Weiss, Jiří, 1913-2004","Welliver, Michael","White, Hazel","Wiggins, Ernie","Wilkerson, Lisa","Williams, Ace","Williams, Jim","Wood, Michelle","X., Malcolm, 1925-1965","Draper-Winston, Nell","Winston, Charles","Johnson, Beverly, 1952-","Davidhazy, Andrew","Baldwin, James, 1924-1987","Jackson, Maynard, 1938-2003","Jackson, Valerie Richardson, 1949-","Hamer, Perry","Cook, Susan","Palmer, Douglas, 1951-","Harrell, Hugh","Smith, Aileen","Jorrin, Mario","Calla, Henry","Angelou, Maya, 1928-2014","Maynard, Joan, 1921-1998","Cronkite, Walter, 1916-2009","Cavett, Dick, 1936-","Hurwitz, Leo T., 1909-1991","Chiarenza, Carl, 1935-","Cauthen, Steve, 1960-","Gunn, Bill, 1934-1989","Scott, Seret","Deleo, Fame P.","Toppin, Christopher","Deileo, Fame","Mick, Chianese","Peck, Mary S.","Boeing, Loran K.","Doter, ?","Dill, Timothy","Jaborski, Pierre","Libsohn, Sol, 1914-2001","Linder, Evan","Pope-Lance, Elton","Jean-Bart, Leslie","McBride, Will","Ryan, Joe","Long, Kadar","Malloy","Mike","Hashimoto","Sawyer, Frank","Reed, Eli, 1946-","Virginia Museum of Fine Arts Archives","Louis H. Draper Preservation Trust","Kamoinge Inc.‏","Random House (Firm). Penguin Books, Inc.","United States Civil Service Commission","Junior Courier","Bedford-Stuyvesant Youth in Action","Honeywell Information Systems, Inc.","American Telephone and Telegraph Company","Nikon, Inc.","New Bridge Baptist Church","American Negro Commemorative Society","Shaw-Beach","New York Foundation for the Arts","Pratt Institute. Art School","U.S. Consumer Product Safety Commission","Urban Bikeway Design Collaborative","Museum of Modern Art (New York, N.Y.)","Free Library of Philadelphia","New Jersey State Teen Arts Program","Brooklyn Museum of Art","Riverside Church Weekday School","Mercer County Community College (N.J.)","Gallery Henoch","Rochester Institute of Technology","Virginia State College","New York University. Institute of Graduate Film and Television","Temple University","Thomas Edison State College","Eastman Kodak Company","Recording Institute of America","Indiana University. Independent Study Division","Preston Publications","Bucks County Community College","Edwal Scientific Products","Studio Museum in Harlem","Hackensack Public Schools","New York State Council on the Arts","Creative Resources Institute","Allen Memorial Art Museum","Trenton Writers Guild","Greater Bordentown Chamber of Commerce","The Rotkin Review","Princeton Photography Club","John Young Audio-Visual Production","Schomburg Center for Research in Black Culture","St. Lawrence Rehabilitation Center","Mercer County (N.J.)","Stockton State College","Ansel Adams Gallery (Yosemite National Park, Calif.)","Rider College Art Gallery","Photo Workshop","Mercer Medical Center","Noyes Museum of Art","Photographers Forum","Art Kane Photo Workshop","Morris Museum","Essence","New York University. American Photography Institute","George Eastman House","Art in the Atrium","Johnson and Johnson","Bristol-Myers Squibb Company","Webster University","Charles McCollough Studio","Anacostia Museum and Center for African American History and Culture","University of Texas at Austin‏","General Artists Agency","Pavilion Gallery. Sculpture Garden","Virginia Statesman","Camera (Lucerne, Switzerland)","The Arrow","Like It Is","Photography Project of the President's Council on Youth Opportunity","Industrial Photography","Inside Out","New York Times company","Popular Photography","The Honeywell World","New York post","Associated Press","Photography Year","Black enterprise","College Voice","Dialogue","Trentonian","Trenton Sunday Times. The Magazine","Round-up","Trenton Sunday Times","Hightstown Gazette","Whoot","Garden State Press Clipping Bureau","Press of Atlantic City","Weekend Beacon","New Jersey Clipping Service","Argo","Asbury Park Press","Burlington Times","Courier-Post","Mercer","Time Off","New Jersey Herald","Star-Ledger (Newark, N.J.)","Art Matters","Trenton Times","Viking","United States Highway 1","Princeton Packet","The Monroe Township View","Voice","Princeton Living","The Link","Lawrence Ledger","Light Work (Organization : Syracuse, N.Y.)","Merrimack Publishing Corp.","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman Photographs","Sepia Tones","Image Gallery","Community Gallery","Countee Cullen Library","International Center of Photography","Corcoran Gallery of Art","First Time Photo Gallery","George Washington University","Artists Space (Gallery)","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Memorial Hospital of Burlington County","Mariboe Gallery","Peddie School","Artworks","Princeton Art Association","Allan P. Kirby Arts Center Gallery","The Lawrenceville School","May Gallery","New York University. Graduate School of Arts and Sciences","Trenton Artists Workshop Association","Forum Notes","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Creative Artists Public Service Program","Light Impressions Corporation","Fashion Institute of Technology (New York, N.Y.)","Fashion Institute of Technology (New York, N.Y.). Galleries","Catskill Center for Photography (Woodstock, N.Y.)","Photo Newsletter","James Van DerZee Institute","Obscura","Los Angeles Center For Photographic Studies","Ten.8","Crown Publishers, Inc.","Atlanta University","Aperture, Inc.","Black Photographers Annual","Madison Art Center","Columbia College (Chicago, Ill.)","En Foco, Inc.","Kenyon College","W.W. Norton and Company","Institute for Youth Entrepreneurship","Culturefront","Newsweek","New York (N.Y.). Department