64
10
1599
-
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Front of holiday card with 761st Battalion logo (black panther head facing left over the phrase "come out fighting) in upper left corner and illustration of Santa Clause holding a sign saying "Merry Merry Christmas" in lower right corner. Text of card says "Lest we forget; Holiday greetings"
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“Lest We Forget”
They gave their lives that others might live...that is true of our comrades of the 761st Tank Battalion who, a mere five years ago, were giving their lives on foreign soil. Now, five years later, some of our comrades are again making the great sacrifice in Korea. We salute them during the anniversary of snow-filled Christmas battle at Sarre-Union in France, and a New Year rendezvous with death in “The Bulge” in Belgium. Lest we forget...that we are not alone in our sacrifices and that it takes ALL of us to make a winning team...we dedicate this story of two men who were NOT up front. We dedicate it to our former comrades of the 761st and their fellows, now “somewhere in Korea”: Maj. Richard Williams, M/Sgt. Louis M. Daniels, T/Sgt. William Griffin, Sgt. Austin C. Jackson and others again bringing glory to the name of the 761st...and Captain Leonard P. Taylor, our Battalion Adjutant, who died of leukemia in Savannah, Ga. this month...one whom we all knew and loved.
Trezzvant W. Anderson,
President, 761st Tank Battalion Ass’n.
19 Mercer Street,
Pittsburgh 19, Pa.
THIRD RE-UNION, DETROIT, MICH., AUG. 24, 25, 26, 1951
TEISENDORF, Germany (Oct. 31, 1945) – The snows are capping the tops of the beautiful Bavarian Alps, here in the heart of the Tyrol, where the veteran 761st Tank Battalion is doing occupation, and a thrilling scene lays before my eyes. The sun is shining and it is beautiful here, but my heart is not remotely concerned with that.
Out of the welter of historical data that surrounds the deeds of the Negro soldiers in Europe in World War II, there are just two incidents which focus themselves into my mental perspective today, and I cannot resist the impulse to write about it, so that the world may know of two incidents, concerning two Negro soldiers (and gentlemen) who were part of the forces in the European Theatre of Operations. Both are dead!
On the field of battle, out in “No Man’s Land,” many men gave their lives and many Negroes fell to the bullets of the enemy. Many heroes were made by the valiant work of combat troops who took all the enemy could offer, and then some, and they got Silver Stars, Bronze Stars, D.S.C.’s. But there was no greater contribution made during this war, in its scope than the contributions made by these two Negro soldiers who died, without the accolade of the crowds, with no formal ceremonies to mark their passing, only simple graves on a foreign soil.
But each one of them was a great man in his own field, and the American Negroes should know about these two men, each of whom made his contribution in his own way, and that contribution was of a far more valuable benefit to the soldiers around them, than any individual performance which either of them could have displayed on the battlefield.
The first of the two men is the late Pvt. JOHN S. KINLOCH of 4075 South Central Avenue, Los Angeles, Calif., former Managing Editor of The CALIFORNIA EAGLE and nephew of Mrs. Carlotta Bass, the publisher of that newspaper.
JOHN was my friend and comrade, a fellow-craftsman, who was the most excellent in his capacity as a newspaperman, and was so acclaimed by all those who came into contact with him during his journalistic work in the European Theatre of Operations, where he served as an Army Correspondent at the Normandy Base Section Headquarters, at Cherbourg, France. But JOHN did not die at his copy desk, with reams of copy before him, awaiting the skilled touch of clever fingers, and the agile adjustment which his
https://glamportal.auctr.edu/files/original/96eba2bd3cf001e7bd8c20a4148066f7.jpg
d56afbf9cef7f92f9d7c535e09153c1b
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energetic newspaper mind could make on a news story, to give it that stirring color, so well liked by the U.S. reading public.
JOHN was killed in action on a battlefield in Germany, as a rifleman in that crack Negro Platoon of Company G, of the 39th Infantry Regiment of the Ninth Infantry Division, which won the prize as the best drilling platoon in that entire division! He was far from his beloved typewriter when the bullets of an enemy machine gun cut him down, as he fired his M-1 against the hated Nazis! There is a great story behind his death, and how he came to be there, and that story forms the basis of my contention that JOHN’S contribution to the war was one of the most outstanding examples of self-sacrifices ever displayed by mortal man, in that he made his supreme sacrifice because he was loyal to his ideals of his duty to his Race, and his country!
JOHN KINLOCH KNEW, even as did I myself, that the role of the Negro soldier in this war was going to be given scant and casual attention and treatment by those charged with the responsibility of disseminating to the public the activities in the news of the American Negro soldier. WHY JOHN KINLOCH knew this is another story, and the part which HE played in overcoming the obstacles which prevented fuller light being shed on the part being played by the Negro soldier as an integral part of the American Army in Europe resulted in his being killed on the field of battle, NOT AS A NEWSPAPERMAN (WHICH HE REALLY WAS), but as an infantryman, firing the M-1 rifle, which any other soldier could have fired, for it was a simple matter of getting the proper sight-picture over the peep—sight on the end of the barrel, and then squeezing the trigger.
