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He died at the age of forty-seven in London. \u003c/p\u003e\n","\u003cp\u003e\u003cemph\u003eResources \u003c/emph\u003e\u003c/p\u003e\n","\u003cp\u003e\"Leech, John.\"\u003ccorpname\u003e Benezit Dictionary of Artist\u003c/corpname\u003es. 31 Oct. 2011; Accessed 11 Jul. 2025. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00106434. \u003c/p\u003e\n","\u003cp\u003e\"John Leech.\" \u003ccorpname\u003eEncyclopedia Britannica\u003c/corpname\u003e, revised March 21, 2024.  https://www.britannica.com/biography/John-Leech. \u003c/p\u003e\n","\u003cp\u003e\"John Leech.\"\u003ccorpname\u003eLambiek Comiclopedia\u003c/corpname\u003e. Lambiek, revised October 6,  2024. https://www.lambiek.net/artists/l/leech_john.htm. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["John Leech  ( 1817–1864 )  was an English caricaturist known for his contributions to  Punch   the weekly humor and satire magazine, as well as the first illustrator of  Charles Dickens ' 1843 novella  A Christmas Carol .  Leech was born in London in 1817, the son of the landlord of the London Coffee House on Ludgate Hill. He  studied at Charterhouse School, where he met his life-long friend, the novelist, William Makepeace Thackeray.  He continued his studies of medicine, at the age of sixteen, at St. Bartholomew's Hospital, before leaving his studies to pursue an artistic profession. His first publication was 'Etchings and Sketchings, By A Pen, Esq.' (1835) and he joined Punch in 1841, regularly contributing to the magazine until his death. His illustrations included political cartoons, social caricature, scenes of everyday life and sporting works. Aside from Punch, he contributed to many other illustrated periodicals including  The New Monthly Magazine , T he Illuminated Magazine ,  The Illustrated London News  and  The Field . He died at the age of forty-seven in London. ","Resources ","\"Leech, John.\"  Benezit Dictionary of Artist s. 31 Oct. 2011; Accessed 11 Jul. 2025. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00106434. ","\"John Leech.\"  Encyclopedia Britannica , revised March 21, 2024.  https://www.britannica.com/biography/John-Leech. ","\"John Leech.\" Lambiek Comiclopedia . Lambiek, revised October 6,  2024. https://www.lambiek.net/artists/l/leech_john.htm. "],"prefercite_html_tesm":["\u003cp\u003eMSS 16912, John Leech watercolors, Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16912, John Leech watercolors, Small Special Collections Library, University of Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eLeech's caricatures relate to the Lea Iselin Collection of Humor at the University of Virginia.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Leech's caricatures relate to the Lea Iselin Collection of Humor at the University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains eight original pen, ink, and watercolor sketches with initials by the English caricaturist John Leech (1816-1864). Illustrated roughly around 1840, each illustration depicts his observations of daily British life of the lower and middle classes: on the street, in taverns, and at home. All contain captions related to the image, and some have titles in addition to their caption. These titles include \"A Speculation,\" \"On the Boulevards,\" \"A Toothless Trio,\" \"A Learned Trio,\"  and \"The Moustache Movement.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains eight original pen, ink, and watercolor sketches with initials by the English caricaturist John Leech (1816-1864). Illustrated roughly around 1840, each illustration depicts his observations of daily British life of the lower and middle classes: on the street, in taverns, and at home. All contain captions related to the image, and some have titles in addition to their caption. These titles include \"A Speculation,\" \"On the Boulevards,\" \"A Toothless Trio,\" \"A Learned Trio,\"  and \"The Moustache Movement.\""],"names_ssim":["Albert and Shirley Small Special Collections Library","Punch ","The New Monthly Magazine","he Illuminated Magazine","The Illustrated London News","The Field"," Benezit Dictionary of Artist","Encyclopedia Britannica","Lambiek Comiclopedia","Leech, John, 1817-1864","John Leech","Charles Dickens"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Punch ","The New Monthly Magazine","he Illuminated Magazine","The Illustrated London News","The Field"," Benezit Dictionary of Artist","Encyclopedia Britannica","Lambiek Comiclopedia"],"persname_ssim":["Leech, John, 1817-1864","John Leech","Charles Dickens"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:51:44.846Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1798"}},{"id":"viu_repositories_3_resources_888","type":"collection","attributes":{"title":"Louis-Jacques Gossier drawing for the Encyclopédie","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_888#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe Louis-Jacques Gossier drawing for the Encyclopédie (circa 1769; 0.08 cubic foot) documents a rare original drawing for an illustration in the Encyclopédie by its most important and prolific draughtsman. This is the original for the workshop scene, the top section of \"Hongroyeur,\" pl. III. In the engraving the plate has the legend, \"Hongroyeur, l'Operation de mettre au Suif et Plan de l'Eture. (Tanner of Hungarian Leather, Operation of Tallowing and Plan of the Drying Room). Collection also contains three leaves of accompanying text and three leaves of printed images.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_888#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_888","ead_ssi":"viu_repositories_3_resources_888","_root_":"viu_repositories_3_resources_888","_nest_parent_":"viu_repositories_3_resources_888","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_888.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/109323","title_filing_ssi":"Gossier, Louis-Jacques, drawing for the Encyclopédie","title_ssm":["Louis-Jacques Gossier drawing for the Encyclopédie"],"title_tesim":["Louis-Jacques Gossier drawing for the Encyclopédie"],"unitdate_ssm":["circa 1769"],"unitdate_inclusive_ssm":["circa 1769"],"level_ssm":["collection"],"level_ssim":["Item","Collection"],"unitid_ssm":["MSS 16429","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/888"],"text":["MSS 16429","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/888","Louis-Jacques Gossier drawing for the Encyclopédie","drawings (visual works)","The collection is open for research use.","Louis-Jacques Goussier (1722-1799) was the first artist hired to work on the Encyclopédie in 1747, contributing seventy articles and the original drawings for nine-hundred plates. Goussier also directed draughtsmen working on other plates.","Source: Materials in collection.","The Louis-Jacques Gossier drawing for the Encyclopédie (circa 1769; 0.08 cubic foot) documents a rare original drawing for an illustration in the Encyclopédie by its most important and prolific draughtsman.  This is the original for the workshop scene, the top section of \"Hongroyeur,\" pl. III.  In the engraving the plate has the legend, \"Hongroyeur, l'Operation de mettre au Suif et Plan de l'Eture.  (Tanner of Hungarian Leather, Operation of Tallowing and Plan of the Drying Room). Collection also contains three leaves of accompanying text and three leaves of printed images.","Albert and Shirley Small Special Collections Library","Materials are in French."],"unitid_tesim":["MSS 16429","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/888"],"normalized_title_ssm":["Louis-Jacques Gossier drawing for the Encyclopédie"],"collection_title_tesim":["Louis-Jacques Gossier drawing for the Encyclopédie"],"collection_ssim":["Louis-Jacques Gossier drawing for the Encyclopédie"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["2019-0177, purchased 25 March 2019, Kerchof Library Fund, 2018/2019."],"access_subjects_ssim":["drawings (visual works)"],"access_subjects_ssm":["drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["0.08 Cubic Feet 1 os folder"],"extent_tesim":["0.08 Cubic Feet 1 os folder"],"genreform_ssim":["drawings (visual works)"],"date_range_isim":[1760,1761,1762,1763,1764,1765,1766,1767,1768,1769],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eLouis-Jacques Goussier (1722-1799) was the first artist hired to work on the Encyclopédie in 1747, contributing seventy articles and the original drawings for nine-hundred plates. Goussier also directed draughtsmen working on other plates.\u003c/p\u003e\n","\u003cp\u003eSource: Materials in collection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Louis-Jacques Goussier (1722-1799) was the first artist hired to work on the Encyclopédie in 1747, contributing seventy articles and the original drawings for nine-hundred plates. Goussier also directed draughtsmen working on other plates.","Source: Materials in collection."],"prefercite_html_tesm":["\u003cp\u003eMSS 16429, Louis-Jacques Gossier drawing for the Encyclopédie, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16429, Louis-Jacques Gossier drawing for the Encyclopédie, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe Louis-Jacques Gossier drawing for the Encyclopédie (circa 1769; 0.08 cubic foot) documents a rare original drawing for an illustration in the Encyclopédie by its most important and prolific draughtsman.  This is the original for the workshop scene, the top section of \"Hongroyeur,\" pl. III.  In the engraving the plate has the legend, \"Hongroyeur, l'Operation de mettre au Suif et Plan de l'Eture.  (Tanner of Hungarian Leather, Operation of Tallowing and Plan of the Drying Room). Collection also contains three leaves of accompanying text and three leaves of printed images.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents Note"],"scopecontent_tesim":["The Louis-Jacques Gossier drawing for the Encyclopédie (circa 1769; 0.08 cubic foot) documents a rare original drawing for an illustration in the Encyclopédie by its most important and prolific draughtsman.  This is the original for the workshop scene, the top section of \"Hongroyeur,\" pl. III.  In the engraving the plate has the legend, \"Hongroyeur, l'Operation de mettre au Suif et Plan de l'Eture.  (Tanner of Hungarian Leather, Operation of Tallowing and Plan of the Drying Room). Collection also contains three leaves of accompanying text and three leaves of printed images."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["Materials are in French."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:44:00.933Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_888","ead_ssi":"viu_repositories_3_resources_888","_root_":"viu_repositories_3_resources_888","_nest_parent_":"viu_repositories_3_resources_888","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_888.