of Commerce and Industrial Development","Uniworld Group, Inc. (Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Art Direction","College of New Rochelle","Hofstra University","National Urban League","Gallery 62","Césaire Photo Agency","Photo/Chronicles Ltd.","National Association for the Advancement of Colored People","Just Above Midtown Gallery","Kenkeleba Gallery (New York, N.Y.)","New Jersey State Museum","Gordon Parks Gallery","School of New Resources","Crawford and Sloan Gallery","International Black Photographers","Trenton City Museum","Ellarslie Mansion","Pavilion Galleries","TAWA Soviet Exchange Committee","Photographic Association of the USSR","Planeta Publishers","Sovart Inc.","Chuvash ASSR Photographic Art Society","Perm Scientific Methodological Center for Folk Art and Cultural and Educational Work","People's Photostudio of Perm","Reticulation","Chuvashskiĭ gosudarstvennyĭ universitet im. I.N. Ulʹi︠a︡nova","Mercer County Community College News","Bucks County Technical School (Bucks County, Pa.)","Mercer County Community College (N.J.). Student Activities Department","Mercer County Community College (N.J.). Student Government Association","St. Lawrence Rehabilitation Center. Lobby Gallery","Hopewell Valley News","Artifacts Gallery","Mercer County Library. Ewing Branch","Mercer County Community College (N.J.). East Windsor Municipal Building","Pennington Post","Queenstown Gallery","Hamilton Township Public Library","Messenger-Press","Town Topics","Chronicle","Mercer Messenger","Beacon","New Jersey. Department of Higher Education","Infinity","American Society of Magazine Photographers","Barksdale Gallery","American Academy of Arts and Letters","Audio Visual Product News","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","William Morrow and Company","Black Creation","New York University. Institute of African-American Affairs","Avon Books.","Hearst Corporation","Frederick Douglass Creative Arts Center","Another View, Inc.","Langston Hughes Society","Brown University","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","South Trenton Review","New Jersey Historical Commission","Transmondo","Sekonic","Hasselblad USA","Lindahl","Staticmaster"],"access_terms_ssm":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Louis H. Draper Preservation Trust. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Photography, Artistic","Photography, Artistic -- Exhibitions","Photography--History--20th century","Photography--History--21st century","Photographers -- Virginia","Photography--Study and teaching"],"access_subjects_ssm":["Photography, Artistic","Photography, Artistic -- Exhibitions","Photography--History--20th century","Photography--History--21st century","Photographers -- Virginia","Photography--Study and teaching"],"has_online_content_ssim":["false"],"extent_ssm":["37.5 Linear Feet 170 boxes; 6,605 items"],"extent_tesim":["37.5 Linear Feet 170 boxes; 6,605 items"],"date_range_isim":[1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/collections/search-archives/louis-h-draper-archive-portal/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eA limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into eleven series. Arrangement within each series varies based upon the material. In general, the manuscript materials are arranged chronologically (where possible), and the photographic material is arranged thematically, often by geographic location. The only series that is arranged alphabetically is Series 3.1: Identified Subjects.\"\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eManuscripts, 1947-2005, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublications, 1959-2005, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003ePhotography: Portraits, 1958-2001, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotography: United States Locations, 1957-1999, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003ePhotography: International Locations, 1978-1990, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003ePhotography: Landscapes and Abstractions, 1960-2000, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 7\u003c/label\u003e\n        \u003citem\u003ePortfolios, 1964, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 8\u003c/label\u003e\n        \u003citem\u003ePhotographic Equipment, 1945-1988, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 9\u003c/label\u003e\n        \u003citem\u003eAudiovisual Materials, 1972-2000, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 10\u003c/label\u003e\n        \u003citem\u003eBorn Digital Files, 1996-2001, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 11\u003c/label\u003e\n        \u003citem\u003ePhotographs by Others, 1946-1998, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into eleven series. Arrangement within each series varies based upon the material. In general, the manuscript materials are arranged chronologically (where possible), and the photographic material is arranged thematically, often by geographic location. The only series that is arranged alphabetically is Series 3.1: Identified Subjects.