The Army could have put any other Negro soldier from any port battalion, quartermaster unit, engineer outfit, or service company on that job. But the Army would have had a heluva time putting another soldier at JOHN KINLOCH’S desk to knock out the brilliant news stories which featured his service at the Public Relations Office of the Normany Base Section Headquarters!
But JOHN KINLOCH and I had a conference back in Paris in November, 1944, when it was evident that we Army correspondents were not going to get into ground force area without great difficulty, (thanks to Lieut.-Gen. John C.H. Lee) and we decided to do something about it.
If those responsible for the proper dissemination of news about our boys would not make arrangements satisfactory to provide this: WE OURSELVES WOULD TRANSFER TO THE HARDEST FIGHTING FRONT-LINE UNITES WITH NEGRO FIGHTERS, AND THEN WE WOULD BE SURE THAT, AT LEAST, THE SINGLE OUTFIT THAT WE WERE WITH WOULD BE PROPERLY COVERED FROM A NEWS STANDPOINT! I, Anderson, chose the 761st Tank Battalion because it was doing the roughest fighting of any Negro unit on the Western Front; JOHN KINLOCH chose the infantry and we finally got transferred into them! JOHN lost his life on the field of battle, fighting for his country. I was more fortunate, as I am still alive.
But, before JOHN cashed in his chips, he got out of his big story...the first stories of the work of the famous Negro platoon of “Company G, 39th Regiment, Ninth Infantry Division,” and got their pictures into YANK, the Army magazine! And, then, fulfilling his T/O job as a rifleman, he went forth to the field of battle, and did his duty there, giving his life in the performance of that duty!
Perhaps no marble statue will adorn the resting place of JOHN KINLOCH’S body, but he rates one. For he was one of the very few Negro correspondents...civilian or military...who was willing to go “all the way” in the carrying out of the ideals that inspired him to his great sacrifice. A brilliant young man, and a great soldier. Someday ALL of the story behind JOHN KINLOCH’S being in the infantry may be told. And then the Negro Race will be proud of this young man, this young Army Correspondent, who gave his life on the battlefield WHERE THE NEWS WAS, and not from the elegant recesses of a swank hotel many miles behind the front lines, describing front-line action from some communique based upon the report of men like himself!
***
The second man made his contribution in a far different, but no less effective, manner. He was Sgt. NELSON BRYAN of West 149th Street, New York City, who was formerly hot-trumpet man with Lucky Millinder’s great orchestra, before he entered the armed services. NELSON was killed in an auto accident in September, 1945, in Germany, while a member of the 847th Engineer Aviation Battalion.
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0dff7b8c096949b01db49fef7bbcc200
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The story about BRYAN? Well, last year, 1944, back in England, I wrote and produced two shows for the 923rd Aviation Engineer Regiment to which BRYAN’S battalion belonged. In these two shows I had two orchestras. One of them was BRYAN’S now-famous “RIO RITA” Orchestra, and we had such performers as Jimmy Daniels, owner of “Jimmy Daniels, Inc.” New York Café Society nite club, like Ike Baker, former member of “The Three Blue Jackets,” and other top flighters. On one occasion our show raised more than 25,000 pounds (about $100,000) for an English “Salute the Soldier Week” Fund.
Well, we came to the Continent. Here, I consolidated the best features of the two shows into one grand fast-moving hot deluxe show, and we hit the boards for the First Tactical Air Force, then commanded by Maj. Gen. RALPH ROYCE, and also put on shows for the Headquarters of Gen. JACOB DEVERS’ Sixth Army Group. It was BRYAN who paced the band, and was the star performer in his thrilling rendition of Hoagy Carmichael’s immortal “Stardust,” and “I’m Confessin’ That I love You,” as the piece de resistance. That show was known as “The Harlem Express,” and we had men from Millinder, Harlan Leonard, Lester Young, Les Hite, and other great bands, and it was an A-1 show in all respects.
We hit the Sixth Army Group area during the bitter month of January, just after the Germans had shoved the Seventh Army back along its front in the Vosges Mountains of Alsace-Lorraine. We hit the hospitals, and broadcasted from Dijon. We played before thousands, and Nelson Bryan’s great contribution was the heart-throbbing happiness which settled into the souls of the thousands of sick and wounded soldiers of the Seventh Army, as his tender tones, and the mellow notes of his golden trumpet, carried them back home into their own firesides, and the warm comfortable night clubs which spelled for them AMERICA itself!.
And their wounds were less painful; their sickness was less misery to them, and their hearts were lighter and gayer, because this dusky huge American artist had come to them, bringing them the warm spirit of their own native land, htere amid the ice and snow that was Alsac-Lorraine in January. Cripples on crutches seemed less like cripples; men with bodies racked with pain seemed more cheerful, and they even attempted to do a sort of “jitterbug” as the great orchestra, guided by NELSON BRYAN, transported them back home to AMERICA.
That was HIS contribution, not in one place alone, but in many places, and wherever we went, the acclaim of the vast crowds was sweet music to our ears, and we got a thrill out of it, because we knew that we were doing “something for the boys.” And then we didn’t mind the long rides in that cold six-by-six truck in the show, with no fire, and the poor accommodations for sleep and food with which we had to content ourselves.