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/109323","title_filing_ssi":"Gossier, Louis-Jacques, drawing for the Encyclopédie","title_ssm":["Louis-Jacques Gossier drawing for the Encyclopédie"],"title_tesim":["Louis-Jacques Gossier drawing for the Encyclopédie"],"unitdate_ssm":["circa 1769"],"unitdate_inclusive_ssm":["circa 1769"],"level_ssm":["collection"],"level_ssim":["Item","Collection"],"unitid_ssm":["MSS 16429","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/888"],"text":["MSS 16429","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/888","Louis-Jacques Gossier drawing for the Encyclopédie","drawings (visual works)","The collection is open for research use.","Louis-Jacques Goussier (1722-1799) was the first artist hired to work on the Encyclopédie in 1747, contributing seventy articles and the original drawings for nine-hundred plates. Goussier also directed draughtsmen working on other plates.","Source: Materials in collection.","The Louis-Jacques Gossier drawing for the Encyclopédie (circa 1769; 0.08 cubic foot) documents a rare original drawing for an illustration in the Encyclopédie by its most important and prolific draughtsman.  This is the original for the workshop scene, the top section of \"Hongroyeur,\" pl. III.  In the engraving the plate has the legend, \"Hongroyeur, l'Operation de mettre au Suif et Plan de l'Eture.  (Tanner of Hungarian Leather, Operation of Tallowing and Plan of the Drying Room). Collection also contains three leaves of accompanying text and three leaves of printed images.","Albert and Shirley Small Special Collections Library","Materials are in French."],"unitid_tesim":["MSS 16429","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/888"],"normalized_title_ssm":["Louis-Jacques Gossier drawing for the Encyclopédie"],"collection_title_tesim":["Louis-Jacques Gossier drawing for the Encyclopédie"],"collection_ssim":["Louis-Jacques Gossier drawing for the Encyclopédie"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["2019-0177, purchased 25 March 2019, Kerchof Library Fund, 2018/2019."],"access_subjects_ssim":["drawings (visual works)"],"access_subjects_ssm":["drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["0.08 Cubic Feet 1 os folder"],"extent_tesim":["0.08 Cubic Feet 1 os folder"],"genreform_ssim":["drawings (visual works)"],"date_range_isim":[1760,1761,1762,1763,1764,1765,1766,1767,1768,1769],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eLouis-Jacques Goussier (1722-1799) was the first artist hired to work on the Encyclopédie in 1747, contributing seventy articles and the original drawings for nine-hundred plates. Goussier also directed draughtsmen working on other plates.\u003c/p\u003e\n","\u003cp\u003eSource: Materials in collection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Louis-Jacques Goussier (1722-1799) was the first artist hired to work on the Encyclopédie in 1747, contributing seventy articles and the original drawings for nine-hundred plates. Goussier also directed draughtsmen working on other plates.","Source: Materials in collection."],"prefercite_html_tesm":["\u003cp\u003eMSS 16429, Louis-Jacques Gossier drawing for the Encyclopédie, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16429, Louis-Jacques Gossier drawing for the Encyclopédie, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe Louis-Jacques Gossier drawing for the Encyclopédie (circa 1769; 0.08 cubic foot) documents a rare original drawing for an illustration in the Encyclopédie by its most important and prolific draughtsman.  This is the original for the workshop scene, the top section of \"Hongroyeur,\" pl. III.  In the engraving the plate has the legend, \"Hongroyeur, l'Operation de mettre au Suif et Plan de l'Eture.  (Tanner of Hungarian Leather, Operation of Tallowing and Plan of the Drying Room). Collection also contains three leaves of accompanying text and three leaves of printed images.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents Note"],"scopecontent_tesim":["The Louis-Jacques Gossier drawing for the Encyclopédie (circa 1769; 0.08 cubic foot) documents a rare original drawing for an illustration in the Encyclopédie by its most important and prolific draughtsman.  This is the original for the workshop scene, the top section of \"Hongroyeur,\" pl. III.  In the engraving the plate has the legend, \"Hongroyeur, l'Operation de mettre au Suif et Plan de l'Eture.  (Tanner of Hungarian Leather, Operation of Tallowing and Plan of the Drying Room). Collection also contains three leaves of accompanying text and three leaves of printed images."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["Materials are in French."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:44:00.933Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_888"}},{"id":"viu_repositories_3_resources_604","type":"collection","attributes":{"title":"Margaret Crockett album","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_604#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eMargaret Crockett album, MSS 16320, 1905-1933, 0.03 cubic feet is described as a commercial album with gold-stamped leather batting-stuffed covers and multi-colored gilt-edged pages, covered with a dull green hand-made fabric cover embroidered \"M.C.\" in red thread. Front free endpaper reads \"Margaret Crockett / July 1911,\" though one pasted entry is dated 1905 and the latest entry is from 1933. The initials RNS (Royal Naval School), is found scattered throughout the volume, as are the locations St. Margaret's on Thames and Richmond. Pages include inscriptions, original drawings and watercolors (some appearing to imitate popular children's illustrations), pasted prints, a stencil leaf spray image. Most are signed by other girls; some appear to be by Crockett herself. Notable entries include \"The Tired Woman's Epitaph,\" \"The Angel Mother,\" a punning entry on a shipping label, three pages filled with pasted autograph signatures, the inscription of Princess Alice of Albany, a hand-made playbill for a production of Dick Whittington's Cat, and a handful of references to WWI and nautical themes, including a poem \"Beware my motherland,\" about the risk of German ascendency, dated 1913. A letter to Mrs. Davey from M.S. Nagasaki of Japan (1914). Quotations from Shakespeare, Omar Khayyam, Longfellow, Macaulay, Austin Dobson, Emerson and others.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_604#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_604","ead_ssi":"viu_repositories_3_resources_604","_root_":"viu_repositories_3_resources_604","_nest_parent_":"viu_repositories_3_resources_604","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_604.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/522","title_filing_ssi":"Crockett, Margaret, album","title_ssm":["Margaret Crockett album"],"title_tesim":["Margaret Crockett album"],"unitdate_ssm":["1905-1933"],"unitdate_inclusive_ssm":["1905-1933"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16320","Archival Resource Key","/repositories/3/resources/604"],"text":["MSS 16320","Archival Resource Key","/repositories/3/resources/604","Margaret Crockett album","Commonplace books","drawings (visual works)","The collection is open for research use.","Margaret Crockett album, MSS 16320, 1905-1933, 0.03 cubic feet is described as a commercial album with gold-stamped leather batting-stuffed covers and multi-colored gilt-edged pages, covered with a dull green hand-made fabric cover embroidered \"M.C.\" in red thread. Front free endpaper reads \"Margaret Crockett / July 1911,\" though one pasted entry is dated 1905 and the latest entry is from 1933. The initials RNS (Royal Naval School), is found scattered throughout the volume, as are the locations St. Margaret's on Thames and Richmond.  Pages include inscriptions, original drawings and watercolors (some appearing to imitate popular children's illustrations), pasted prints, a stencil leaf spray image. Most are signed by other girls; some appear to be by Crockett herself. Notable entries include \"The Tired Woman's Epitaph,\" \"The Angel Mother,\"  a punning entry on a shipping label, three pages filled with pasted autograph signatures, the inscription of Princess Alice of Albany, a hand-made playbill for a production of Dick Whittington's Cat, and a handful of references to WWI and nautical themes, including a poem \"Beware my motherland,\" about the risk of German ascendency, dated 1913. A letter to Mrs. Davey from M.S. Nagasaki of Japan (1914).  Quotations from Shakespeare, Omar Khayyam, Longfellow, Macaulay, Austin Dobson, Emerson and others.","Albert and Shirley Small Special Collections Library","English"],"unitid_tesim":["MSS 16320","Archival Resource Key","/repositories/3/resources/604"],"normalized_title_ssm":["Margaret Crockett album"],"collection_title_tesim":["Margaret Crockett album"],"collection_ssim":["Margaret Crockett album"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["This collection was purchased from David Berman by the Small Special Collections Library at the University of Virginia on February 20, 2017."],"access_subjects_ssim":["Commonplace books","drawings (visual works)"],"access_subjects_ssm":["Commonplace books","drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One folder in a document box BW 16."],"extent_tesim":["0.03 Cubic Feet One folder in a document box BW 16."],"genreform_ssim":["Commonplace books","drawings (visual works)"],"date_range_isim":[1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"prefercite_html_tesm":["\u003cp\u003eMSS 16320, Margaret Crockett album, Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16320, Margaret Crockett album, Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eMargaret Crockett album, MSS 16320, 1905-1933, 0.03 cubic feet is described as a commercial album with gold-stamped leather batting-stuffed covers and multi-colored gilt-edged pages, covered with a dull green hand-made fabric cover embroidered \"M.C.\" in red thread. Front free endpaper reads \"Margaret Crockett / July 1911,\" though one pasted entry is dated 1905 and the latest entry is from 1933. The initials RNS (Royal Naval School), is found scattered throughout the volume, as are the locations St. Margaret's on Thames and Richmond.  Pages include inscriptions, original drawings and watercolors (some appearing to imitate popular children's illustrations), pasted prints, a stencil leaf spray image. Most are signed by other girls; some appear to be by Crockett herself. Notable entries include \"The Tired Woman's Epitaph,\" \"The Angel Mother,\"  a punning entry on a shipping label, three pages filled with pasted autograph signatures, the inscription of Princess Alice of Albany, a hand-made playbill for a production of Dick Whittington's Cat, and a handful of references to WWI and nautical themes, including a poem \"Beware my motherland,\" about the risk of German ascendency, dated 1913. A letter to Mrs. Davey from M.S. Nagasaki of Japan (1914).  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Notable entries include \"The Tired Woman's Epitaph,\" \"The Angel Mother,\"  a punning entry on a shipping label, three pages filled with pasted autograph signatures, the inscription of Princess Alice of Albany, a hand-made playbill for a production of Dick Whittington's Cat, and a handful of references to WWI and nautical themes, including a poem \"Beware my motherland,\" about the risk of German ascendency, dated 1913. A letter to Mrs. Davey from M.S. Nagasaki of Japan (1914).  