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TABLE OF CONTENTSInventory |
Guide to the Store Front Museum/Paul Robeson Theatre Records
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Descriptive Summary | ||
| Creator | Store Front Museum/Paul Robeson Theatre | |
| Title | Store Front Museum/Paul Robeson Theatre Records, | |
| Dates: | 1683-1995(Bulk 1969-1995) | |
| Abstract: | The Store Front Museum/Paul Robeson Theatre Records (8 boxes, 2 binders, 4.3 cubic feet, 1683-1995, bulk 1969-1995) document the day-to-day operations of this unique institution in South Jamaica dedicated to the promotion of African-American culture. The records document the institution’s collections, its diverse programs and special collections in the series: African-American Museum for Science and Technology (1 folder, 12 prints, 14 negatives, 1970-1989), African Festival (1 folder, 47 prints, 86 negatives, 17 transparencies, 1979, 1981, 1984-1989), Anti-Apartheid (1 folder, 1980-1986), Books and Exhibits, African-Americans in Queens 1683-1983 (20 folders, 1 print, 10 negatives, 82 transparencies), Collections (6 folders, 29 prints, 54 negatives, 1962-1993), Exhibitions (5 folders, 12 prints, 38 negatives, 54 transparencies), Save the Latimer House (4 folder, 48 photographs, 60 negatives, 1983-1995), and more. The records also document the institution’s fundraising efforts and its finances in the series: Fundraising, Private (1 folder, 1982-1988), New York City Department of Cultural Affairs (2 folders, 1982-1988), and Taxes (5 folders, 1972-1986). | |
| Extent: | 8 boxes, 2 binders, 4.3 cubic feet | |
| Identification: | S-29 | |
| Location: | The material is located in the Archives at Queens Library. | |
Historical/Biographical Note
Established in February 1971, Tom Lloyd’s Store Front Museum/Paul Robeson Theatre brought to Southeastern Queens and New York City an institution devoted solely to the promotion and dissemination of African-American culture. One of the first multi-dimensional art spaces devoted to this subject offering an assortment of art and history exhibitions, programs, performances, meeting place, workshops and seminars.
The gallery, an integral component to the mission of the space, featured at least two exhibitions a year of African-American artists and history, and African art and artifacts. In 1972 the museum held its first prominent exhibition “Paintings and Drawings by Richard Mayhew,” a collaborative project with The Metropolitan Museum of Art showing a variety of Richard Mayhew’s work from a number of New York City galleries. The exhibit would the first to garner the museum region wide exposure.
The museum continued to have exhibits but the success was not duplicated until the museum’s elaborate and acclaimed “Early Photographs and Documents of African-Americans in Queens County, New York,” in 1985. This exhibit stemmed from the major research project and book entitled A Study in Triumph: African-Americans in Queens County, New York 1683-1983 organized by Tom Lloyd and researched and written by Prof. James Rose. The project began in May 1983 with the formation of the Committee for a History of Blacks in Queens. Its role was to hire a researcher, coordinate the research, make recommendations and administer the publication of the book. Mr. Roderick Thurton was hired as the principal researcher and began the research but after a few months was replaced by the Queens College Professor James Rose. Along with an assistant researcher Cynthia Webb and his students, Prof. Rose culled area archives and libraries for information pertaining to African-Americans in Queens. The results of the research were a collection of copied documents (now part of this body of records), the book and the exhibit.
In conjunction with its exhibitions, the museum began to develop a permanent collection containing works of art, books, artifacts, photographs and documents. Included in the permanent collection was the afore mentioned Queens’ African-American material; a Ghanaian fishing canoe given to the museum by the Mystic Seaport Museum who received it from the government of Ghana; art by Romare Bearden; and the Daisy Jones Collection of Black Literature. Of the items from the permanent collection only the Ghanaian fishing canoe’s disposition is known. In 1993 the museum gave the canoe to the Smithsonian Institution.
In 1972 the institution opened the Paul Robeson Theatre, a 300 seat theater in which performing arts groups staged major productions.
Another integral program at the institution was the African Festival on the institution’s mall space. Began in 1971 the two-day festival included live performances and displays of arts and crafts by New York City organizations to promote the different cultures of Africa. For a number of years the festival was attended by thousands of people.