BRYAN would have made a good sailor, for he was a great “cusser” and could say those words so fervently. But his work of bringing cheer into the hearts of battle-weary Americans of both races, was a great inspiration, and everywhere it was: “When are you coming back?”
Well, NELSON was killed in an auto accident, not on the stage to which he was no stranger, and the news of his passing spread like wild-fire, and left a great tinge of sadness and depression all over his comrades, friends and acquaintances. A great guy was gone!
***
They were both my friends, and my intimate associates, and each, in his own field, made a great contribution to the war, because WHAT HE DID gave to other soldiers, thousands of them, the inspiration, and the will to carry on, and to back to the field of battle and fight the enemy harder and harder. That they didn’t actually kill thousands of Germans themselves is of little consequence, but the fact that it was what they did that helped OTHER American soldiers to have the courage and desire and inspiration to kill thousands of Germans, which helped shorten the War in Europe!
Sing a hymn of praise for JOHN S. KINLOCH and NELSON BRYAN, two great Negro heroes of this war, who like hundreds of others, passed into oblivion, minus the glamor of the front-page, and the thrilling radio descriptions of their brilliant combat achievements, for the were HEROES!
TREZZVANT W. ANDERSON.
Text
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“Lest We Forget”
They gave their lives that others might live...that is true of our comrades of the 761st Tank Battalion who, a mere five years ago, were giving their lives on foreign soil. Now, five years later, some of our comrades are again making the great sacrifice in Korea. We salute them during the anniversary of snow-filled Christmas battle at Sarre-Union in France, and a New Year rendezvous with death in “The Bulge” in Belgium. Lest we forget...that we are not alone in our sacrifices and that it takes ALL of us to make a winning team...we dedicate this story of two men who were NOT up front. We dedicate it to our former comrades of the 761st and their fellows, now “somewhere in Korea”: Maj. Richard Williams, M/Sgt. Louis M. Daniels, T/Sgt. William Griffin, Sgt. Austin C. Jackson and others again bringing glory to the name of the 761st...and Captain Leonard P. Taylor, our Battalion Adjutant, who died of leukemia in Savannah, Ga. this month...one whom we all knew and loved.
Trezzvant W. Anderson,
President, 761st Tank Battalion Ass’n.
19 Mercer Street,
Pittsburgh 19, Pa.
THIRD RE-UNION, DETROIT, MICH., AUG. 24, 25, 26, 1951
TEISENDORF, Germany (Oct. 31, 1945) – The snows are capping the tops of the beautiful Bavarian Alps, here in the heart of the Tyrol, where the veteran 761st Tank Battalion is doing occupation, and a thrilling scene lays before my eyes. The sun is shining and it is beautiful here, but my heart is not remotely concerned with that.
Out of the welter of historical data that surrounds the deeds of the Negro soldiers in Europe in World War II, there are just two incidents which focus themselves into my mental perspective today, and I cannot resist the impulse to write about it, so that the world may know of two incidents, concerning two Negro soldiers (and gentlemen) who were part of the forces in the European Theatre of Operations. Both are dead!
On the field of battle, out in “No Man’s Land,” many men gave their lives and many Negroes fell to the bullets of the enemy. Many heroes were made by the valiant work of combat troops who took all the enemy could offer, and then some, and they got Silver Stars, Bronze Stars, D.S.C.’s. But there was no greater contribution made during this war, in its scope than the contributions made by these two Negro soldiers who died, without the accolade of the crowds, with no formal ceremonies to mark their passing, only simple graves on a foreign soil.
But each one of them was a great man in his own field, and the American Negroes should know about these two men, each of whom made his contribution in his own way, and that contribution was of a far more valuable benefit to the soldiers around them, than any individual performance which either of them could have displayed on the battlefield.
The first of the two men is the late Pvt. JOHN S. KINLOCH of 4075 South Central Avenue, Los Angeles, Calif., former Managing Editor of The CALIFORNIA EAGLE and nephew of Mrs. Carlotta Bass, the publisher of that newspaper.
JOHN was my friend and comrade, a fellow-craftsman, who was the most excellent in his capacity as a newspaperman, and was so acclaimed by all those who came into contact with him during his journalistic work in the European Theatre of Operations, where he served as an Army Correspondent at the Normandy Base Section Headquarters, at Cherbourg, France. But JOHN did not die at his copy desk, with reams of copy before him, awaiting the skilled touch of clever fingers, and the agile adjustment which his energetic newspaper mind could make on a news story, to give it that stirring color, so well liked by the U.S. reading public.
JOHN was killed in action on a battlefield in Germany, as a rifleman in that crack Negro Platoon of Company G, of the 39th Infantry Regiment of the Ninth Infantry Division, which won the prize as the best drilling platoon in that entire division! He was far from his beloved typewriter when the bullets of an enemy machine gun cut him down, as he fired his M-1 against the hated Nazis! There is a great story behind his death, and how he came to be there, and that story forms the basis of my contention that JOHN’S contribution to the war was one of the most outstanding examples of self-sacrifices ever displayed by mortal man, in that he made his supreme sacrifice because he was loyal to his ideals of his duty to his Race, and his country!
