a photograph of barbers and customers in a barbershop in New Orleans, LA by photographer Leonard Freed. The photo looks down between two rows of barber chairs and depicts several young barbers standing at their charis. Most of the barbers are men but to the right of the center of the photo stands a young woman in a barber jacket. The date and place the photo was taken are inscribed on the back along with the photographer's stamp.
Rev. Solomon Sir Jones was a Baptist minister, businessman, and amateur filmmaker. This collection of home movies by Jones documents African American communities in Oklahoma between 1924 and 1928, depicting residents at work and in their homes, as well as activities at local schools, businesses, and churches. Community social events such as parades and funerals are prominently featured.
A 16mm silent, black and white film (a) with original plastic film reel (b) and original metal film can (c) featuring footage taken in Oklahoma during the middle and late 1920s by Solomon Sir Jones, the fourth in a collection of nine films.
Inscribed on the outside of the canister in black ink is [#4 / See List]. Handwritten inscriptions on three white adhesive labels read: [Naomi's Father Pictures / Jones], [Country Baptism 4], and [Big City - Dallas? / STC RES], partially illegible. On the center of the can are remnants of a green and white label on top of an imprinted design.
The film begins with shots of portraits of two young men. The next scene shows a street with houses and a smoke stack in the background. A sign in a window advertises a large group baptism and moving picture, perhaps meaning that S.S. Jones will be filming the baptism. The next scene shows a long procession of the people who will be attending and participating in the baptism. Those that will be baptized are wearing white clothing. The scene after the procession shows a church and some men in uniform standing in a line in the street. There is more footage of a different church in a rural area. There is another processing from the door of the church with those attending and participating in the baptism. Similar to the earlier procession, the crowd walks directly in front of the camera. The next scene shows the people standing on the shore of a small pond. Those that are to be baptized are led out into the water and are baptized by one of the three priests standing in the water. The footage then shows a commercial storefront of a grocery and meat market and store employees bringing products out in front of the store. The footage includes storefronts, signs, and employees for several other businesses: real estate, undertaker and embalmer, barber shop, laundry, and a delicatessen. The next scene shows people leaving a church afar a funeral service. The casket is carried out followed by a large crowd from the church. The footage of the funeral includes the graveside service and the casket being lowered into the ground. The last scene briefly shows a large house with a stone wall.
This image depicts a man standing in a barbershop, surrounded by the tools of the trade. He stands with his left foot on the floor and his right foot propped up on the footrest of the empty barber chair next to him. His left hand rests on the arm of the chair, while his right hand rests on the counter to his right. The counter is cluttered with bottles, lotions, electrical cords, and a pair of glasses. The man, wearing a white short sleeve shirt, dark trousers and lace-up leather shoes, is reflected in the wide mirror over the counter. He gazes slightly to the right of the camera. In the background is a couch, an empty coat rack and a wall clock.
A black and white photograph of Johnny Gator's barbershop. The photograph features Pete Boyd and Johnny Gator cutting patrons' hair. In the foreground a young is seated in a barber's chair receiving a haircut from a man in a printed shirt. In the background another man is seated receiving a haircut from a man with a light colored shirt. Both barbers have their proper left hands on the foreheads of the patrons, while their proper right hands work the clippers. A woman and young girl stand behind the chair furthest from the camera in a corner of the room. The wall to their immediate left is mostly covered in mirrors and barber supplies. The back of the photograph has a barcode sticker that contains a file name, credit line, and caption as well as a yellow sticker at center.
A black and white photograph of Jerry Sumpter and barber Clarence Williams inside Crystal Barber Shop and Billiard Parlor. The shop interior, owned by William "Woogie" Harris, is lined with windows and barber chairs. Sumpter sits in one of the chairs, while Williams stands and rests his proper right arm against the back of the chair. The bottom right corner of the image has an inscription that reads: . The back of the photograph is blank.
The Springfield Race Riot took place August 14-16, 1908 when a mob of thousands of white Americans and European immigrants who, incensed over two reported assaults on white women by black men, carried out a series of violent attacks against the African American community in Springfield, Illinois. The mob destroyed homes, black-owned businesses, and the businesses of whites who appeared too sympathetic to African Americans. The state militia was called in an attempt to maintain order, and at least nine black residents died. The victims included Scott Burton, an African American barber who attempted to defend his home, and William Donnegan, an 84-year-old cobbler who was married to a white woman. Both men were lynched. The violent race riot in a Northern city was a catalyst for the formation of the National Association for the Advancement of Colored People (NAACP) in early 1909.
This black, rectangular photograph album contains sepia-toned black and white photographs depicting the aftermath of the Springfield Illinois race riot, with hand-drawn illustrations and captions.
Gilt lettering on the front of the album reads [Photographs]. The album consists of 30 black paper leaves; the first two leaves consist of the illustrated title and dedication pages. The title page reads [IN THE WAKE / OF THE MOB / An Illustrated / Story of / Riot Ruin / and Rage] in decorative, hand-lettering set in ornate decorative detailing, all in white album ink. The white ink of the title page has partially transferred to the inside cover opposite. The dedication page reads [Fondly / dedicated / To / Madolin / 1909] in decorative hand-lettering. The remaining twenty-eight black leaves each have one or two photographs mounted on the front, surrounded by ornate hand drawn illustrations and hand-lettered manuscript captions in white album pen. Some of these illustrations are geometric designs, others are floral and vegetative. Most of the photo images are also captioned in the negative in white text.
The scenes depicted in the photographs include damages caused to neighborhoods, homes, and businesses during the riot, including barber shops, saloons, Fishman's pawnshop, and the Star Theatre. The photograph depicting the damaged interior of a shop has a caption reading [Interior Fishman's Pawn Shop. Wrecked by Mob for alleged sympathy with Negros.].There are also scenes of people dealing with the aftermath, including a man salvaging belongings outside his burnt home and another of several individuals outside of damaged homes with a caption reading [Negro Man and Woman eating dry bread for breakfast!]. Several photographs depict the sites of lynchings. One photograph of the exterior of a damaged, two story building with the remains of a burned tree in front has a caption that reads, [Saloon Wrecked and Partly Burned / Tree on which Negro was hanged].
On the back cover of the album is a small rectangular label reading [HOUSH ALBUM / MORG 710 1/230 / BLACK LEAVES / The House Co., Makers Boston].