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Front free endpaper reads \"Margaret Crockett / July 1911,\" though one pasted entry is dated 1905 and the latest entry is from 1933. The initials RNS (Royal Naval School), is found scattered throughout the volume, as are the locations St. Margaret's on Thames and Richmond.  Pages include inscriptions, original drawings and watercolors (some appearing to imitate popular children's illustrations), pasted prints, a stencil leaf spray image. Most are signed by other girls; some appear to be by Crockett herself. Notable entries include \"The Tired Woman's Epitaph,\" \"The Angel Mother,\"  a punning entry on a shipping label, three pages filled with pasted autograph signatures, the inscription of Princess Alice of Albany, a hand-made playbill for a production of Dick Whittington's Cat, and a handful of references to WWI and nautical themes, including a poem \"Beware my motherland,\" about the risk of German ascendency, dated 1913. A letter to Mrs. Davey from M.S. Nagasaki of Japan (1914).  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Front free endpaper reads \"Margaret Crockett / July 1911,\" though one pasted entry is dated 1905 and the latest entry is from 1933. The initials RNS (Royal Naval School), is found scattered throughout the volume, as are the locations St. Margaret's on Thames and Richmond.  Pages include inscriptions, original drawings and watercolors (some appearing to imitate popular children's illustrations), pasted prints, a stencil leaf spray image. Most are signed by other girls; some appear to be by Crockett herself. Notable entries include \"The Tired Woman's Epitaph,\" \"The Angel Mother,\"  a punning entry on a shipping label, three pages filled with pasted autograph signatures, the inscription of Princess Alice of Albany, a hand-made playbill for a production of Dick Whittington's Cat, and a handful of references to WWI and nautical themes, including a poem \"Beware my motherland,\" about the risk of German ascendency, dated 1913. A letter to Mrs. Davey from M.S. Nagasaki of Japan (1914).  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Notable entries include \"The Tired Woman's Epitaph,\" \"The Angel Mother,\"  a punning entry on a shipping label, three pages filled with pasted autograph signatures, the inscription of Princess Alice of Albany, a hand-made playbill for a production of Dick Whittington's Cat, and a handful of references to WWI and nautical themes, including a poem \"Beware my motherland,\" about the risk of German ascendency, dated 1913. A letter to Mrs. Davey from M.S. Nagasaki of Japan (1914).  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C. to see a play about Emmett Till. The students were taking a class about African American playwrights. Isabelle Martins, a University of Virginia architecture student, brought this drawing as a gift to Carr's Hill as a tribute to the young men during the initial grieving of this mass shooting and tragedy at the University.","Christopher Darnell Jones, Jr. is charged with three counts of second-degree murder for the deaths of D'Sean Perry, Lavel Davis Jr. and Devin Chandler; two counts of malicious wounding for the injuries of Mike Hollins and Marlee Morgan; and five counts of using a firearm in a felony. ","This collection features a colored pencil portrait of Lavel Davis Jr., D'Sean Perry, and Devin Chandler, the University of Virginia students and football members killed in a mass shooting on November 13, 2022, at the University of Virginia. After the tragedy, President and Mrs. Ryan opened their home for students to gather. Isabelle Martins, a Univeristy of Virginia architecture student, brought this drawing as a gift to Carr's Hill. The following week, President Ryan asked for the artist to share their full name via social media so that the piece could be archived properly, with credit given appropriately. The portrait appears on Ryan's social media accounts on the same date. ","There is also a 41-1-15 memorial sticker for Lavel Davis, Jr., D'Sean Perry, and Devin Chandler.","Albert and Shirley Small Special Collections Library","University of Virginia. 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Office of the President"],"places_ssim":["Memorials"],"acqinfo_ssim":["Transferred by Marie Pace, Director of Operations, Carr's Hill,  5 February 2023. Added to RG-50/6 MATERIALS RELATING TO THE UNIVERSITY FROM MULTIPLE SOURCES ","The decal sticker representing support for the three African American men, Lavel Davis, Jr., D'Sean Perry, and Devin Chandler was a gift from Brenda Gunn to the Small Special Collections Library at the University of Virginia Library on 27 January 2023. Gunn picked it up at a coffee shop on Barracks Road Shopping Center. The sticker was made by Virginia Tech. "],"access_subjects_ssim":["School shootings","African American students","cabinet photographs","drawings (visual works)"],"access_subjects_ssm":["School shootings","African American students","cabinet photographs","drawings (visual works)"],"has_online_content_ssim":["true"],"extent_ssm":["0.08 Cubic Feet One small oversize folder; one letter size folder.",".0186 Gigabytes 1 PDF"],"extent_tesim":["0.08 Cubic Feet One small oversize folder; one letter size folder.",".0186 Gigabytes 1 PDF"],"genreform_ssim":["cabinet photographs","drawings (visual works)"],"date_range_isim":[2022],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eDevin Chandler, a junior from Huntersville, North Carolina; D'Sean Perry, a junior from Miami, Florida; and Lavel Davis Jr., a junior from Dorchester, South Carolina, who were members of the UVA football team were shot and killed on November 13, 2022 after a class trip to Washington D. 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The students were taking a class about African American playwrights. Isabelle Martins, a University of Virginia architecture student, brought this drawing as a gift to Carr's Hill as a tribute to the young men during the initial grieving of this mass shooting and tragedy at the University.","Christopher Darnell Jones, Jr. is charged with three counts of second-degree murder for the deaths of D'Sean Perry, Lavel Davis Jr. and Devin Chandler; two counts of malicious wounding for the injuries of Mike Hollins and Marlee Morgan; and five counts of using a firearm in a felony. "],"prefercite_html_tesm":["\u003cp\u003eRG-50/6, University Materials related to UVA mass shooting, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["RG-50/6, University Materials related to UVA mass shooting, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features a colored pencil portrait of Lavel Davis Jr., D'Sean Perry, and Devin Chandler, the University of Virginia students and football members killed in a mass shooting on November 13, 2022, at the University of Virginia. After the tragedy, President and Mrs. Ryan opened their home for students to gather. Isabelle Martins, a Univeristy of Virginia architecture student, brought this drawing as a gift to Carr's Hill. 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C. to see a play about Emmett Till. The students were taking a class about African American playwrights. Isabelle Martins, a University of Virginia architecture student, brought this drawing as a gift to Carr's Hill as a tribute to the young men during the initial grieving of this mass shooting and tragedy at the University.","Christopher Darnell Jones, Jr. is charged with three counts of second-degree murder for the deaths of D'Sean Perry, Lavel Davis Jr. and Devin Chandler; two counts of malicious wounding for the injuries of Mike Hollins and Marlee Morgan; and five counts of using a firearm in a felony. ","This collection features a colored pencil portrait of Lavel Davis Jr., D'Sean Perry, and Devin Chandler, the University of Virginia students and football members killed in a mass shooting on November 13, 2022, at the University of Virginia. After the tragedy, President and Mrs. Ryan opened their home for students to gather. Isabelle Martins, a Univeristy of Virginia architecture student, brought this drawing as a gift to Carr's Hill. The following week, President Ryan asked for the artist to share their full name via social media so that the piece could be archived properly, with credit given appropriately. The portrait appears on Ryan's social media accounts on the same date. ","There is also a 41-1-15 memorial sticker for Lavel Davis, Jr., D'Sean Perry, and Devin Chandler.","Albert and Shirley Small Special Collections Library","University of Virginia. 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Office of the President"],"places_ssim":["Memorials"],"acqinfo_ssim":["Transferred by Marie Pace, Director of Operations, Carr's Hill,  5 February 2023. Added to RG-50/6 MATERIALS RELATING TO THE UNIVERSITY FROM MULTIPLE SOURCES ","The decal sticker representing support for the three African American men, Lavel Davis, Jr., D'Sean Perry, and Devin Chandler was a gift from Brenda Gunn to the Small Special Collections Library at the University of Virginia Library on 27 January 2023. Gunn picked it up at a coffee shop on Barracks Road Shopping Center. The sticker was made by Virginia Tech. "],"access_subjects_ssim":["School shootings","African American students","cabinet photographs","drawings (visual works)"],"access_subjects_ssm":["School shootings","African American students","cabinet photographs","drawings (visual works)"],"has_online_content_ssim":["true"],"extent_ssm":["0.08 Cubic Feet One small oversize folder; one letter size folder.",".0186 Gigabytes 1 PDF"],"extent_tesim":["0.08 Cubic Feet One small oversize folder; one letter size folder.",".0186 Gigabytes 1 PDF"],"genreform_ssim":["cabinet photographs","drawings (visual works)"],"date_range_isim":[2022],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eDevin Chandler, a junior from Huntersville, North Carolina; D'Sean Perry, a junior from Miami, Florida; and Lavel Davis Jr., a junior from Dorchester, South Carolina, who were members of the UVA football team were shot and killed on November 13, 2022 after a class trip to Washington D. C. to see a play about Emmett Till. The students were taking a class about African American playwrights. 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"],"prefercite_html_tesm":["\u003cp\u003eRG-50/6, University Materials related to UVA mass shooting, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["RG-50/6, University Materials related to UVA mass shooting, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features a colored pencil portrait of Lavel Davis Jr., D'Sean Perry, and Devin Chandler, the University of Virginia students and football members killed in a mass shooting on November 13, 2022, at the University of Virginia. After the tragedy, President and Mrs. Ryan opened their home for students to gather. Isabelle Martins, a Univeristy of Virginia architecture student, brought this drawing as a gift to Carr's Hill. 