JOHN KINLOCH KNEW, even as did I myself, that the role of the Negro soldier in this war was going to be given scant and casual attention and treatment by those charged with the responsibility of disseminating to the public the activities in the news of the American Negro soldier. WHY JOHN KINLOCH knew this is another story, and the part which HE played in overcoming the obstacles which prevented fuller light being shed on the part being played by the Negro soldier as an integral part of the American Army in Europe resulted in his being killed on the field of battle, NOT AS A NEWSPAPERMAN (WHICH HE REALLY WAS), but as an infantryman, firing the M-1 rifle, which any other soldier could have fired, for it was a simple matter of getting the proper sight-picture over the peep—sight on the end of the barrel, and then squeezing the trigger.
The Army could have put any other Negro soldier from any port battalion, quartermaster unit, engineer outfit, or service company on that job. But the Army would have had a heluva time putting another soldier at JOHN KINLOCH’S desk to knock out the brilliant news stories which featured his service at the Public Relations Office of the Normany Base Section Headquarters!
But JOHN KINLOCH and I had a conference back in Paris in November, 1944, when it was evident that we Army correspondents were not going to get into ground force area without great difficulty, (thanks to Lieut.-Gen. John C.H. Lee) and we decided to do something about it.
If those responsible for the proper dissemination of news about our boys would not make arrangements satisfactory to provide this: WE OURSELVES WOULD TRANSFER TO THE HARDEST FIGHTING FRONT-LINE UNITES WITH NEGRO FIGHTERS, AND THEN WE WOULD BE SURE THAT, AT LEAST, THE SINGLE OUTFIT THAT WE WERE WITH WOULD BE PROPERLY COVERED FROM A NEWS STANDPOINT! I, Anderson, chose the 761st Tank Battalion because it was doing the roughest fighting of any Negro unit on the Western Front; JOHN KINLOCH chose the infantry and we finally got transferred into them! JOHN lost his life on the field of battle, fighting for his country. I was more fortunate, as I am still alive.
But, before JOHN cashed in his chips, he got out of his big story...the first stories of the work of the famous Negro platoon of “Company G, 39th Regiment, Ninth Infantry Division,” and got their pictures into YANK, the Army magazine! And, then, fulfilling his T/O job as a rifleman, he went forth to the field of battle, and did his duty there, giving his life in the performance of that duty!
Perhaps no marble statue will adorn the resting place of JOHN KINLOCH’S body, but he rates one. For he was one of the very few Negro correspondents...civilian or military...who was willing to go “all the way” in the carrying out of the ideals that inspired him to his great sacrifice. A brilliant young man, and a great soldier. Someday ALL of the story behind JOHN KINLOCH’S being in the infantry may be told. And then the Negro Race will be proud of this young man, this young Army Correspondent, who gave his life on the battlefield WHERE THE NEWS WAS, and not from the elegant recesses of a swank hotel many miles behind the front lines, describing front-line action from some communique based upon the report of men like himself!
***
The second man made his contribution in a far different, but no less effective, manner. He was Sgt. NELSON BRYAN of West 149th Street, New York City, who was formerly hot-trumpet man with Lucky Millinder’s great orchestra, before he entered the armed services. NELSON was killed in an auto accident in September, 1945, in Germany, while a member of the 847th Engineer Aviation Battalion.
The story about BRYAN? Well, last year, 1944, back in England, I wrote and produced two shows for the 923rd Aviation Engineer Regiment to which BRYAN’S battalion belonged. In these two shows I had two orchestras. One of them was BRYAN’S now-famous “RIO RITA” Orchestra, and we had such performers as Jimmy Daniels, owner of “Jimmy Daniels, Inc.” New York Café Society nite club, like Ike Baker, former member of “The Three Blue Jackets,” and other top flighters. On one occasion our show raised more than 25,000 pounds (about $100,000) for an English “Salute the Soldier Week” Fund.
Well, we came to the Continent. Here, I consolidated the best features of the two shows into one grand fast-moving hot deluxe show, and we hit the boards for the First Tactical Air Force, then commanded by Maj. Gen. RALPH ROYCE, and also put on shows for the Headquarters of Gen. JACOB DEVERS’ Sixth Army Group. It was BRYAN who paced the band, and was the star performer in his thrilling rendition of Hoagy Carmichael’s immortal “Stardust,” and “I’m Confessin’ That I love You,” as the piece de resistance. That show was known as “The Harlem Express,” and we had men from Millinder, Harlan Leonard, Lester Young, Les Hite, and other great bands, and it was an A-1 show in all respects.
We hit the Sixth Army Group area during the bitter month of January, just after the Germans had shoved the Seventh Army back along its front in the Vosges Mountains of Alsace-Lorraine. We hit the hospitals, and broadcasted from Dijon. We played before thousands, and Nelson Bryan’s great contribution was the heart-throbbing happiness which settled into the souls of the thousands of sick and wounded soldiers of the Seventh Army, as his tender tones, and the mellow notes of his golden trumpet, carried them back home into their own firesides, and the warm comfortable night clubs which spelled for them AMERICA itself!.