\"","Series 1\n        Manuscripts, 1947-2005, undated\n      \n      \n        Series 2\n        Publications, 1959-2005, undated\n      \n      \n        Series 3\n        Photography: Portraits, 1958-2001, undated\n      \n      \n        Series 4\n        Photography: United States Locations, 1957-1999, undated\n      \n      \n        Series 5\n        Photography: International Locations, 1978-1990, undated\n      \n      \n        Series 6\n        Photography: Landscapes and Abstractions, 1960-2000, undated\n      \n      \n        Series 7\n        Portfolios, 1964, undated\n      \n      \n        Series 8\n        Photographic Equipment, 1945-1988, undated\n      \n      \n        Series 9\n        Audiovisual Materials, 1972-2000, undated\n      \n      \n        Series 10\n        Born Digital Files, 1996-2001, undated\n      \n      \n        Series 11\n        Photographs by Others, 1946-1998, undated"],"bibliography_html_tesm":["\u003cbibref\u003eWorking Together: Louis Draper and the Kamoinge Workshop, 2020\u003c/bibref\u003e\n    ","\u003cbibref\u003eGrowing up in Civil Rights Richmond: A Community Remembers, 2019\u003c/bibref\u003e\n    ","\u003cbibref\u003eLouis H. Draper: Selected Photographs, 2015\u003c/bibref\u003e\n    ","\u003cbibref\u003eTimeless, 2015\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Sweet Breath of Life: A Poetic Narrative of the African-American Family, 2004\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Artist File: Louis Draper\u003c/bibref\u003e\n    ","\u003cbibref\u003eInternational Artist File: Kamoinge\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Artist Files"],"bibliography_tesim":["Working Together: Louis Draper and the Kamoinge Workshop, 2020","Growing up in Civil Rights Richmond: A Community Remembers, 2019","Louis H. Draper: Selected Photographs, 2015","Timeless, 2015","The Sweet Breath of Life: A Poetic Narrative of the African-American Family, 2004","Virginia Artist File: Louis Draper","International Artist File: Kamoinge"],"bioghist_html_tesm":["\u003cp\u003eLouis Hansel Draper\u003c/p\u003e","\u003cp\u003eBorn: September 24, 1935, Richmond, VA\nDied: February 18, 2002, Trenton, NJ\u003c/p\u003e","\u003cp\u003eWhile a student at Virginia State College (now University) Lou Draper wrote to his father, Hansel, with the news that he had joined the school newspaper. His father—an amateur photographer in Richmond's East End—gave Draper his first camera. After joining the college camera club, he dropped a bottle of acid while trying to develop his film. As a result of trying to mop it up, he was hospitalized and subsequently kicked out of the club. Despite this initial setback, Draper resolved to be a photographer after seeing the exhibition catalogue for The Family of Man (1955). Realizing that the work he admired was made by photographers in New York, Draper left Virginia State during his final semester and, with the support of his family, moved to New York City.\u003c/p\u003e","\u003cp\u003eThroughout the late 1950s Draper worked as a medical clerk while studying at the New York Institute of Photography. He dropped out realizing he could learn the same information through magazines like Modern Photography. In 1958 Draper enrolled in a photography workshop led by Harold Feinstein, where he met professional photographers like David Vestal and Herb Randall. Draper also worked as an assistant to studio photographers Larence Shustak and John Rawlings.\u003c/p\u003e","\u003cp\u003eIn 1959 Draper exhibited two works in the Photography at Mid-Century exhibition curated by Beaumont Newhall at the George Eastman House (now Museum). He also exhibited his work in Greenwich Village galleries, including the Image Gallery run by Larry Siegel.\u003c/p\u003e","\u003cp\u003eDraper enrolled in workshops at the New School for Social Research, including W. Eugene Smith's course \"Photography Made Difficult: Photojournalism, the Construction of Picture Stories and Picture Essays\" and began working with the prolific magazine photographer around 1960. In addition to assisting in the darkroom, Draper was a teaching aide for \"Photography Made More Difficult\" hosted at Smith's Flower-District loft.\u003c/p\u003e","\u003cp\u003eIn 1963 Draper turned his attention to the Kamoinge Workshop and quickly emerged as one of the group's teachers. Draper contributed to major workshop projects in the early to mid-1960s beginning with Portfolio No. 1 through the \"Harlem\" photo-essay in the July 1966 issue of Camera magazine, which featured his photograph John Henry on the cover. Portfolio No. 2 and the photoessay included Draper's poem \"Colonial Legacy.\"\u003c/p\u003e","\u003cp\u003eIn the late 1960s Draper taught photography courses while taking classes in film production. Between 1966 and 1968 Draper worked with Randall, Ray Francis, and Jimmie Mannas at the Youth in Action program in Bedford-Stuyvesant, teaching photography to teenagers and young adults. He also participated in the Channel 13 Black Journal Workshop where he concentrated on learning motion picture production. In 1968 he enrolled in the graduate program at the New York University Institute of Film and Television along with future Kamoinge member Danny Dawson. Draper gained professional film experience by working for Mannas's Jymie Productions and assisted Mannas with two short documentaries, Head and Heart and The Folks. He was also a cameraman for commercial and independent projects led by NYU professors like cinematographer Bedrich (Beda) Batka and worked on a number of productions as a still photographer. In 1982 he was a script supervisor and photographer for the feature-length film Losing Ground.