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The following week, President Ryan asked for the artist to share their full name via social media so that the piece could be archived properly, with credit given appropriately. The portrait appears on Ryan's social media accounts on the same date. ","There is also a 41-1-15 memorial sticker for Lavel Davis, Jr., D'Sean Perry, and Devin Chandler."],"names_coll_ssim":["University of Virginia. Office of the President","Chandler, Devin Keith, 2022-2022","Perry, D'Sean, 2000-2022","Davis, Lavel , Jr, 2002-2022"],"names_ssim":["Albert and Shirley Small Special Collections Library","University of Virginia. Office of the President","Martins, Isabelle","Chandler, Devin Keith, 2022-2022","Perry, D'Sean, 2000-2022","Davis, Lavel , Jr, 2002-2022"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","University of Virginia. Office of the President"],"persname_ssim":["Martins, Isabelle","Chandler, Devin Keith, 2022-2022","Perry, D'Sean, 2000-2022","Davis, Lavel , Jr, 2002-2022"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3,"online_item_count_is":1,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:48:01.722Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1558"}},{"id":"viu_repositories_3_resources_1746","type":"collection","attributes":{"title":"M. Gillett botanical plates","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1746#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains a single-bound manuscript produced by an English student of botany, dated 1838 with the name and date \"M.Gillet\" inscribed on the front endpaper with \"M. Gillet\" stenciled with a floral wreath border in the front free endpaper. The book contains watercolor, pencil, and ink illustrations of plants. The manuscript opens with tissue-guarded images of common English plants, including a key to leaves (\"roundish,\" \"linear,\" \"kidney-shaped,\" \"trowel-shaped\"). The text appears to be the student's own synthesis of botanical terms and concepts, rather than the transcription of a published work. The fourteen numbered ink plates throughout the text are as follows: \"Elementary organs,\" \"Compound organs,\" \"Linnaean classes,\" \"Linnaean orders,\" and \"A table of the primary divisions of the natural order.\"\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1746#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1746","ead_ssi":"viu_repositories_3_resources_1746","_root_":"viu_repositories_3_resources_1746","_nest_parent_":"viu_repositories_3_resources_1746","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1746.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/212993","title_filing_ssi":"Gillett, M. botanical plates","title_ssm":["M. Gillett botanical plates"],"title_tesim":["M. Gillett botanical plates"],"unitdate_ssm":["1838"],"unitdate_other_ssim":["1838"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16882","Archival Resource Key","/repositories/3/resources/1746"],"text":["MSS 16882","Archival Resource Key","/repositories/3/resources/1746","M. Gillett botanical plates","Botany","Art and natural history","drawings (visual works)","This collection is minimally processed and open for research.","The identity of M.Gillet is unknown, but it is possible that this may have been the work of a female student as botany was one of the few scientific pursuits deemed suitable for women in the nineteenth century.","This collection contains a single-bound manuscript produced by an English student of botany, dated 1838 with the name and date \"M.Gillet\" inscribed on the front endpaper with \"M. Gillet\" stenciled with a floral wreath border in the front free endpaper. The book contains watercolor, pencil, and ink illustrations of plants.  The manuscript opens with tissue-guarded images of common English plants, including a key to leaves (\"roundish,\" \"linear,\" \"kidney-shaped,\" \"trowel-shaped\").  The text appears to be the student's own synthesis of botanical terms and concepts, rather than the transcription of a published work.  The fourteen numbered ink plates throughout the text are as follows: \"Elementary organs,\" \"Compound organs,\" \"Linnaean classes,\" \"Linnaean orders,\" and \"A table of the primary divisions of the natural order.\"","The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","English"],"unitid_tesim":["MSS 16882","Archival Resource Key","/repositories/3/resources/1746"],"normalized_title_ssm":["M. Gillett botanical plates"],"collection_title_tesim":["M. Gillett botanical plates"],"collection_ssim":["M. Gillett botanical plates"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"access_terms_ssm":["The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["This collection was purchased from Honey \u0026 Wax Booksellers by the Small Special Collections Library, University of Virginia on 16 April 2024."],"access_subjects_ssim":["Botany","Art and natural history","drawings (visual works)"],"access_subjects_ssm":["Botany","Art and natural history","drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":[".03 Cubic Feet 1 letter folder"],"extent_tesim":[".03 Cubic Feet 1 letter folder"],"genreform_ssim":["drawings (visual works)"],"date_range_isim":[1838],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is minimally processed and open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is minimally processed and open for research."],"bioghist_html_tesm":["\u003cp\u003eThe identity of M.Gillet is unknown, but it is possible that this may have been the work of a female student as botany was one of the few scientific pursuits deemed suitable for women in the nineteenth century.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical Description"],"bioghist_tesim":["The identity of M.Gillet is unknown, but it is possible that this may have been the work of a female student as botany was one of the few scientific pursuits deemed suitable for women in the nineteenth century."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains a single-bound manuscript produced by an English student of botany, dated 1838 with the name and date \"M.Gillet\" inscribed on the front endpaper with \"M. Gillet\" stenciled with a floral wreath border in the front free endpaper. The book contains watercolor, pencil, and ink illustrations of plants.  The manuscript opens with tissue-guarded images of common English plants, including a key to leaves (\"roundish,\" \"linear,\" \"kidney-shaped,\" \"trowel-shaped\").  The text appears to be the student's own synthesis of botanical terms and concepts, rather than the transcription of a published work.  The fourteen numbered ink plates throughout the text are as follows: \"Elementary organs,\" \"Compound organs,\" \"Linnaean classes,\" \"Linnaean orders,\" and \"A table of the primary divisions of the natural order.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains a single-bound manuscript produced by an English student of botany, dated 1838 with the name and date \"M.Gillet\" inscribed on the front endpaper with \"M. Gillet\" stenciled with a floral wreath border in the front free endpaper. The book contains watercolor, pencil, and ink illustrations of plants.  The manuscript opens with tissue-guarded images of common English plants, including a key to leaves (\"roundish,\" \"linear,\" \"kidney-shaped,\" \"trowel-shaped\").  The text appears to be the student's own synthesis of botanical terms and concepts, rather than the transcription of a published work.  The fourteen numbered ink plates throughout the text are as follows: \"Elementary organs,\" \"Compound organs,\" \"Linnaean classes,\" \"Linnaean orders,\" and \"A table of the primary divisions of the natural order.\""],"userestrict_html_tesm":["\u003cp\u003eThe Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:41:18.772Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1746","ead_ssi":"viu_repositories_3_resources_1746","_root_":"viu_repositories_3_resources_1746","_nest_parent_":"viu_repositories_3_resources_1746","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1746.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/212993","title_filing_ssi":"Gillett, M. botanical plates","title_ssm":["M. Gillett botanical plates"],"title_tesim":["M. Gillett botanical plates"],"unitdate_ssm":["1838"],"unitdate_other_ssim":["1838"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16882","Archival Resource Key","/repositories/3/resources/1746"],"text":["MSS 16882","Archival Resource Key","/repositories/3/resources/1746","M. Gillett botanical plates","Botany","Art and natural history","drawings (visual works)","This collection is minimally processed and open for research.","The identity of M.Gillet is unknown, but it is possible that this may have been the work of a female student as botany was one of the few scientific pursuits deemed suitable for women in the nineteenth century.","This collection contains a single-bound manuscript produced by an English student of botany, dated 1838 with the name and date \"M.Gillet\" inscribed on the front endpaper with \"M. Gillet\" stenciled with a floral wreath border in the front free endpaper. The book contains watercolor, pencil, and ink illustrations of plants.  The manuscript opens with tissue-guarded images of common English plants, including a key to leaves (\"roundish,\" \"linear,\" \"kidney-shaped,\" \"trowel-shaped\").  The text appears to be the student's own synthesis of botanical terms and concepts, rather than the transcription of a published work.  The fourteen numbered ink plates throughout the text are as follows: \"Elementary organs,\" \"Compound organs,\" \"Linnaean classes,\" \"Linnaean orders,\" and \"A table of the primary divisions of the natural order.\"","The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","English"],"unitid_tesim":["MSS 16882","Archival Resource Key","/repositories/3/resources/1746"],"normalized_title_ssm":["M. Gillett botanical plates"],"collection_title_tesim":["M. Gillett botanical plates"],"collection_ssim":["M. Gillett botanical plates"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"access_terms_ssm":["The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["This collection was purchased from Honey \u0026 Wax Booksellers by the Small Special Collections Library, University of Virginia on 16 April 2024."],"access_subjects_ssim":["Botany","Art and natural history","drawings (visual works)"],"access_subjects_ssm":["Botany","Art and natural history","drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":[".03 Cubic Feet 1 letter folder"],"extent_tesim":[".03 Cubic Feet 1 letter folder"],"genreform_ssim":["drawings (visual works)"],"date_range_isim":[1838],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is minimally processed and open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is minimally processed and open for research."],"bioghist_html_tesm":["\u003cp\u003eThe identity of M.Gillet is unknown, but it is possible that this may have been the work of a female student as botany was one of the few scientific pursuits deemed suitable for women in the nineteenth century.