And their wounds were less painful; their sickness was less misery to them, and their hearts were lighter and gayer, because this dusky huge American artist had come to them, bringing them the warm spirit of their own native land, htere amid the ice and snow that was Alsac-Lorraine in January. Cripples on crutches seemed less like cripples; men with bodies racked with pain seemed more cheerful, and they even attempted to do a sort of “jitterbug” as the great orchestra, guided by NELSON BRYAN, transported them back home to AMERICA.
That was HIS contribution, not in one place alone, but in many places, and wherever we went, the acclaim of the vast crowds was sweet music to our ears, and we got a thrill out of it, because we knew that we were doing “something for the boys.” And then we didn’t mind the long rides in that cold six-by-six truck in the show, with no fire, and the poor accommodations for sleep and food with which we had to content ourselves.
BRYAN would have made a good sailor, for he was a great “cusser” and could say those words so fervently. But his work of bringing cheer into the hearts of battle-weary Americans of both races, was a great inspiration, and everywhere it was: “When are you coming back?”
Well, NELSON was killed in an auto accident, not on the stage to which he was no stranger, and the news of his passing spread like wild-fire, and left a great tinge of sadness and depression all over his comrades, friends and acquaintances. A great guy was gone!
***
They were both my friends, and my intimate associates, and each, in his own field, made a great contribution to the war, because WHAT HE DID gave to other soldiers, thousands of them, the inspiration, and the will to carry on, and to back to the field of battle and fight the enemy harder and harder. That they didn’t actually kill thousands of Germans themselves is of little consequence, but the fact that it was what they did that helped OTHER American soldiers to have the courage and desire and inspiration to kill thousands of Germans, which helped shorten the War in Europe!
Sing a hymn of praise for JOHN S. KINLOCH and NELSON BRYAN, two great Negro heroes of this war, who like hundreds of others, passed into oblivion, minus the glamor of the front-page, and the thrilling radio descriptions of their brilliant combat achievements, for the were HEROES!
TREZZVANT W. ANDERSON.
Dublin Core
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Title
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Greeting Card
Subject
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Anderson, Trezzvant W.; United States. Army. Tank Battalion, 761st; Veterans--United States
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Anderson, Trezzvant W.
Source
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Trezzvant W. Anderson papers
Date
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1962
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Atlanta University Center Robert W. Woodruff Library
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All images in this collection either are protected by copyright or are the property of the Robert W. Woodruff Library of the Atlanta University Center, Inc., and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific object file name.
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image/jpeg
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en
Type
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Greeting cards
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auc.010.0011_001.doc.b05f19
auc.010.0011_002.doc.b05f19
auc.010.0011_003.doc.b05f19
auc.010.0011_004.doc.b05f19
Temporal Coverage
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1962
-
https://glamportal.auctr.edu/files/original/296ccde1b1cddd8a0e4a85b09c318ff4.jpg
77f1527ffc74ed4a43eccbee894e334c
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Title
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High Museum of Art Civil Rights Photography Collection
Description
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<em>Ways of Seeing: Art History, Curating and Museums</em> examines selected examples of African American and Western art. Via an online immersive course, students learn the role of curators, are introduced to museums, and engage with the High Museum of Art, art and archival collections in the Atlanta University Center and other significant collections. Diversity of the museum and its staff as well as its changing audiences is explored. Students prepare to be art historians and/or curators by completing exhibition projects drawn from the High Museum of Art’s collection. The course is taught through a hybrid of synchronous and asynchronous delivery.<br /><br />Artworks in this collection are selected from the High Museum of Art's Civil Rights Photography Collection. With over three hundred works, the High Museum holds one of the country’s most significant collections of photographs documenting the civil rights movement. These images were made by committed artists, activists, and journalists who risked injury, arrest, and even death to document this critical moment of change in our nation. The collection includes documentation of the Montgomery Bus Boycott, the life of Dr. Martin Luther King, Jr., and the activities of the Student Non-Violent Coordinating Committee, along with deep holdings by Gordon Parks, Ernest Withers, Danny Lyon, Bruce Davidson, Leonard Freed, and Charles Moore.
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All of the content of this Website — including information, data, text, graphics, logos, button icons, images, pictures, audio clips, and software (the “Content”) — is protected by United States copyright laws. The Content of http://www.high.org is copyrighted as a collective work under the United States copyright laws. Except as granted in the limited license below, any other use of this Content, including modification, transmission, presentation, distribution, or republication, is prohibited without the prior written consent of the High Museum of Art, a division of the Robert W. Woodruff Arts Center, Inc., Atlanta, Georgia (the “Museum”). The copyright of the Content and other proprietary rights are held by the Museum or other entities and individuals.
Still Image
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9 3/4 x 7 1/2 inches
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Identifier
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2006.39
Title
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Grieving Parent at Funeral of Birmingham Bombing Victims
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Declan Haun, American 1937-1994
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image/jpeg
Date Created
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1963
Rights
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All of the content of this Website — including information, data, text, graphics, logos, button icons, images, pictures, audio clips, and software (the “Content”) — is protected by United States copyright laws. The Content of http://www.high.org is copyrighted as a collective work under the United States copyright laws. Except as granted in the limited license below, any other use of this Content, including modification, transmission, presentation, distribution, or republication, is prohibited without the prior written consent of the High Museum of Art, a division of the Robert W. Woodruff Arts Center, Inc., Atlanta, Georgia (the “Museum”). The copyright of the Content and other proprietary rights are held by the Museum or other entities and individuals.
