Images

William A. Rosenthall Judaica Collection - Prints and Photographs

Image appearing on the cover of the "Oh Fatherland Dearest" sheet music

Rabbi William A. Rosenthall's collection of Judaica prints and photographs. These images document the Jewish people: their lives, history, religious ceremonies, dress, and customs. Also included are Jewish New Year cards, caricatures, and clippings from Jewish journals and publications. Rosenthall was the rabbi at Charleston's Kahal Kadosh Beth Elohim Synagogue from 1976 to 1992. He traveled extensively during his life and collected items related to Jewish life and culture.

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The South Carolina & West Indian Exposition Photo Passbook, 1901 - 1902

Photobook of patrons at the SC Inter-State and West Indian Exposition, 1901-1902

The photos in this collection were taken as part of a season pass that patrons could purchase for unlimited admission to the South Carolina Inter-State and West Indian Exposition, held in Charleston in 1901 and 1902. Each individual’s photo was mounted in a passbook kept by the patron and a duplicate photo was mounted in an album kept by the Director of the Departments of Admissions and Collections, Hugh James Fleming (whose image is on page 34, number 297). The album contains images of 1,326 people, of whom 1,213 are identified by a caption presumably made at the time the photograph was taken. The total number of season pass photos taken for the Exposition is unknown, but similar photos beyond the present collection are known to survive in extant individual Exposition pass books. Mr. Fleming donated this photographic album in 1948 to the Charleston Free Library (now called the Charleston County Public Library). The letter regarding its provenance and donation to the library has been included as the final image in this collection (number 157). Since the paper on which the gelatin silver photographs are mounted is extremely brittle and in a state of deterioration, the album was disbound several years prior to its digitization in order to facilitate its preservation.

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The Lucille Hasell Culp Collection - A Celebration of Beaufort, South Carolina

Black and white photo of the Garden's Corner Motel and Restaurant sign

“The Lucille Hasell Culp Collection - A Celebration of Beaufort, South Carolina” contains a selection of 300 images, primarily photographic negatives, from the much larger Lucille Hasell Culp Collection. Here one finds selected images of enduring historical value to Beaufort, such as those relating to community and military events, built structures that are no longer extant or greatly altered, iconic architecture, commercial activities, natural vistas, and daily life, 1941 – 1999. Most of the images were taken in the immediate area of the City of Beaufort, S. C. during from the 1940s, 1950s, and 1960s.

Lucille Hasell Culp was born on September 30, 1921 in Denver, Colorado, a daughter of Andrew George Hasell and Hazel Frances Middleton Hasell. Culp moved to Beaufort with her family in 1933 to help on the Old Oak Plantation farm of her recently widowed aunt, Nellie Hasell Fripp. Culp purchased the Palmetto Studios in 1941 from Samuel Kosiner. In 1948 she married her second husband, William “Bill” Culp who helped her run the business until his death in 1975 at age 52. She continued to work out of 809 Bay Street for another 16 years, closing the studio in 1981.

When the Bay Street studio closed, Culp relocated her vast archive of negatives to her modest home on Ribaut Road. Because of the degradation caused by the variable environmental conditions of the South Carolina lowcountry, some of the materials initially given to the Library ultimately had to be destroyed. The bulk of the images chosen for this digital collection were retrieved from her home. Unfortunately, some images display the irreversible ravages of long-term storage in non-archival conditions.

Culp died on August 8, 2007 in Charleston, SC. Culp was survived by three nieces, Frances Hasell Haselden, Barbara Hasell Bradley, and Bonnie Hasell Antonucci and stepdaughter, Pamela Culp Rodriguez. A biographical sketch of Culp entitled “A View Through a Fine Lens” is a chapter in Remembering the Way It Was at Beaufort, Sheldon and the Sea Islands (History Press, 2006) by Fran Heyward Marscher. The Beaufort County Library was awarded SC SHRAB (South Carolina State Historical Records Advisory Board) grants to fund the services of photographic archivist, Celeste Wiley, to perform the initial survey, arrangement, and preservation plan on the Lucille Hasell Culp Collection in 2008 – 2009. The preliminary Finding Aid to the Lucille Hasell Culp Papers is found on the Beaufort District Collection web page.

Provenance: Donated by Frances Hasell Haselden in 2007 on behalf of her aunt, Lucille Hasell Culp, by power of attorney to the Beaufort District Collection of the Beaufort County Library; additional materials from the Estate of Lucille Hasell Culp were received in 2008 and 2009. Copyright: Copyright of all items within the Lucille Hasell Culp Papers has been transferred to the Beaufort County Library.