\u003c/p\u003e","\u003cp\u003eIn 1967 he began teaching a class in photographic techniques at Central Brooklyn Neighborhood College, which was supported by the Pratt Institute Center for Community Improvement. He left the program in 1969 but returned to Pratt in 1974 to teach a college-level photography course for design students. Draper joined the staff of the Multi-Media Project at Intermediate School 201 in the Bronx in 1971 where Herb Randall, Calvin Wilson, and Ray Francis also served as photographers and teachers. He also worked with the Photography for Rehabilitation program at the New York State Division for Youth in 1974.\u003c/p\u003e","\u003cp\u003eIn 1971 the director of the Studio Museum in Harlem, Edward Spriggs, called a meeting of photographers to address how they could use photography to support the neighborhood. Draper and Beuford Smith were among the founding members of a group named the Collective Black Photographers. During Draper's tenure as chairman of the group they organized a fundraisers and community photography projects. Draper also served on the Studio Museum's Photography Committee.\u003c/p\u003e","\u003cp\u003eEssence sent Draper to Ruleville, Mississippi, to photograph civil rights activist Fannie Lou Hamer and the Freedom Farm Cooperative. These photographs were part of the feature story \"Fannie Lou Hamer Speaks Out\" in the magazine's October 1971 issue. The next month, Essence published Draper's portraits of the some of the mothers of the \"Harlem Six,\" a group of young Black men who were wrongly accused of murder in New York City in 1964.\u003c/p\u003e","\u003cp\u003eIn 1973 Draper won a Creative Artists Public Service (CAPS) program grant \"to create a set of film-strips about Ruleville, Mississippi . . . for use in New York City public schools and for public presentation.\" CAPS award panels included leading photographers such as Harry Callahan, and not only provided funding for artists but also enriched the creative community. In 1976 the CAPS publication Exposure: Work by Ten Photographers included work by Draper and Anthony Barboza. From 1974 to 1975 Draper served as coordinator of photography for the CAPS program and was an award panelist in 1982.\u003c/p\u003e","\u003cp\u003eInterspersed with his teaching assignments, Draper explored other artistic media and forms. In addition to taking screenwriting classes at NYU, he attended workshops at the Frederick Douglass Creative Arts Center in 1982, studying screenwriting with Fred Hudson and Elihu Weiner and videotape production with Vernard Gantt. Building on his experiences with W. Eugene Smith, Draper studied page design at the C. Richard Read Studio. On occasion, he worked as a studio assistant to Herb Robinson and Barboza. He was also a cofounder of Northlight Studios, which operated from 1975 to 1985.\u003c/p\u003e","\u003cp\u003eFrom 1978 to 1982 Draper taught and coordinated photography courses for schools in New Jersey, through the Creative Resources Institute. Afterward, he began teaching photography for Mercer County Community College in Trenton. Draper finally received his bachelor of arts degree from Thomas A. Edison State College in 1987. He participated in organizations like the Trenton Artists Workshop Association (TAWA) and was an artist in residence at Light Work in Syracuse, New York, where he printed his series New Jersey Artists, which included portraits of painters Hughie Lee-Smith and Bernarda Bryson Shahn, among others.\u003c/p\u003e","\u003cp\u003eDraper taught at Mercer until his death in 2002.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eThe biography above, written by Sharayah Cochran, has been reproduced from the catalog \"Working Together: Louis Draper and the Kamoinge Workshop.\"\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Louis Hansel Draper","Born: September 24, 1935, Richmond, VA\nDied: February 18, 2002, Trenton, NJ","While a student at Virginia State College (now University) Lou Draper wrote to his father, Hansel, with the news that he had joined the school newspaper. His father—an amateur photographer in Richmond's East End—gave Draper his first camera. After joining the college camera club, he dropped a bottle of acid while trying to develop his film. As a result of trying to mop it up, he was hospitalized and subsequently kicked out of the club. Despite this initial setback, Draper resolved to be a photographer after seeing the exhibition catalogue for The Family of Man (1955). Realizing that the work he admired was made by photographers in New York, Draper left Virginia State during his final semester and, with the support of his family, moved to New York City.","Throughout the late 1950s Draper worked as a medical clerk while studying at the New York Institute of Photography. He dropped out realizing he could learn the same information through magazines like Modern Photography. In 1958 Draper enrolled in a photography workshop led by Harold Feinstein, where he met professional photographers like David Vestal and Herb Randall. Draper also worked as an assistant to studio photographers Larence Shustak and John Rawlings.","In 1959 Draper exhibited two works in the Photography at Mid-Century exhibition curated by Beaumont Newhall at the George Eastman House (now Museum). He also exhibited his work in Greenwich Village galleries, including the Image Gallery run by Larry Siegel.","Draper enrolled in workshops at the New School for Social Research, including W. Eugene Smith's course \"Photography Made Difficult: Photojournalism, the Construction of Picture Stories and Picture Essays\" and began working with the prolific magazine photographer around 1960. In addition to assisting in the darkroom, Draper was a teaching aide for \"Photography Made More Difficult\" hosted at Smith's Flower-District loft.","In 1963 Draper turned his attention to the Kamoinge Workshop and quickly emerged as one of the group's teachers. Draper contributed to major workshop projects in the early to mid-1960s beginning with Portfolio No. 1 through the \"Harlem\" photo-essay in the July 1966 issue of Camera magazine, which featured his photograph John Henry on the cover. Portfolio No. 2 and the photoessay included Draper's poem \"Colonial Legacy.