Medium
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Gelatin silver print
Source
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High Museum of Art
-
https://glamportal.auctr.edu/files/original/61b715d2c3730dec05cb77fa40a7896e.jpg
a20d97261ef0d5a6138f629de5bccae0
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SAVC 243 African American Art
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Quilt
Physical Dimensions
The actual physical size of the original image
56 x 92 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Groovin' High
Description
An account of the resource
Quilt. Vibrantly colorful people dancing framed by tie dyed fabric.
Creator
An entity primarily responsible for making the resource
Jae Jarrell, Faith Ringgold
Source
A related resource from which the described resource is derived
Spelman College Museum of Fine Art
Date
A point or period of time associated with an event in the lifecycle of the resource
1986
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Rights
Information about rights held in and over the resource
All images in this collection either are protected by copyright or are the property of the Spelman College Museum of Fine Art, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact museum@spelman.edu with specific object file name
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
three dimensional object
Extent
The size or duration of the resource.
56 x 92 inches
Medium
The material or physical carrier of the resource.
Acrylic on canvas, paint, dye, fabric, sequins, and beads
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Gift of Barbara and Ronald Balser
-
https://glamportal.auctr.edu/files/original/5e04519882bdd497b5a6264c9bba466d.jpg
d08aae6375eb3a45027bb7bf9cb82e49
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Spelman ECP in Art History Project
Description
An account of the resource
SAVC 102: Ways of Seeing: Art History, Curating, and Museums is an Early College Program in Art History and Curatorial Studies. Ways of Seeing: Art History, Curating and Museums examines selected examples of African American and Western art. Via an online immersive course, students learn the role of curators, are introduced to museums, and engage with the High Museum of Art, art and archival collections in the Atlanta University Center and other significant collections. Diversity of the museum and its staff as well as its changing audiences is explored.
Students prepare to be art historians and/or curators by completing exhibition projects drawn from the High Museum of Art’s collection. The course is taught through a hybrid of synchronous and asynchronous delivery.
Artworks in this collection are selected from Atlanta University Center Robert W. Woodruff Library, Clark Atlanta University Art Museum, Spelman College Museum of Art, ad the High Museum of Art, .
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Groovin' High (alt Stompin at the Savoy)
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Date
A point or period of time associated with an event in the lifecycle of the resource
1986
Rights
Information about rights held in and over the resource
All images in this collection either are protected by copyright or are the property of the Spelman College Museum of Fine Art, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact museum@spelman.edu with specific object file name.
Type
The nature or genre of the resource
three dimensional object
Creator
An entity primarily responsible for making the resource
Ringgold, Faith
Source
A related resource from which the described resource is derived
Spelman College Museum of Fine Art
Extent
The size or duration of the resource.
56 x 92 inches
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Description
An account of the resource
Quilt. Vibrantly coloful people dancing framed by tie dyed fabric.
Medium
The material or physical carrier of the resource.
Acrylic on canvas, paint, dye, fabric, sequins, and beads
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Gift of Barbara and Ronald Balser
-
https://glamportal.auctr.edu/files/original/3a7e28a171ce2bd4cdfef4e9cc0165e5.jpg
30054585c625ffe72a8934904fb44fcb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Groundbreaking2
Identifier
An unambiguous reference to the resource within a given context
auc.066.b08f06.19600204.pho0564
-
https://glamportal.auctr.edu/files/original/3c6101b85486688e3b7538218e2c2de5.jpg
401c6aae1af6f7e386667049d62e7827
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Gwendolyn Knight
Creator
An entity primarily responsible for making the resource
Augusta Savage
Source
A related resource from which the described resource is derived
ARTStor
Date
A point or period of time associated with an event in the lifecycle of the resource
1934-5
Medium
The material or physical carrier of the resource.
Painted Plaster
-
https://glamportal.auctr.edu/files/original/1ee196650185b3725370e0069d304b68.jpg
cdf3d22e8444dbbe1ca63a6f23f5319e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Librarianship
Subject
The topic of the resource
Academic librarians; African American librarians; African American woman librarians; American Library Association. Black Caucus; Librarians; Librarians--Societies, etc.; Library education; Women librarians;
Source
A related resource from which the described resource is derived
CAU SLIS Vertical File; Countee Cullen-Harold Jackman memorial collection; Virginia Lacy Jones papers
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Rights
Information about rights held in and over the resource
Items in this collection are the property of the Robert W. Woodruff Library, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific identification number (file name).