The institution was also host to a range of special programs and meetings “to accommodate activities that expand community awareness and promote civic betterment.” The programs included “a conference on the Juvenile Justice System; a workshop on Black Ancestry; a seminar on Housing, Education, Health and Job; A Child Care Symposium; a Sickle Cell Anemia Blood Drive; and meetings of local business groups and professional organizations.”
Ironically the institution, with its mission to enlighten and improve the communities of southeastern Queens, became a victim of New York City’s efforts to improve these same neighborhoods. In January 1985 the institution received an eviction notice for the expansion and renovation of York College. For the next year and a half, Mr. Lloyd administered the institution and attempted to find a viable space. On September 2, 1986, after fifteen years, the institution relocated to a temporary home at 195-45 Jamaica Avenue Hollis, New York. Mr. Lloyd did locate a suitable building at 165-20 Hillside Avenue and was in the midst of securing a long term lease from the city when in 1988 the Department of General Services, Division of Real Property denied his request and told him the city was going to sell the property. In 1988, after this long struggle the institution did not get the property and it was permanently closed.
However, Mr. Lloyd’s activism was undeterred when in the beginning of 1988 he and Rev. Dr. Timothy P. Mitchell of Ebenezer Baptist Church began the effort to save the Lewis Howard Latimer house at 137-53 Holly Avenue Flushing, New York.
Mr. Lloyd first heard of the house’s eminent destruction from William Asadorian, librarian from the Archives at Queens Borough Public Library. He and Rev. Mitchell with assistance from Queens Historical Society quickly formed The Committee to Save Latimer House, with those two as co-chairmen. During the first few months of 1988 the committee began soliciting support garnering a number of prominent advocates including Claire Shulman the Borough President of Queens. They even submitted an application to the Landmarks Preservation Commission to receive landmark status for the house.
Spring through Summer 1988 continued their successful campaign with only a minor temporary setback. On June 30, 1988 the committee and David Bros. Engineering Corp. signed a contract to move the house. But unfortunately in July the Landmarks Preservation Commission denied their request for landmark status. This did not deter the committee or its supporters, because in the next few months the committee received large donations from the General Electric Foundation, the developer who purchased the land and from the city to cover the cost of the move. Also during the summer the committee began a dialogue with Professor James H. Wyche, PhD of Brown University to create the African-American Museum of Science and Technology, eventually this endeavor petered out.
On December 13, 1988 the house was moved from Holly Street to Leavitt’s Athletic Field.
To solidify the committee articles of incorporation were drawn up to form the Lewis H. Latimer Fund, Inc., in 1989 and on April 21, 1990 they held its first significant event for the house called the “Celebration Luncheon.” However, during 1990 a rift between board members developed and in November Mr. Lloyd and others accused Queens Historical Society members of mishandling funds and solicited the investigative services of the New York State Department of Law’s Charities Bureau. No more information is contained in the records or the division’s material to document the outcome of these accusations.
In 1995, after years of lobbying and to the relief of many the Landmarks Preservation Commission designated the house a New York City Landmark.
In that same year Mr. Lloyd donated these papers to the library.
Sources:The information for some of the above paragraphs came from the article written by the museum, possibly Tom Lloyd “Store Front Museum/Paul Robeson Theatre A History” [1986] found in the records in the series “History.”
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Scope and Content Note
The Store Front Museum/Paul Robeson Theatre Records (8 boxes, 2 binders, 4.3 cubic feet, 1683-1995, bulk 1969-1995) document the day-to-day operations of this unique institution in South Jamaica dedicated to the promotion of African-American culture. The records document the institution’s collections, its diverse programs and special collections in the series: African-American Museum for Science and Technology (1 folder, 12 prints, 14 negatives, 1970-1989), African Festival (1 folder, 47 prints, 86 negatives, 17 transparencies, 1979, 1981, 1984-1989), Anti-Apartheid (1 folder, 1980-1986), Books and Exhibits, African-Americans in Queens 1683-1983 (20 folders, 1 print, 10 negatives, 82 transparencies), Collections (6 folders, 29 prints, 54 negatives, 1962-1993), Exhibitions (5 folders, 12 prints, 38 negatives, 54 transparencies), Save the Latimer House (4 folder, 48 photographs, 60 negatives, 1983-1995), and more. The records also document the institution’s fundraising efforts and its finances in the series: Fundraising, Private (1 folder, 1982-1988), New York City Department of Cultural Affairs (2 folders, 1982-1988), and Taxes (5 folders, 1972-1986).