\"","In the late 1960s Draper taught photography courses while taking classes in film production. Between 1966 and 1968 Draper worked with Randall, Ray Francis, and Jimmie Mannas at the Youth in Action program in Bedford-Stuyvesant, teaching photography to teenagers and young adults. He also participated in the Channel 13 Black Journal Workshop where he concentrated on learning motion picture production. In 1968 he enrolled in the graduate program at the New York University Institute of Film and Television along with future Kamoinge member Danny Dawson. Draper gained professional film experience by working for Mannas's Jymie Productions and assisted Mannas with two short documentaries, Head and Heart and The Folks. He was also a cameraman for commercial and independent projects led by NYU professors like cinematographer Bedrich (Beda) Batka and worked on a number of productions as a still photographer. In 1982 he was a script supervisor and photographer for the feature-length film Losing Ground.","In 1967 he began teaching a class in photographic techniques at Central Brooklyn Neighborhood College, which was supported by the Pratt Institute Center for Community Improvement. He left the program in 1969 but returned to Pratt in 1974 to teach a college-level photography course for design students. Draper joined the staff of the Multi-Media Project at Intermediate School 201 in the Bronx in 1971 where Herb Randall, Calvin Wilson, and Ray Francis also served as photographers and teachers. He also worked with the Photography for Rehabilitation program at the New York State Division for Youth in 1974.","In 1971 the director of the Studio Museum in Harlem, Edward Spriggs, called a meeting of photographers to address how they could use photography to support the neighborhood. Draper and Beuford Smith were among the founding members of a group named the Collective Black Photographers. During Draper's tenure as chairman of the group they organized a fundraisers and community photography projects. Draper also served on the Studio Museum's Photography Committee.","Essence sent Draper to Ruleville, Mississippi, to photograph civil rights activist Fannie Lou Hamer and the Freedom Farm Cooperative. These photographs were part of the feature story \"Fannie Lou Hamer Speaks Out\" in the magazine's October 1971 issue. The next month, Essence published Draper's portraits of the some of the mothers of the \"Harlem Six,\" a group of young Black men who were wrongly accused of murder in New York City in 1964.","In 1973 Draper won a Creative Artists Public Service (CAPS) program grant \"to create a set of film-strips about Ruleville, Mississippi . . . for use in New York City public schools and for public presentation.\" CAPS award panels included leading photographers such as Harry Callahan, and not only provided funding for artists but also enriched the creative community. In 1976 the CAPS publication Exposure: Work by Ten Photographers included work by Draper and Anthony Barboza. From 1974 to 1975 Draper served as coordinator of photography for the CAPS program and was an award panelist in 1982.","Interspersed with his teaching assignments, Draper explored other artistic media and forms. In addition to taking screenwriting classes at NYU, he attended workshops at the Frederick Douglass Creative Arts Center in 1982, studying screenwriting with Fred Hudson and Elihu Weiner and videotape production with Vernard Gantt. Building on his experiences with W. Eugene Smith, Draper studied page design at the C. Richard Read Studio. On occasion, he worked as a studio assistant to Herb Robinson and Barboza. He was also a cofounder of Northlight Studios, which operated from 1975 to 1985.","From 1978 to 1982 Draper taught and coordinated photography courses for schools in New Jersey, through the Creative Resources Institute. Afterward, he began teaching photography for Mercer County Community College in Trenton. Draper finally received his bachelor of arts degree from Thomas A. Edison State College in 1987. He participated in organizations like the Trenton Artists Workshop Association (TAWA) and was an artist in residence at Light Work in Syracuse, New York, where he printed his series New Jersey Artists, which included portraits of painters Hughie Lee-Smith and Bernarda Bryson Shahn, among others.","Draper taught at Mercer until his death in 2002.","The biography above, written by Sharayah Cochran, has been reproduced from the catalog \"Working Together: Louis Draper and the Kamoinge Workshop.