Language
A language of the resource
en
Description
An account of the resource
<p>Prior to the gains made during the Civil Rights movement, library schools, like other educational institutions, were typically segregated based on race. Filling the void created when the Hampton Institute (now known as Hampton University) School of Library and Information Services closed in 1941, Atlanta University opened its own School of Library and Information Services. The program would later be known as the Clark Atlanta University School of Library and Information Studies when Atlanta University merged with Clark College in 1989. Though CAU’s School of Library and Information Studies closed its doors in 2005, the Archives Research Center (ARC) at the Atlanta University Center (AUC) Robert W. Woodruff Library houses several collections showcasing the contributions to the field of librarianship made by faculty and staff at the AUC as well as prominent black librarians outside the AUC. The first director of the AUC Robert W. Woodruff Library (and namesake of the library’s Exhibitions Hall), <a href="http://findingaids.auctr.edu/repositories/2/resources/66" target="_blank" rel="noopener">Virginia Lacy Jones</a> was the second African American to earn a doctorate in Library Science from the University of Chicago. Working alongside Jones at Atlanta University’s School of Library and Information Service was <a href="http://findingaids.auctr.edu/repositories/2/resources/141" target="_blank" rel="noopener">Hallie B. Brooks</a> who taught at AU for 47 years. Other prominent black librarians featured throughout ARC collections include: Dorothy Porter, who built Howard University’s Moorland-Spingarn Research Center into the world-class research institution it is today, Sadie Peterson Delaney, a pioneer in bibliotherapy who served as chief librarian of the Veterans Administration Hospital in Tuskegee, AL for 34 years, and Arna Wendell Bontemps, head librarian at Fisk University and noted Harlem Renaissance figure.</p>
<p>If you’d like to explore these collections further, contact the Archives Research Center at archives@auctr.edu to make an appointment, and stay tuned for our upcoming exhibit on the history of AUC’s library school.</p>
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
auc.115.0055
Title
A name given to the resource
Hallie Brooks, June 1969
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Date
A point or period of time associated with an event in the lifecycle of the resource
1969 June
Rights
Information about rights held in and over the resource
Items in this collection are the property of the Robert W. Woodruff Library, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific identification number (file name).
Type
The nature or genre of the resource
color photographs
Source
A related resource from which the described resource is derived
Virginia Lacy Jones Papers
Subject
The topic of the resource
African American librarians; African Americans--Education; African American universities and colleges; African American women
Language
A language of the resource
en
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Description
An account of the resource
Hallie Brooks sits at a table. Written on recto: Jun 69
-
https://glamportal.auctr.edu/files/original/7016ceec654f41d3e603f37e88cf06cd.jpg
42711c3a0902b8587cd56e54bd9765e7
https://glamportal.auctr.edu/files/original/e487fca17859f074e44a50c191d5ce4d.jpg
591a3cd2e519036e0c10a1f0fcf39ba7
https://glamportal.auctr.edu/files/original/b51fcfaef16aab6219ca531d261f59b7.jpg
fa1f4c969a8bb00170fad61795066657
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Librarianship
Subject
The topic of the resource
Academic librarians; African American librarians; African American woman librarians; American Library Association. Black Caucus; Librarians; Librarians--Societies, etc.; Library education; Women librarians;
Source
A related resource from which the described resource is derived
CAU SLIS Vertical File; Countee Cullen-Harold Jackman memorial collection; Virginia Lacy Jones papers
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Rights
Information about rights held in and over the resource
Items in this collection are the property of the Robert W. Woodruff Library, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific identification number (file name).
Language
A language of the resource
en
Description
An account of the resource
<p>Prior to the gains made during the Civil Rights movement, library schools, like other educational institutions, were typically segregated based on race. Filling the void created when the Hampton Institute (now known as Hampton University) School of Library and Information Services closed in 1941, Atlanta University opened its own School of Library and Information Services. The program would later be known as the Clark Atlanta University School of Library and Information Studies when Atlanta University merged with Clark College in 1989. Though CAU’s School of Library and Information Studies closed its doors in 2005, the Archives Research Center (ARC) at the Atlanta University Center (AUC) Robert W. Woodruff Library houses several collections showcasing the contributions to the field of librarianship made by faculty and staff at the AUC as well as prominent black librarians outside the AUC. The first director of the AUC Robert W. Woodruff Library (and namesake of the library’s Exhibitions Hall), <a href="http://findingaids.auctr.edu/repositories/2/resources/66" target="_blank" rel="noopener">Virginia Lacy Jones</a> was the second African American to earn a doctorate in Library Science from the University of Chicago. Working alongside Jones at Atlanta University’s School of Library and Information Service was <a href="http://findingaids.auctr.edu/repositories/2/resources/141" target="_blank" rel="noopener">Hallie B. Brooks</a> who taught at AU for 47 years. Other prominent black librarians featured throughout ARC collections include: Dorothy Porter, who built Howard University’s Moorland-Spingarn Research Center into the world-class research institution it is today, Sadie Peterson Delaney, a pioneer in bibliotherapy who served as chief librarian of the Veterans Administration Hospital in Tuskegee, AL for 34 years, and Arna Wendell Bontemps, head librarian at Fisk University and noted Harlem Renaissance figure.</p>
<p>If you’d like to explore these collections further, contact the Archives Research Center at archives@auctr.edu to make an appointment, and stay tuned for our upcoming exhibit on the history of AUC’s library school.</p>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
auc.115.0013_001
auc.115.0013_002
auc.115.0013_003
Title
A name given to the resource
Hampton Institute Library School Reunion Luncheon Program, 1977
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Date
A point or period of time associated with an event in the lifecycle of the resource
1977
Rights
Information about rights held in and over the resource
Items in this collection are the property of the Robert W. Woodruff Library, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific identification number (file name).