The following is the description of the series’ and their sub divisions’ contents that cannot be discerned from the inventory and not all of them are described. Therefore the scope and content note and the inventory must be used for a complete accounting of the records. Each series may contain a number of sub series, sub sub series, etc. all of which are arranged in alphabetical order. However the contents of every folder are arranged in chronological order. Each folder may contain a variety of documents in the form of clippings, correspondence, reports, financial documents, etc.
The African-American Museum for Science and Technology (1 folder, 12 prints, 14 negatives, 1970-1989) series documents Tom Lloyd, Dr. James H. Wyche, Associate Dean Biology and Medicine, Brown University, Dr. Winston A. Anderson, Professor of Zoology, Howard University and the pastor of Ebenezer Baptist Church Rev. Dr. Timothy P. Mitchell’s efforts to convert the newly saved and preserved Lewis H. Latimer House into a museum dedicated to African-American science and technology. Included are correspondence and a proposal from Dr. Wyche and Dr. Anderson regarding their idea for the museum. Also included are notes regarding meetings held by the group discussing this project. The images from this series are of the group in a meeting held in Tom Lloyd’s backyard in Mastic Beach on August 20, 1988.
The African Festival (1 folder, 47 prints, 86 negatives, 17 transparencies, 1979, 1981, 1984-1989) series documents the institution’s annual festival in the form of financial documents and photographs. The series contains the budgets, fundraising efforts and activity and performers lists, from 1984-1989. The images are from the 1981 African Festival and depict the audience and performers.
The Anti-Apartheid (1 folder, 1980-1986) series documents Queens’ response to South Africa’s Apartheid laws in the form of meeting and rally material from the Queens Citizens Against Apartheid and Queens African Americans Against Apartheid. Also contained in the series are clippings and publications about apartheid and the United States’ anti-apartheid movement.
The largest series Books and Exhibits, African-Americans in Queens 1683-1983 (18 folders, 1 print, 10 negatives, 82 transparencies), documents the institution’s efforts to produce an exhibit and book on this topic. It contains the administrative paperwork for the book and the research material used to produce the book and exhibit. The Administrative Paperwork (2 folders, 1983-1987) and Manuscript, Drafts (3 folders, 1985) provide information about how the institution hired researchers, raised financial support, communicated with interested participants, obtained a printer and conducted the research. The Research Material (13 folders, [16??]-[19??]), divided by subject, contains photocopies of material from area archives, particularly the Archives at Queens Library, of African-American’s experiences in Queens. This is some of the material that was used for creating the exhibit and book.
The Collections (6 folders, 29 prints, 54 negatives, 1962-1993) series contains the administrative paperwork and actual items from the few collections that were permanent to the institution. Only two sub series the Ghanaian Fishing Canoe (1 folder, 29 prints, 54 negatives, 1962-1993) and Racial Stereotypes (1 folder, 24 images, 1984) contain information about their final disposition. The Ghanaian Fishing Canoe sub series documents how the museum obtained the boat, its display, storage after the museum closed and final disposition with the Smithsonian Institution in the form of clippings, correspondence and images. The Racial Stereotypes collection contains original advertisements, postcards, objects and prints of racist stereotypes of African-Americans.
The Exhibitions (5 folders, 12 prints, 38 negatives, 54 transparencies) series documents some of the museum’s exhibits in the form of clippings, press releases, images of the exhibitions and invitations.
The series Letters of Political Support (1 folder, 1979-1987), Letters to Politicians (1 folder, 1984-1988), New York City Department of General Services, Division of Real Property (1 folder, 1986-1988), New York City Department of Housing Preservation and Development (1 folder, 1985-1986), New York State Council on the Arts (2 folders, 1985-1986), and New York State Office of Parks Recreation and Historic Preservation (1 folder, 1986-1987) document Mr. Lloyd’s efforts to save the museum by garnering support from government agencies and politicians to prevent the vacate order and then to find a suitable replacement site.
The sub series Unidentified Programs (17 negatives, [197?]) in the series Programs and Workshops (1 folder, 1 print, 17 negatives, [197?], 1977, 1981) contains images of audiences, dance workshops, karate classes, exercise classes and speakers including one of Jesse Jackson sometime in the 1970s.