\""],"custodhist_html_tesm":["\u003cp\u003eLouis Draper's sister, Nell Draper-Winston, inherited his estate upon his death in 2002. The collection remained at Mercer Community College in Trenton, New Jersey while Gary Saretzky (Draper's friend and colleague, as well as an Archivist for the Monmouth County Archives) organized it from 2002-2006. \u003c/p\u003e","\u003cp\u003eSaretzky created a detailed finding aid for the photographs and archives before transferring them (on Draper-Winston's behalf) to the Albert and Shirley Small Special Collections Library at the University of Virginia in Charlottesville, Virginia. The collection arrived at the University of Virginia on December 26, 2006, and left in November 2012 to come to Candela Books and Photographs in Richmond, Virginia (\u003ci\u003eemail to Courtney Tkacz from Heather Riser, Head of Operations, Albert and Shirley Small Special Collections Library, July 1, 2019\u003c/i\u003e). \u003c/p\u003e","\u003cp\u003eAt that time, Candela represented the Louis H. Draper Preservation Trust and housed the collection until it was acquired by the Virginia Museum of Fine Arts in December 2015 as part of a gift-purchase of the archive and 35 photographs for the museum's art collection. \u003c/p\u003e","\u003cp\u003eIn February 2008, Don Lowing, a darkroom technician at Mercer County Community College located other materials including cameras, disks, and photographic materials (mainly negatives). These additional materials were inventoried by Saretzky and sent to the University of Virginia to be integrated into the rest of the collection (\u003ci\u003eemail to Courtney Tkacz from Gary Saretzky, June 28, 2019\u003c/i\u003e). \u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Louis Draper's sister, Nell Draper-Winston, inherited his estate upon his death in 2002. The collection remained at Mercer Community College in Trenton, New Jersey while Gary Saretzky (Draper's friend and colleague, as well as an Archivist for the Monmouth County Archives) organized it from 2002-2006.","Saretzky created a detailed finding aid for the photographs and archives before transferring them (on Draper-Winston's behalf) to the Albert and Shirley Small Special Collections Library at the University of Virginia in Charlottesville, Virginia. The collection arrived at the University of Virginia on December 26, 2006, and left in November 2012 to come to Candela Books and Photographs in Richmond, Virginia (email to Courtney Tkacz from Heather Riser, Head of Operations, Albert and Shirley Small Special Collections Library, July 1, 2019).","At that time, Candela represented the Louis H. Draper Preservation Trust and housed the collection until it was acquired by the Virginia Museum of Fine Arts in December 2015 as part of a gift-purchase of the archive and 35 photographs for the museum's art collection.","In February 2008, Don Lowing, a darkroom technician at Mercer County Community College located other materials including cameras, disks, and photographic materials (mainly negatives). These additional materials were inventoried by Saretzky and sent to the University of Virginia to be integrated into the rest of the collection (email to Courtney Tkacz from Gary Saretzky, June 28, 2019)."],"prefercite_html_tesm":["\u003cp\u003eLouis H. Draper Artist Archives (VA-04). Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Louis H. Draper Artist Archives (VA-04). Acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn 2017, the museum was awarded a grant from the National Endowment for the Humanities to fund 29 months of work that transformed this extremely large, physical archive into a rich digital resource. An interdepartmental grant team was assembled from across the museum, including staff members of the Library/Archives, Imaging Resources, Curatorial, and Conservation departments.\u003c/p\u003e","\u003cp\u003eWhile the physical archive had been well organized previously, the digitization process allowed the team to rethink the intellectual arrangement and determine an ideal numbering scheme for a photography archive. The result was a system designed around the organizing principle of the photoshoot itself, and now all related contact sheets, prints, slides, and negatives are described together.\u003c/p\u003e","\u003cp\u003eProcessing and description of the manuscript materials was performed by Courtney Yevich Tkacz from 2016-2017, and processing and description of the photographic material was performed by Margo Lentz-Meyer from 2017-2019. All materials were digitized in their original sleeves, then rehoused, but all sleeves with Draper's handwriting were retained.    \u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2017, the museum was awarded a grant from the National Endowment for the Humanities to fund 29 months of work that transformed this extremely large, physical archive into a rich digital resource. An interdepartmental grant team was assembled from across the museum, including staff members of the Library/Archives, Imaging Resources, Curatorial, and Conservation departments.","While the physical archive had been well organized previously, the digitization process allowed the team to rethink the intellectual arrangement and determine an ideal numbering scheme for a photography archive. The result was a system designed around the organizing principle of the photoshoot itself, and now all related contact sheets, prints, slides, and negatives are described together.","Processing and description of the manuscript materials was performed by Courtney Yevich Tkacz from 2016-2017, and processing and description of the photographic material was performed by Margo Lentz-Meyer from 2017-2019. All materials were digitized in their original sleeves, then rehoused, but all sleeves with Draper's handwriting were retained."