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical Description"],"bioghist_tesim":["The identity of M.Gillet is unknown, but it is possible that this may have been the work of a female student as botany was one of the few scientific pursuits deemed suitable for women in the nineteenth century."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains a single-bound manuscript produced by an English student of botany, dated 1838 with the name and date \"M.Gillet\" inscribed on the front endpaper with \"M. Gillet\" stenciled with a floral wreath border in the front free endpaper. The book contains watercolor, pencil, and ink illustrations of plants.  The manuscript opens with tissue-guarded images of common English plants, including a key to leaves (\"roundish,\" \"linear,\" \"kidney-shaped,\" \"trowel-shaped\").  The text appears to be the student's own synthesis of botanical terms and concepts, rather than the transcription of a published work.  The fourteen numbered ink plates throughout the text are as follows: \"Elementary organs,\" \"Compound organs,\" \"Linnaean classes,\" \"Linnaean orders,\" and \"A table of the primary divisions of the natural order.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains a single-bound manuscript produced by an English student of botany, dated 1838 with the name and date \"M.Gillet\" inscribed on the front endpaper with \"M. Gillet\" stenciled with a floral wreath border in the front free endpaper. The book contains watercolor, pencil, and ink illustrations of plants.  The manuscript opens with tissue-guarded images of common English plants, including a key to leaves (\"roundish,\" \"linear,\" \"kidney-shaped,\" \"trowel-shaped\").  The text appears to be the student's own synthesis of botanical terms and concepts, rather than the transcription of a published work.  The fourteen numbered ink plates throughout the text are as follows: \"Elementary organs,\" \"Compound organs,\" \"Linnaean classes,\" \"Linnaean orders,\" and \"A table of the primary divisions of the natural order.\""],"userestrict_html_tesm":["\u003cp\u003eThe Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:41:18.772Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1746"}},{"id":"viu_repositories_3_resources_996","type":"collection","attributes":{"title":"Petra Vogt papers","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_996#creator","type":"document_value","attributes":{"value":"Vogt, Petra","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_996#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_996#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_996","ead_ssi":"viu_repositories_3_resources_996","_root_":"viu_repositories_3_resources_996","_nest_parent_":"viu_repositories_3_resources_996","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_996.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120842","title_filing_ssi":"Vogt, Petra, papers","title_ssm":["Petra Vogt papers"],"title_tesim":["Petra Vogt papers"],"unitdate_ssm":["1966-1978"],"unitdate_inclusive_ssm":["1966-1978"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"text":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996","Petra Vogt papers","Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)","Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries","Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials.","Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). ","Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.","Much of this biographical and historical information was taken from the dealer description of the collection. ","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). ","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. ","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  ","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. ","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. ","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" ","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).","This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira","English Nepali German"],"unitid_tesim":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"normalized_title_ssm":["Petra Vogt papers"],"collection_title_tesim":["Petra Vogt papers"],"collection_ssim":["Petra Vogt papers"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"geogname_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"creator_ssm":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_ssim":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_persname_ssim":["Vogt, Petra","Cohen, Ira"],"creator_corpname_ssim":["Bardo Matrix (Firm)"],"creators_ssim":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"places_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"acqinfo_ssim":["The Petra Vogt papers were purchased by the University of Virginia Special Collections Library from Granary Books, Inc. on September 21, 2020."],"access_subjects_ssim":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"access_subjects_ssm":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials."],"extent_ssm":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"extent_tesim":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"genreform_ssim":["poetry","Black-and-white photographs","drawings (visual works)","diaries"],"date_range_isim":[1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"accessrestrict_html_tesm":["\u003cp\u003eMost of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.\u003c/p\u003e\n","\u003cp\u003eThe bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). \u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). "],"arrangement_html_tesm":["\u003cp\u003eMaterials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.\u003c/p\u003e\n","\u003cp\u003eThis arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series."],"bioghist_html_tesm":["\u003cp\u003eMuch of this biographical and historical information was taken from the dealer description of the collection. \u003c/p\u003e\n","\u003cp\u003ePetra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). \u003c/p\u003e\n","\u003cp\u003eIn 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"\u003c/p\u003e\n","\u003cp\u003eWhile Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. \u003c/p\u003e\n","\u003cp\u003eDuring the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  \u003c/p\u003e\n","\u003cp\u003eIra Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. \u003c/p\u003e\n","\u003cp\u003eThis produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. \u003c/p\u003e\n","\u003cp\u003eKathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.\u003c/p\u003e\n","\u003cp\u003eBefore 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" \u003c/p\u003e\n","\u003cp\u003eMacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)\u003c/p\u003e\n","\u003cp\u003eIn Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Much of this biographical and historical information was taken from the dealer description of the collection. ","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). ","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. ","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  ","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. ","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. ","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" ","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018)."],"prefercite_html_tesm":["\u003cp\u003ePetra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Petra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen."],"names_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"names_coll_ssim":["Vogt, Petra","Cohen, Ira"],"persname_ssim":["Vogt, Petra","Cohen, Ira"],"language_ssim":["English Nepali German"],"total_component_count_is":81,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:44:46.997Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_996","ead_ssi":"viu_repositories_3_resources_996","_root_":"viu_repositories_3_resources_996","_nest_parent_":"viu_repositories_3_resources_996","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_996.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120842","title_filing_ssi":"Vogt, Petra, papers","title_ssm":["Petra Vogt papers"],"title_tesim":["Petra Vogt papers"],"unitdate_ssm":["1966-1978"],"unitdate_inclusive_ssm":["1966-1978"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"text":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996","Petra Vogt papers","Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)","Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries","Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials.","Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). ","Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.","Much of this biographical and historical information was taken from the dealer description of the collection. ","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). ","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. ","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  ","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. ","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. ","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" ","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).","This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira","English Nepali German"],"unitid_tesim":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"normalized_title_ssm":["Petra Vogt papers"],"collection_title_tesim":["Petra Vogt papers"],"collection_ssim":["Petra Vogt papers"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"geogname_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"creator_ssm":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_ssim":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_persname_ssim":["Vogt, Petra","Cohen, Ira"],"creator_corpname_ssim":["Bardo Matrix (Firm)"],"creators_ssim":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"places_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"acqinfo_ssim":["The Petra Vogt papers were purchased by the University of Virginia Special Collections Library from Granary Books, Inc. on September 21, 2020."],"access_subjects_ssim":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"access_subjects_ssm":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials."],"extent_ssm":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"extent_tesim":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"genreform_ssim":["poetry","Black-and-white photographs","drawings (visual works)","diaries"],"date_range_isim":[1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"accessrestrict_html_tesm":["\u003cp\u003eMost of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.\u003c/p\u003e\n","\u003cp\u003eThe bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). \u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). "],"arrangement_html_tesm":["\u003cp\u003eMaterials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.