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The Joseph Mordecai Hirschmann Collection

Watercolor painting of a harbor in Portofino, Italy, 1927

A Charlestonian who attended both the College of Charleston and the School of Architecture of the University of Pennsylvania, Joseph Mordecai Hirschmann practiced architecture with the New York firm of Walker and Gillette. His architectural training induced a special interest in old world buildings, and on his European holidays in 1924 and 1927 he made numerous sketches in watercolor, conte and pencil of buildings and ruins in Italy, France and North Africa. In addition to those sketches, this collection also includes numerous renderings of architectural details observed during those travels.

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Septima P. Clark Papers, ca. 1910-ca. 1990

Septima P. Clark's 1964 black and white passport photo.

This collection contains material relating to the life and work of Septima P. Clark. The biographical papers include tributes, clippings, certificates, awards, family correspondence and transcripts of various oral history interviews in which Clark discusses her parents; husband; growing up and race relations in Charleston, South Carolina; her work in Citizenship Schools; her work at the Southern Christian Leadership Conference, and in the civil rights movement with people like Dr. Martin Luther King, Jr., Rosa Parks, Stokely Carmichael, Dorothy Cotton, Ella Baker, Jesse Jackson, Andrew Young, Hosea Williams, Ralph David Abernathy and others. There are a few references to the Charleston South Carolina Hospital Worker's strike in 1969. A series on her works includes a photocopy of her autobiography Echo in My Soul, with related papers; various versions of talks and essays on civil rights, race and racism, non-violence, God and religion, American youth, tributes to individuals and other topics.

Her correspondence includes numerous local and state black and white politicians; a partial letter to Ella Gerber regarding Porgy and Bess, a significant series of letters with writer Josephine Carson (Rider), and from Spelman College professor Vincent Harding, with some of his articles. Presidential materials include a photocopy of a Jimmy Carter letter; a letter from Gerald Ford; and an invitation to inauguration of Richard Nixon and Spiro Agnew.

A series documenting her affiliations begins with a her association with Charleston schools, and contains correspondence regarding losing of her job in 1956 as a teacher for being a member of the NAACP; her service (1975-1978) on the Charleston County School Board; and other connections with various educational endeavors. The series also includes papers regarding her association with the Highlander Folk Center; papers regarding her work with the Southern Christian Leadership Conference, with material on Dr. Martin Luther King, Jr.; papers regarding the Penn Community Center and Clark's relationship with it; publications, program materials and correspondence regarding Alpha Kappa Alpha Sorority and local Charleston Chapter, Gamma Xi Omega; materials regarding various women's groups with which she was affiliated; materials regarding various civil rights, African American and political groups and causes for which she worked; a list of grievances regarding the Charleston Hospital Worker's strike, brochures from various African American political campaigns, groups to free jailed African Americans; the US Commission on Civil Rights, State Advisory Committee of SC; Neighborhood Legal Assistance and other similar groups.

Her church papers include materials regarding Old Bethel Methodist Church, Charleston, SC, and other various Methodist groups, and her papers documenting her relationship with arts groups contain a nearly complete script of Sea Island Song by Alice Childress. Other materials documenting Clark's association with social, health care and literary-related agencies include papers regarding the Septima Clark Day Care Center, and papers dealing with the handicapped. Her relationships with various schools cover institutions such as College Seven, University of California-Santa Cruz, Benedict College and Hampton University, including student papers submitted at Hampton regarding Saxon Elementary School, Columbia, SC, and materials documenting unrest at Allen University, Columbia, SC, and at Voorhees College, Denmark, SC. Photographs show Septima Clark, Poinsette and Clark family members, various functions, programs and events participated in by Clark and the Southern Christian Leadership Conference, including teaching programs at various spots and the Charleston Hospital Workers' strike.

This collection was digitized and made freely accessible online through the generous support of the National Historical Publications & Records Commission

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SCDOT Photographs - Properties in the Right-of-Way

Black and white photo from 1967 featuring the Little Italy restaurant.

This collection from Historic Charleston Foundation consists of B&W photographs of buildings and other properties located in Charleston County that were destroyed, relocated, or otherwise modified because they were in the right-of-way of where roads were being constructed or widened. Building and dwelling types include houses, apartment buildings, freedman’s cottages, mobile homes, commercial and industrial buildings, churches, schools, gas stations, restaurants, grocery stores and corner markets, garages, sheds, outhouses, and other outbuildings.
 