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1945-2005, with the bulk of the material dating from the 1960s-1990s. The collection is comprised of correspondence, ephemera, publications, negatives, contact sheets, slides, prints, and photographic equipment.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1945-2005, with the bulk of the material dating from the 1960s-1990s. The collection is comprised of correspondence, ephemera, publications, negatives, contact sheets, slides, prints, and photographic equipment."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Louis H. Draper Preservation Trust. Other digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eTransmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders. \u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Louis H. Draper Preservation Trust. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_80d4d02edaa46a99725ed524cbb90700\"\u003eThe extensive collection documents the life and work of Richmond-born photographer and educator Louis Draper (1935–2002). Manuscript and photographic materials document Draper's experience and work as an African American photographer, including his recognition of his photography as a form of \"engaged resistance\" that not only bore witness to leaders of the civil rights movement, but also offered a richer and more diverse perspective of African American life than provided by the mainstream media. \n\nIn 1963, he was a founding member of the Kamoinge Workshop, a collective of African American photographers, and the collection includes significant materials from the early years of the Kamoinge Workshop and document his perspective on the professional challenges that he and the collective confronted in the process of finding publications that would publish photographs of African Americans made by African Americans. \n\nHis photographs of significant 20th-century artists, writers, musicians, and performers reflect the wide array of personal connections that Draper made after moving to New York from Richmond, Virginia in 1957. Printed photographs and contact sheets in Draper's archive show a broad view of city life and the everyday interactions between people and also offer a unique vision of African American neighborhoods in the 1960s and 1970s.\u003c/abstract\u003e\n    "],"abstract_tesim":["The extensive collection documents the life and work of Richmond-born photographer and educator Louis Draper (1935–2002). Manuscript and photographic materials document Draper's experience and work as an African American photographer, including his recognition of his photography as a form of \"engaged resistance\" that not only bore witness to leaders of the civil rights movement, but also offered a richer and more diverse perspective of African American life than provided by the mainstream media. \n\nIn 1963, he was a founding member of the Kamoinge Workshop, a collective of African American photographers, and the collection includes significant materials from the early years of the Kamoinge Workshop and document his perspective on the professional challenges that he and the collective confronted in the process of finding publications that would publish photographs of African Americans made by African Americans. \n\nHis photographs of significant 20th-century artists, writers, musicians, and performers reflect the wide array of personal connections that Draper made after moving to New York from Richmond, Virginia in 1957. Printed photographs and contact sheets in Draper's archive show a broad view of city life and the everyday interactions between people and also offer a unique vision of African American neighborhoods in the 1960s and 1970s."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Louis H. Draper Preservation Trust","Kamoinge Inc.‏","Random House (Firm). Penguin Books, Inc.","United States Civil Service Commission","Junior Courier","Bedford-Stuyvesant Youth in Action","Honeywell Information Systems, Inc.","American Telephone and Telegraph Company","Nikon, Inc.","New Bridge Baptist Church","American Negro Commemorative Society","Shaw-Beach","New York Foundation for the Arts","Pratt Institute. Art School","U.S. Consumer Product Safety Commission","Urban Bikeway Design Collaborative","Museum of Modern Art (New York, N.Y.)","Free Library of Philadelphia","New Jersey State Teen Arts Program","Brooklyn Museum of Art","Riverside Church Weekday School","Mercer County Community College (N.J.)","Gallery Henoch","Rochester Institute of Technology","Virginia State College","New York University. Institute of Graduate Film and Television","Temple University","Thomas Edison State College","Eastman Kodak Company","Recording Institute of America","Indiana University. Independent Study Division","Preston Publications","Bucks County Community College","Edwal Scientific Products","Studio Museum in Harlem","Hackensack Public Schools","New York State Council on the Arts","Creative Resources Institute","Allen Memorial Art Museum","Trenton Writers Guild","Greater Bordentown Chamber of Commerce","The Rotkin Review","Princeton Photography Club","John Young Audio-Visual Production","Schomburg Center for Research in Black Culture","St. Lawrence Rehabilitation Center","Mercer County (N.J.)","Stockton State College","Ansel Adams Gallery (Yosemite National Park, Calif.)","Rider College Art Gallery","Photo Workshop","Mercer Medical Center","Noyes Museum of Art","Photographers