\u003c/p\u003e\n","\u003cp\u003eThis arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series."],"bioghist_html_tesm":["\u003cp\u003eMuch of this biographical and historical information was taken from the dealer description of the collection. \u003c/p\u003e\n","\u003cp\u003ePetra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). \u003c/p\u003e\n","\u003cp\u003eIn 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"\u003c/p\u003e\n","\u003cp\u003eWhile Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. \u003c/p\u003e\n","\u003cp\u003eDuring the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  \u003c/p\u003e\n","\u003cp\u003eIra Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. \u003c/p\u003e\n","\u003cp\u003eThis produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. \u003c/p\u003e\n","\u003cp\u003eKathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.\u003c/p\u003e\n","\u003cp\u003eBefore 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" \u003c/p\u003e\n","\u003cp\u003eMacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)\u003c/p\u003e\n","\u003cp\u003eIn Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Much of this biographical and historical information was taken from the dealer description of the collection. ","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). ","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. ","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  ","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. ","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. ","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" ","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018)."],"prefercite_html_tesm":["\u003cp\u003ePetra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Petra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen."],"names_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"names_coll_ssim":["Vogt, Petra","Cohen, Ira"],"persname_ssim":["Vogt, Petra","Cohen, Ira"],"language_ssim":["English Nepali German"],"total_component_count_is":81,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:44:46.997Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_996"}},{"id":"viu_repositories_3_resources_1701","type":"collection","attributes":{"title":"The Illustrated Alphabet","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1701#creator","type":"document_value","attributes":{"value":"James Arsenault and Co.","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1701#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains the trial drawings for an illustrated alphabet book by the Reverend George Liddell Johnston. The book, bound in crushed red morocco by C. \u0026amp; C. McLeish sometime in the early twentieth century, contains the inlaid drawings and manuscript pages. The book begins with two calligraphic frontispieces, one titled \"The Envelope\" with an angel holding a brush and canvas. This image was likely the front panel of an envelope that stored the contents before binding. Then follows three pen and ink title pages with letters in the Victorian grotesque tradition, eight manuscript leaves with limericks for each letter, twenty-six calligraphic leaves of alphabet limericks in pencil and pen, twelve watercolors, and forty-six total drawings. The bulk of the manuscript is the drawings and watercolors that illustrate the alphabet, some referencing the subject of the limericks and others alternative subjects. These are humorous and often satirical images. These include critiques of religious figures like cardinals and the Pope and more everyday situations and people like a quack, a statesman, a Yankee, an older man entranced by a younger woman, and an angry wife, among other characters. Devils and demons are frequent figures in the illustrations. A number of the drawings that appear here also appear in a privately printed book by the same title. Johnston made a few copies of this book for his friends and family. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1701#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1701","ead_ssi":"viu_repositories_3_resources_1701","_root_":"viu_repositories_3_resources_1701","_nest_parent_":"viu_repositories_3_resources_1701","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1701.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/202302","title_filing_ssi":"Illustrated Alphabet, The","title_ssm":["The Illustrated Alphabet"],"title_tesim":["The Illustrated Alphabet"],"unitdate_ssm":["c. 1875"],"unitdate_other_ssim":["c. 1875"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16862","Archival Resource Key","/repositories/3/resources/1701"],"text":["MSS 16862","Archival Resource Key","/repositories/3/resources/1701","The Illustrated Alphabet","Caricatures and cartoons","grotesques ","drawings (visual works)","Good.","This collection is minimally processed and open for research.","This collection contains the trial drawings for an illustrated alphabet book by the  Reverend George Liddell Johnston . The book, bound in crushed red morocco by  C. \u0026 C. McLeish  sometime in the early twentieth century, contains the inlaid drawings and manuscript pages. The book begins with two calligraphic frontispieces, one titled \"The Envelope\" with an angel holding a brush and canvas. This image was likely the front panel of an envelope that stored the contents before binding. Then follows three pen and ink title pages with letters in the Victorian grotesque tradition, eight manuscript leaves with limericks for each letter, twenty-six calligraphic leaves of alphabet limericks in pencil and pen, twelve watercolors, and forty-six total drawings. The bulk of the manuscript is the drawings and watercolors that illustrate the alphabet, some referencing the subject of the limericks and others alternative subjects. These are humorous and often satirical images. These include critiques of religious figures like cardinals and the Pope and more everyday situations and people like a quack, a statesman, a Yankee, an older man entranced by a younger woman, and an angry wife, among other characters.  Devils and demons are frequent figures in the illustrations. A number of the drawings that appear here also appear in a privately printed book by the same title. Johnston made a few copies of this book for his friends and family.   ","The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","James Arsenault and Co."," C. \u0026 C. McLeish","James Aresenault \u0026 Company","Small Special Collections Library","Johnston, George Liddell, 1817-1902","Reverend George Liddell Johnston","English"],"unitid_tesim":["MSS 16862","Archival Resource Key","/repositories/3/resources/1701"],"normalized_title_ssm":["The Illustrated Alphabet"],"collection_title_tesim":["The Illustrated Alphabet"],"collection_ssim":["The Illustrated Alphabet"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["James Arsenault and Co.","Johnston, George Liddell, 1817-1902"],"creator_ssim":["James Arsenault and Co.","Johnston, George Liddell, 1817-1902"],"creator_persname_ssim":["Johnston, George Liddell, 1817-1902"],"creator_corpname_ssim":["James Arsenault and Co."],"creators_ssim":["Johnston, George Liddell, 1817-1902","James Arsenault and Co."],"access_terms_ssm":["The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["This collection was purchased from  James Aresenault \u0026 Company  by the  Small Special Collections Library , University of Virginia on September 6, 2024."],"access_subjects_ssim":["Caricatures and cartoons","grotesques ","drawings (visual works)"],"access_subjects_ssm":["Caricatures and cartoons","grotesques ","drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["0.25 Cubic Feet One legal-sized half-width document box"],"extent_tesim":["0.25 Cubic Feet One legal-sized half-width document box"],"genreform_ssim":["drawings (visual works)"],"date_range_isim":[1875],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is minimally processed and open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is minimally processed and open for research."],"prefercite_html_tesm":["\u003cp\u003eMSS 16862, The Illustrated Alphabet, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16862, The Illustrated Alphabet, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the trial drawings for an illustrated alphabet book by the \u003cpersname\u003eReverend George Liddell Johnston\u003c/persname\u003e. The book, bound in crushed red morocco by\u003ccorpname\u003e C. \u0026amp; C. McLeish\u003c/corpname\u003e sometime in the early twentieth century, contains the inlaid drawings and manuscript pages. The book begins with two calligraphic frontispieces, one titled \"The Envelope\" with an angel holding a brush and canvas. This image was likely the front panel of an envelope that stored the contents before binding. Then follows three pen and ink title pages with letters in the Victorian grotesque tradition, eight manuscript leaves with limericks for each letter, twenty-six calligraphic leaves of alphabet limericks in pencil and pen, twelve watercolors, and forty-six total drawings. The bulk of the manuscript is the drawings and watercolors that illustrate the alphabet, some referencing the subject of the limericks and others alternative subjects. These are humorous and often satirical images. These include critiques of religious figures like cardinals and the Pope and more everyday situations and people like a quack, a statesman, a Yankee, an older man entranced by a younger woman, and an angry wife, among other characters.  Devils and demons are frequent figures in the illustrations. A number of the drawings that appear here also appear in a privately printed book by the same title. Johnston made a few copies of this book for his friends and family.   \u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains the trial drawings for an illustrated alphabet book by the  Reverend George Liddell Johnston . The book, bound in crushed red morocco by  C. \u0026 C. McLeish  sometime in the early twentieth century, contains the inlaid drawings and manuscript pages. The book begins with two calligraphic frontispieces, one titled \"The Envelope\" with an angel holding a brush and canvas. This image was likely the front panel of an envelope that stored the contents before binding. Then follows three pen and ink title pages with letters in the Victorian grotesque tradition, eight manuscript leaves with limericks for each letter, twenty-six calligraphic leaves of alphabet limericks in pencil and pen, twelve watercolors, and forty-six total drawings. The bulk of the manuscript is the drawings and watercolors that illustrate the alphabet, some referencing the subject of the limericks and others alternative subjects. These are humorous and often satirical images. These include critiques of religious figures like cardinals and the Pope and more everyday situations and people like a quack, a statesman, a Yankee, an older man entranced by a younger woman, and an angry wife, among other characters.  