Roads include Interstate 26 (I-26), Route 171 (Folly Road/St. Andrews Boulevard), Route 17 (a portion of which is known as Savannah Highway), State Road 894 (Azalea Drive), State Road 31 (Reynolds Avenue), and State Road 13 (Remount Road). It is notable that some photographs in the U.S. Route 17 and I-26 groups show the area affected by the construction of the Crosstown and the Silas Pearman Bridge (a/k/a Cooper River Bridge).
 

Many photographs depict Charleston County street scenes in the 1960s, showing people and pedestrians, cars, billboards, signage for businesses (including gas prices), etc., as well as the architectural styles of commercial buildings and residences throughout the county.  Additionally, residents of several dwellings appear in many of the photographs.
 

Only a portion of specific addresses and/or locations are identified. However, each photograph contains the name of the property owner which may be useful in a keyword search of the collection. Addresses may also be determined by looking up the property owner’s name in city directories, but note that the property owner and resident may not be the same person. There may be multiple views of the same structure, which will be evident by comparing the property owner’s name, tract number, and station notes. Of note, addresses have been identified for the buildings and properties affected by the construction of both the Crosstown (U.S. Route 17) and I-26 in the area located within Charleston city limits in the upper part of the peninsula). Those addresses were determined by the 1951 Sanborn Map of Charleston, volumes 1 and 2.
 

Some photographs are marked in ink showing the area to be affected by the right-of-way. Most photographs also feature SC Department of Transportation surveyors indicating the location and direction of the future roadway by their stance or by their use of surveying range poles.
 

The collection is organized by road, then by docket number, within which most are either in chronological order or organized by tract number. The reverse side (verso) of each photo includes Docket (Dkt.) number, Route, County, Property Owner, Tract, Station, and Date. (See below for explanation.) Many also have a brief surveyor’s note related to the right-of-way status. Samples of the reverse side of photos are also included. Original photographs are 5" x 7".

 

The following is a brief guide to understanding the station description:

  • +: Plus sign
  • ±: Plus or minus
  • Rt: Right side of the road
  • Lt: Left side of the road
  • CL: Center line of the road
  • R/W: Right-of-way
  • S.B.: Southbound
  • N.B.: Northbound
  • ∆: Triangular area of land or a median

The stationing of roads is done in survey feet, not inches. Surveyors use feet, tenths, and hundredths of a foot. For example, the beginning of a road would be 0+00 (zero feet) and for every 100 feet, the number increases to 1+00, 2+00, etc. Therefore, if a station is 42+00 Rt, it is 4,200 ft. from the beginning of the road on the right side. (Note that right and left are related to the stations as they increase.) The beginning stations are usually at the start of a subdivision or at the “T-intersection” of roads. (Explanations provided by Roy T. Adams, Surveyor, SC Dept. of Transportation.)

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Samuel Lord Hyde Photographs

Photo of two headstones - John Frierson and Rachel Frierson

Samuel Hyde was a photographer and amateur historian who lived in Charleston and in Summerville, S.C. He was the "chief cemetery investigator" for the South Carolina Public Service Authority during the creation of Lake Moultrie. This collection contains 2 groups of his photographs - 25 prints from the South Carolina Inter-State and West Indian Exposition taken in 1901-1902 when Hyde was a teenager., and approximately 100 images taken in 1939 in the area of Lake Moultrie during its construction.

 

The photographs of the Exposition depict buildings designed by Bradford Gilbert, a New York architect, and sculptures created by Louis C. Gudebrod, Charles Lopez, Carl Tefft, and Elsie Ward. The buildings in the photographs were located in present-day Hampton Park, and were temporary, made with wood frames covered with stucco and plaster mixed with jute. These buildings were destroyed after the Exposition.

 

The photographs from the vicinity of Lake Moultrie were taken in 1939 when Hyde was charged with cataloging and researching the graves that were moved prior to the lake's creation.. The subjects of these photographs include cabins, churches, cemeteries, the Santee Canal, and the construction of Lake Moultrie. At least ten different cabins appear to be represented, and they seem to contain one or two rooms. Some have clay chimneys and clapboard roofs. During construction of the lake, approximately 500 black families were relocated. It is likely that these cabins were located in the area now covered by Lake Moultrie.

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Roy S. MacElwee Collection

Black and white photo of a waterfront drive in Chicago, IL

Roy S. MacElwee was a planner who specialized in port development. He created a plan for the waterfront of Charleston in 1929. This collection is an oversized scrapbook of photographs and clippings about the design of waterfronts for cities worldwide. It includes 20 professionally made 8x10 photographs and several dozen pages of clippings, and an article on his plan for Charleston. Though most of the land was eventually reclaimed, no grand boulevard extends north of the Ashley River bridge today and MacElwee's vision of building "one of the most famous water front driveways in the world" was never realized.

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