Type
The nature or genre of the resource
archival materials
Creator
An entity primarily responsible for making the resource
Jones, Virginia Lacy, 1912-1991
Source
A related resource from which the described resource is derived
Virginia Lacy Jones Papers
Subject
The topic of the resource
African American universities and colleges; African American librarians; African Americans--Education
Language
A language of the resource
en
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
-
https://glamportal.auctr.edu/files/original/85613222823db3e548ed723436985cf8.jpg
03f32b769800358d668f2b90e92f749c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Voter Education Project
Subject
The topic of the resource
African American women--Suffrage--History; Alabama; Arkansas; Atlanta (Ga.).; Bond, Julian, 1940-2015; Branton, Wiley Austin, 1923-1988; Brown, Ed; Civil rights--Georgia--Atlanta; Coleman, Clarence D.; Florida; Georgia; Jackson, Maynard Holbrook Jr., 1938-2003; Jones, Vivian Malone; Jordan, Vernon (Vernon Eulion), 1935-; Lewis, John, 1940 Feb. 21-; Louisiana; Marcus, Sherrill; Mississippi; North Carolina; South Carolina; Southern States; Suffrage; Suffrage--Southern States--History; Tennessee; Texas; Thompson, Geraldine; United States. Voting Rights Act of 1965; Virginia; Voter Education Project (Southern Regional Council)
Creator
An entity primarily responsible for making the resource
Voter Education Project (Southern Regional Council)
Source
A related resource from which the described resource is derived
Voter Education Project organizational records
Date
A point or period of time associated with an event in the lifecycle of the resource
1962-1992
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Rights
Information about rights held in and over the resource
All images in this collection either are protected by copyright or are the property of the Robert W. Woodruff Library of the Atlanta University Center, Inc., and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific object file name.
Language
A language of the resource
en
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hand That Drops the Ballot
Subject
The topic of the resource
Arkansas; Voter Education Project (Southern Regional Council)
Creator
An entity primarily responsible for making the resource
Voter Education Project (Southern Regional Council)
Source
A related resource from which the described resource is derived
Voter Education Project organizational records
Date
A point or period of time associated with an event in the lifecycle of the resource
undated
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Rights
Information about rights held in and over the resource
All images in this collection either are protected by copyright or are the property of the Robert W. Woodruff Library of the Atlanta University Center, Inc., and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific object file name.
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
en
Type
The nature or genre of the resource
Political posters
Identifier
An unambiguous reference to the resource within a given context
auc.076.hand_that_drops_the_ballot.undated.fly0001
-
https://glamportal.auctr.edu/files/original/05a6c4f3f0e253046ab709c40c999366.jpg
3984721aef55ef21ab0a47cef617ff6e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Voter Education Project
Subject
The topic of the resource
African American women--Suffrage--History; Alabama; Arkansas; Atlanta (Ga.).; Bond, Julian, 1940-2015; Branton, Wiley Austin, 1923-1988; Brown, Ed; Civil rights--Georgia--Atlanta; Coleman, Clarence D.; Florida; Georgia; Jackson, Maynard Holbrook Jr., 1938-2003; Jones, Vivian Malone; Jordan, Vernon (Vernon Eulion), 1935-; Lewis, John, 1940 Feb. 21-; Louisiana; Marcus, Sherrill; Mississippi; North Carolina; South Carolina; Southern States; Suffrage; Suffrage--Southern States--History; Tennessee; Texas; Thompson, Geraldine; United States. Voting Rights Act of 1965; Virginia; Voter Education Project (Southern Regional Council)
Creator
An entity primarily responsible for making the resource
Voter Education Project (Southern Regional Council)
Source
A related resource from which the described resource is derived
Voter Education Project organizational records
Date
A point or period of time associated with an event in the lifecycle of the resource
1962-1992
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Rights
Information about rights held in and over the resource
All images in this collection either are protected by copyright or are the property of the Robert W. Woodruff Library of the Atlanta University Center, Inc., and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific object file name.
Language
A language of the resource
en
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Handbill: Dr. Lucius H. Pitts
Subject
The topic of the resource
Pitts, Lucius H.; Voter Education Project (Southern Regional Council)
Creator
An entity primarily responsible for making the resource
Voter Education Project (Southern Regional Council)
Source
A related resource from which the described resource is derived
Voter Education Project organizational records
Date
A point or period of time associated with an event in the lifecycle of the resource
circa 1971
Contributor
An entity responsible for making contributions to the resource
Atlanta University Center Robert W. Woodruff Library
Rights
Information about rights held in and over the resource
All images in this collection either are protected by copyright or are the property of the Robert W. Woodruff Library of the Atlanta University Center, Inc., and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific object file name.
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
en
Type
The nature or genre of the resource
Handbills
Identifier
An unambiguous reference to the resource within a given context
auc.076.handbill_dr_lucius_h_pitts.19710000.fly0001