Devils and demons are frequent figures in the illustrations. A number of the drawings that appear here also appear in a privately printed book by the same title. Johnston made a few copies of this book for his friends and family.   "],"userestrict_html_tesm":["\u003cp\u003eThe Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. 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The book, bound in crushed red morocco by  C. \u0026 C. McLeish  sometime in the early twentieth century, contains the inlaid drawings and manuscript pages. The book begins with two calligraphic frontispieces, one titled \"The Envelope\" with an angel holding a brush and canvas. This image was likely the front panel of an envelope that stored the contents before binding. Then follows three pen and ink title pages with letters in the Victorian grotesque tradition, eight manuscript leaves with limericks for each letter, twenty-six calligraphic leaves of alphabet limericks in pencil and pen, twelve watercolors, and forty-six total drawings. The bulk of the manuscript is the drawings and watercolors that illustrate the alphabet, some referencing the subject of the limericks and others alternative subjects. These are humorous and often satirical images. These include critiques of religious figures like cardinals and the Pope and more everyday situations and people like a quack, a statesman, a Yankee, an older man entranced by a younger woman, and an angry wife, among other characters.  Devils and demons are frequent figures in the illustrations. A number of the drawings that appear here also appear in a privately printed book by the same title. Johnston made a few copies of this book for his friends and family.   ","The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","James Arsenault and Co."," C. \u0026 C. 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The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["This collection was purchased from  James Aresenault \u0026 Company  by the  Small Special Collections Library , University of Virginia on September 6, 2024."],"access_subjects_ssim":["Caricatures and cartoons","grotesques ","drawings (visual works)"],"access_subjects_ssm":["Caricatures and cartoons","grotesques ","drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["0.25 Cubic Feet One legal-sized half-width document box"],"extent_tesim":["0.25 Cubic Feet One legal-sized half-width document box"],"genreform_ssim":["drawings (visual works)"],"date_range_isim":[1875],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is minimally processed and open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is minimally processed and open for research."],"prefercite_html_tesm":["\u003cp\u003eMSS 16862, The Illustrated Alphabet, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16862, The Illustrated Alphabet, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the trial drawings for an illustrated alphabet book by the \u003cpersname\u003eReverend George Liddell Johnston\u003c/persname\u003e. The book, bound in crushed red morocco by\u003ccorpname\u003e C. \u0026amp; C. McLeish\u003c/corpname\u003e sometime in the early twentieth century, contains the inlaid drawings and manuscript pages. The book begins with two calligraphic frontispieces, one titled \"The Envelope\" with an angel holding a brush and canvas. This image was likely the front panel of an envelope that stored the contents before binding. Then follows three pen and ink title pages with letters in the Victorian grotesque tradition, eight manuscript leaves with limericks for each letter, twenty-six calligraphic leaves of alphabet limericks in pencil and pen, twelve watercolors, and forty-six total drawings. The bulk of the manuscript is the drawings and watercolors that illustrate the alphabet, some referencing the subject of the limericks and others alternative subjects. These are humorous and often satirical images. These include critiques of religious figures like cardinals and the Pope and more everyday situations and people like a quack, a statesman, a Yankee, an older man entranced by a younger woman, and an angry wife, among other characters.  Devils and demons are frequent figures in the illustrations. A number of the drawings that appear here also appear in a privately printed book by the same title. Johnston made a few copies of this book for his friends and family.   \u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains the trial drawings for an illustrated alphabet book by the  Reverend George Liddell Johnston . The book, bound in crushed red morocco by  C. \u0026 C. McLeish  sometime in the early twentieth century, contains the inlaid drawings and manuscript pages. The book begins with two calligraphic frontispieces, one titled \"The Envelope\" with an angel holding a brush and canvas. This image was likely the front panel of an envelope that stored the contents before binding. Then follows three pen and ink title pages with letters in the Victorian grotesque tradition, eight manuscript leaves with limericks for each letter, twenty-six calligraphic leaves of alphabet limericks in pencil and pen, twelve watercolors, and forty-six total drawings. The bulk of the manuscript is the drawings and watercolors that illustrate the alphabet, some referencing the subject of the limericks and others alternative subjects. These are humorous and often satirical images. These include critiques of religious figures like cardinals and the Pope and more everyday situations and people like a quack, a statesman, a Yankee, an older man entranced by a younger woman, and an angry wife, among other characters.  Devils and demons are frequent figures in the illustrations. A number of the drawings that appear here also appear in a privately printed book by the same title. Johnston made a few copies of this book for his friends and family.   "],"userestrict_html_tesm":["\u003cp\u003eThe Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Library believes that all or nearly all material in this collection is likely to be in the public domain, free of copyright restrictions. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_coll_ssim":["James Arsenault and Co."],"names_ssim":["Albert and Shirley Small Special Collections Library","James Arsenault and Co."," C. \u0026 C. McLeish","James Aresenault \u0026 Company","Small Special Collections Library","Johnston, George Liddell, 1817-1902","Reverend George Liddell Johnston"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","James Arsenault and Co."," C. \u0026 C. 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Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1209#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1209","ead_ssi":"viu_repositories_3_resources_1209","_root_":"viu_repositories_3_resources_1209","_nest_parent_":"viu_repositories_3_resources_1209","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1209.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/137802","title_filing_ssi":"Chappell, Warren, papers","title_ssm":["Warren Chappell papers"],"title_tesim":["Warren Chappell papers"],"unitdate_ssm":["1929-2000"],"unitdate_inclusive_ssm":["1929-2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209"],"text":["MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209","Warren Chappell papers","drawings (visual works)","photographs","letters (correspondence)","The collection is open for research use.","American illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center. ","Mr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026 Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.","Among the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).","He kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991. ","Sources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html","For more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell","These additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications.","Copies of materials from other institutions cannot be reproduced.","Albert and Shirley Small Special Collections Library","Chappell, Warren, 1904-1991","English"],"unitid_tesim":["MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209"],"normalized_title_ssm":["Warren Chappell papers"],"collection_title_tesim":["Warren Chappell papers"],"collection_ssim":["Warren Chappell papers"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Chappell, Warren, 1904-1991"],"creator_ssim":["Chappell, Warren, 1904-1991"],"creator_persname_ssim":["Chappell, Warren, 1904-1991"],"creators_ssim":["Chappell, Warren, 1904-1991"],"access_terms_ssm":["Copies of materials from other institutions cannot be reproduced."],"acqinfo_ssim":["This collection has many additions. It was a gift from Janet Anderson, Shelah Kane Scott, and Lydia Andrea Hatfield, to the Small Special Collections Library at the University of Virginia Library on December 11, 2012, September 16, 2019, and November 18,2022. Part of this collection was formed by private collector Calvin Otto and then became the property of Frances and Jim Cileti before it was purchased by the library on November 12, 2019."],"access_subjects_ssim":["drawings (visual works)","photographs","letters (correspondence)"],"access_subjects_ssm":["drawings (visual works)","photographs","letters (correspondence)"],"has_online_content_ssim":["false"],"extent_ssm":["3 Cubic Feet 6 document boxes and 4 oversize folders"],"extent_tesim":["3 Cubic Feet 6 document boxes and 4 oversize folders"],"genreform_ssim":["drawings (visual works)","photographs","letters (correspondence)"],"date_range_isim":[1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eAmerican illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center. \u003c/p\u003e\n","\u003cp\u003eMr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026amp; Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.\u003c/p\u003e\n","\u003cp\u003eAmong the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).\u003c/p\u003e\n","\u003cp\u003eHe kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991. \u003c/p\u003e\n","\u003cp\u003eSources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html\u003c/p\u003e\n","\u003cp\u003eFor more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["American illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center. ","Mr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026 Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.","Among the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).","He kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991. ","Sources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html","For more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell"],"scopecontent_html_tesm":["\u003cp\u003eThese additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["These additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications."],"userestrict_html_tesm":["\u003cp\u003eCopies of materials from other institutions cannot be reproduced.