The Protest Letters (3 folders, 1977-1986) series detail the institution’s efforts to advocate for its issues with politicians and government agencies. The Artists Housing Program and Art in Public Spaces (1 folder, 1983-1986) sub series contains correspondence to and from the institution, government agencies, and politicians about providing affordable housing in the Jamaica area for artists and to have more African-American artists’ works in the new Federal Social Security building on Parsons Boulevard and Jamaica Avenue. The next two sub series Borough President Claire Shulman (1 folder, 1987) and New York State Council on the Arts (1 folder, 1977-1986) contain correspondence and clippings to and from the institution, government agencies and politicians regarding the institution’s claim that the city was under-funding and representing of African-American artists in Queens.
The Relocation (3 folders, 1971-1989) series contains correspondence and clippings documenting the institution’s 13 year effort to find a suitable home. A minority of the records document its proposal to move to St. Monica’s Church, 1976-1979. The majority of the records document the museum’s eviction from their space at 162-02/06 Liberty Avenue; and Mr. Lloyd’s efforts to save the space and then find a suitable location, 1984-1989.
The Save the Latimer House (4 folder, 48 prints, 60 negatives, 1983-1995) series documents Tom Lloyd, Rev. Dr. Timothy P. Mitchell Pastor Ebenezer Baptist Church, Winifred Latimer Norman and the Queens Historical Society’s efforts to save the Lewis H. Latimer home by moving it from 137-53 Holly Avenue to Leavitt’s Athletic Field in Flushing. The clippings and correspondence from 1983- April 1988 document the group’s efforts to garner support for the house, research into Mr. Latimer, research into how to move houses and efforts and application to obtain New York City Landmark status for the house. The correspondence, clippings, meeting notes and press releases from May 1988 – December 1988 document the group’s continuing efforts to garner financial and political support for the house, the Landmarks Preservation Commission’s rejection of their application, the hiring of an house mover and the successful move of the house. The 1989-1990 correspondence, clippings and meeting notes document the incorporation of the not-for-profit The Lewis H. Latimer Fund, Inc and the subsequent conflict between members of the board. The series only contains a few documents relating to the conflict. The series ends in 1995 with the Landmarks Preservation Commission’s designation report for the house. The images in this series are from December 13, 1988 the day of the house move and include images of the house being moved; Claire Shulman, Borough President of Queens; Harrison Golden, New York City Comptroller; Rev. Dr. Timothy P. Mitchell, Ebenezer Baptist Church; and Tom Lloyd, Director Store Front Museum.
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Arrangement
The following is the description of the series’ and their sub divisions’ contents that cannot be discerned from the inventory and not all of them are described. Therefore the scope and content note and the inventory must be used for a complete accounting of the records. Each series may contain a number of sub series, sub sub series, etc. all of which are arranged in alphabetical order. However the contents of every folder are arranged in chronological order. Each folder may contain a variety of documents in the form of clippings, correspondence, reports, financial documents, etc.
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Administrative Information
Preferred Citation
Published citations should take the following form:
Creator of item, date of item (if known), identification of item, if a photograph its control number. The Store Front Museum/Paul Robeson Theatre Records, Archives at Queens Library, Queens Borough Public Library
Provenance
The records were donated to the division by the organization's director Thomas Lloyd
Access Restrictions
Open for research without restrictions. Manuscripts are only available in the Archives at Queens Library, please call (718) 990-0770 for hours. Manuscript users will be required to complete the division's Manuscript Usage Form and show their photograph identification or Queens Borough Public Library card. The identification will be returned to the user after she/he has returned the material. Manuscript users will deposit all their personal items behind the reference desk. Manuscript users must use the division's loose sheets of paper for note taking. To reiterate, no pen of any type is permitted. Paper and a pencil are available upon request. Manuscript users may be required to use special handling procedures depending on the conditions of the material.
Use Restrictions
Permission to publish materials must be obtained in writing from the:
- Archives at Queens Library
- Queens Borough Public Library
- 89-11 Merrick Boulevard
- Jamaica, NY 11432
- Phone: (718) 990-0770.
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Access Points
Subject Names:
- Lloyd, Thomas
Subject Organizations:
- Store Front Museum/Paul Robeson Theatre
Subject Topics:
- African Americans
- Museums
Subject Places:
- South Jamaica (New York, N.Y.)
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Inventory
[The following section contains a detailed listing of the materials in the collection.]