Forum","Art Kane Photo Workshop","Morris Museum","Essence","New York University. American Photography Institute","George Eastman House","Art in the Atrium","Johnson and Johnson","Bristol-Myers Squibb Company","Webster University","Charles McCollough Studio","Anacostia Museum and Center for African American History and Culture","University of Texas at Austin‏","General Artists Agency","Pavilion Gallery. Sculpture Garden","Virginia Statesman","Camera (Lucerne, Switzerland)","The Arrow","Like It Is","Photography Project of the President's Council on Youth Opportunity","Industrial Photography","Inside Out","New York Times company","Popular Photography","The Honeywell World","New York post","Associated Press","Photography Year","Black enterprise","College Voice","Dialogue","Trentonian","Trenton Sunday Times. The Magazine","Round-up","Trenton Sunday Times","Hightstown Gazette","Whoot","Garden State Press Clipping Bureau","Press of Atlantic City","Weekend Beacon","New Jersey Clipping Service","Argo","Asbury Park Press","Burlington Times","Courier-Post","Mercer","Time Off","New Jersey Herald","Star-Ledger (Newark, N.J.)","Art Matters","Trenton Times","Viking","United States Highway 1","Princeton Packet","The Monroe Township View","Voice","Princeton Living","The Link","Lawrence Ledger","Light Work (Organization : Syracuse, N.Y.)","Merrimack Publishing Corp.","Decathlon Corporation","Paramount Pictures Corporation","Fischl and Hartman Photographs","Sepia Tones","Image Gallery","Community Gallery","Countee Cullen Library","International Center of Photography","Corcoran Gallery of Art","First Time Photo Gallery","George Washington University","Artists Space (Gallery)","Arts Council of Rockland","Rockland Community College (Suffern, N.Y.)","Memorial Hospital of Burlington County","Mariboe Gallery","Peddie School","Artworks","Princeton Art Association","Allan P. Kirby Arts Center Gallery","The Lawrenceville School","May Gallery","New York University. Graduate School of Arts and Sciences","Trenton Artists Workshop Association","Forum Notes","Empire State College","New York African American Institute","J. Sargeant Reynolds Community College","Creative Artists Public Service Program","Light Impressions Corporation","Fashion Institute of Technology (New York, N.Y.)","Fashion Institute of Technology (New York, N.Y.). Galleries","Catskill Center for Photography (Woodstock, N.Y.)","Photo Newsletter","James Van DerZee Institute","Obscura","Los Angeles Center For Photographic Studies","Ten.8","Crown Publishers, Inc.","Atlanta University","Aperture, Inc.","Black Photographers Annual","Madison Art Center","Columbia College (Chicago, Ill.)","En Foco, Inc.","Kenyon College","W.W. Norton and Company","Institute for Youth Entrepreneurship","Culturefront","Newsweek","New York (N.Y.). Department of Commerce and Industrial Development","Uniworld Group, Inc. (Bethesda, Md.)","Mingo, Jones, Guilmenot, Inc.","De-Lite Records","PolyGram Records, Inc.","David Deutsch Associates","Art Direction","College of New Rochelle","Hofstra University","National Urban League","Gallery 62","Césaire Photo Agency","Photo/Chronicles Ltd.","National Association for the Advancement of Colored People","Just Above Midtown Gallery","Kenkeleba Gallery (New York, N.Y.)","New Jersey State Museum","Gordon Parks Gallery","School of New Resources","Crawford and Sloan Gallery","International Black Photographers","Trenton City Museum","Ellarslie Mansion","Pavilion Galleries","TAWA Soviet Exchange Committee","Photographic Association of the USSR","Planeta Publishers","Sovart Inc.","Chuvash ASSR Photographic Art Society","Perm Scientific Methodological Center for Folk Art and Cultural and Educational Work","People's Photostudio of Perm","Reticulation","Chuvashskiĭ gosudarstvennyĭ universitet im. I.N. Ulʹi︠a︡nova","Mercer County Community College News","Bucks County Technical School (Bucks County, Pa.)","Mercer County Community College (N.J.). Student Activities Department","Mercer County Community College (N.J.). Student Government Association","St. Lawrence Rehabilitation Center. Lobby Gallery","Hopewell Valley News","Artifacts Gallery","Mercer County Library. Ewing Branch","Mercer County Community College (N.J.). East Windsor Municipal Building","Pennington Post","Queenstown Gallery","Hamilton Township Public Library","Messenger-Press","Town Topics","Chronicle","Mercer Messenger","Beacon","New Jersey. Department of Higher Education","Infinity","American Society of Magazine Photographers","Barksdale Gallery","American Academy of Arts and Letters","Audio Visual Product News","County College of Morris","UFA Gallery","Gallery of South Orange","Jubilee","William Morrow and Company","Black Creation","New York University. Institute of African-American Affairs","Avon Books.","Hearst Corporation","Frederick Douglass Creative Arts Center","Another View, Inc.","Langston Hughes Society","Brown University","Garland Publishing, Inc.","U.S. Lakeland Terrier Club","South Trenton Review","New Jersey Historical Commission","Transmondo","Sekonic","Hasselblad USA","Lindahl","Staticmaster"],"names_coll_ssim":["Louis H. Draper Preservation Trust","Kamoinge Inc.‏","Kamoinge Inc.‏","Draper, Louis H., 1935-2002"],"persname_ssim":["Draper, Louis H., 1935-2002","Faulkner, William, 1897-1962","Harris, Charles \"Teenie\", 1908-1998","Parker, Pat","Gloster, Dorothy","Williams, Henry A.","Draper, Hansel H.","Shaw-Beach","Beach, George A. 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