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copies of materials from other institutions cannot be reproduced."],"names_ssim":["Albert and Shirley Small Special Collections Library","Chappell, Warren, 1904-1991"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Chappell, Warren, 1904-1991"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":90,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:45:52.592Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1209","ead_ssi":"viu_repositories_3_resources_1209","_root_":"viu_repositories_3_resources_1209","_nest_parent_":"viu_repositories_3_resources_1209","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1209.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/137802","title_filing_ssi":"Chappell, Warren, papers","title_ssm":["Warren Chappell papers"],"title_tesim":["Warren Chappell papers"],"unitdate_ssm":["1929-2000"],"unitdate_inclusive_ssm":["1929-2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209"],"text":["MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209","Warren Chappell papers","drawings (visual works)","photographs","letters (correspondence)","The collection is open for research use.","American illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center. ","Mr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026 Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.","Among the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).","He kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991. ","Sources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html","For more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell","These additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications.","Copies of materials from other institutions cannot be reproduced.","Albert and Shirley Small Special Collections Library","Chappell, Warren, 1904-1991","English"],"unitid_tesim":["MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209"],"normalized_title_ssm":["Warren Chappell papers"],"collection_title_tesim":["Warren Chappell papers"],"collection_ssim":["Warren Chappell papers"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Chappell, Warren, 1904-1991"],"creator_ssim":["Chappell, Warren, 1904-1991"],"creator_persname_ssim":["Chappell, Warren, 1904-1991"],"creators_ssim":["Chappell, Warren, 1904-1991"],"access_terms_ssm":["Copies of materials from other institutions cannot be reproduced."],"acqinfo_ssim":["This collection has many additions. It was a gift from Janet Anderson, Shelah Kane Scott, and Lydia Andrea Hatfield, to the Small Special Collections Library at the University of Virginia Library on December 11, 2012, September 16, 2019, and November 18,2022. Part of this collection was formed by private collector Calvin Otto and then became the property of Frances and Jim Cileti before it was purchased by the library on November 12, 2019."],"access_subjects_ssim":["drawings (visual works)","photographs","letters (correspondence)"],"access_subjects_ssm":["drawings (visual works)","photographs","letters (correspondence)"],"has_online_content_ssim":["false"],"extent_ssm":["3 Cubic Feet 6 document boxes and 4 oversize folders"],"extent_tesim":["3 Cubic Feet 6 document boxes and 4 oversize folders"],"genreform_ssim":["drawings (visual works)","photographs","letters (correspondence)"],"date_range_isim":[1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eAmerican illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center. \u003c/p\u003e\n","\u003cp\u003eMr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026amp; Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.\u003c/p\u003e\n","\u003cp\u003eAmong the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).\u003c/p\u003e\n","\u003cp\u003eHe kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991. \u003c/p\u003e\n","\u003cp\u003eSources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html\u003c/p\u003e\n","\u003cp\u003eFor more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["American illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center. ","Mr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026 Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.","Among the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).","He kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991. ","Sources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html","For more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell"],"scopecontent_html_tesm":["\u003cp\u003eThese additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["These additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications."],"userestrict_html_tesm":["\u003cp\u003eCopies of materials from other institutions cannot be reproduced.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copies of materials from other institutions cannot be reproduced."],"names_ssim":["Albert and Shirley Small Special Collections Library","Chappell, Warren, 1904-1991"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Chappell, Warren, 1904-1991"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":90,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:45:52.592Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1209"}},{"id":"viu_repositories_3_resources_899","type":"collection","attributes":{"title":"W. Dexter Whitehead prints","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_899#creator","type":"document_value","attributes":{"value":"Whitehead, Walter Dexter, 1922-2008","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_899#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains fifteen prints of drawings created by Dr. W. Dexter Whitehead, a professor of physics at the University of Virginia from 1956-1992. The drawings depict the following views and locations around Grounds, and are titled accordingly: Lawn Room, Steps at Pavilion IX, Pavilion IX Entrance Detail, Dome Room - The Rotunda, Levering Hall, Steps Behind Pavilion VIII, West Rotunda Arch, Pavilion III, Arcade Fan Windows, East Rotunda Arch, Pavilion VI, Pavilion IX - Entrance, Rotunda Fan Window, Dome Room - The Rotunda, and Fan Windows. Each print is signed by Whitehead in the bottom right corner.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_899#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_899","ead_ssi":"viu_repositories_3_resources_899","_root_":"viu_repositories_3_resources_899","_nest_parent_":"viu_repositories_3_resources_899","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_899.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/130984","title_filing_ssi":"Whitehead, W. Dexter, prints","title_ssm":["W. Dexter Whitehead prints"],"title_tesim":["W. Dexter Whitehead prints"],"unitdate_ssm":["undated"],"unitdate_other_ssim":["undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16431","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/899"],"text":["MSS 16431","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/899","W. Dexter Whitehead prints","University of Virginia -- Buildings -- Pictorial works","drawings (visual works)","The collection is open for research use.","Dr. Walter Dexter Whitehead (1922-2008) was a professor of physics at the University of Virginia from 1956 to 1992. Walter Dexter Whitehead was born in San Diego, California in 1922. Whitehead grew up in Richmond and Old Church, Va., and attended the McGuire's University School. He was enrolled in the University of Virginia and was awarded a B.S. in chemistry (1944), M.S. in physics (1946), and Ph.D. in physics (1949) and was a member of ATO, the Raven Society, the Jefferson Society, Sigma Xi and several physics and University organizations.  In 1956 he joined the physics faculty at the University of Virginia. He became a professor of physics in 1962 and chairman of the department in 1968. In 1965 he was appointed director of the Center for Advanced Studies and in 1969 became dean of the Graduate School of Arts and Sciences; both positions he held until 1989. He retired as Alumni Professor of Physics Emeritus in 1992.Dexter was also an artist and many of his paintings reflect his love for both the University and Maine. He died at the age of 85 on May 27, 2008.","Sources\n \nBromley, Anne E. \"In Memoriam: Dexter Whitehead,\" UVA Today, University Of Virginia, May 28,2008, https://news.virginia.edu/content/memoriam-dexter-whitehead.","Carlson, E. Mary. \"U.Va. Profiles: W. Dexter Whitehead: Physicist, Administrator and Painter,\" UVA Today, University Of Virginia, November 26,2007, https://news.virginia.edu/content/uva-profiles-w-dexter-whitehead-physicist-administrator-and-painter.","This collection contains fifteen prints of drawings created by Dr. W. Dexter Whitehead, a professor of physics at the University of Virginia from 1956-1992. The drawings depict the following views and locations around Grounds, and are titled accordingly: Lawn Room, Steps at Pavilion IX, Pavilion IX Entrance Detail, Dome Room - The Rotunda, Levering Hall, Steps Behind Pavilion VIII, West Rotunda Arch, Pavilion III, Arcade Fan Windows, East Rotunda Arch, Pavilion VI, Pavilion IX - Entrance, Rotunda Fan Window, Dome Room - The Rotunda, and Fan Windows. Each print is signed by Whitehead in the bottom right corner.","This collection contains some in-copyright material. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","Whitehead, Walter Dexter, 1922-2008","English"],"unitid_tesim":["MSS 16431","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/899"],"normalized_title_ssm":["W. Dexter Whitehead prints"],"collection_title_tesim":["W. Dexter Whitehead prints"],"collection_ssim":["W. Dexter Whitehead prints"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Whitehead, Walter Dexter, 1922-2008"],"creator_ssim":["Whitehead, Walter Dexter, 1922-2008"],"creator_persname_ssim":["Whitehead, Walter Dexter, 1922-2008"],"creators_ssim":["Whitehead, Walter Dexter, 1922-2008"],"access_terms_ssm":["This collection contains some in-copyright material. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["This collection was transferred by Meg Kennedy to the Small Special Collections Library, University of Virginia on June 1, 2021."],"access_subjects_ssim":["University of Virginia -- Buildings -- Pictorial works","drawings (visual works)"],"access_subjects_ssm":["University of Virginia -- Buildings -- Pictorial works","drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["0.04 Cubic Feet 1 legal folder"],"extent_tesim":["0.04 Cubic Feet 1 legal folder"],"genreform_ssim":["drawings (visual works)"],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eDr. Walter Dexter Whitehead (1922-2008) was a professor of physics at the University of Virginia from 1956 to 1992. Walter Dexter Whitehead was born in San Diego, California in 1922. Whitehead grew up in Richmond and Old Church, Va., and attended the McGuire's University School. He was enrolled in the University of Virginia and was awarded a B.S. in chemistry (1944), M.S. in physics (1946), and Ph.D. in physics (1949) and was a member of ATO, the Raven Society, the Jefferson Society, Sigma Xi and several physics and University organizations.  In 1956 he joined the physics faculty at the University of Virginia. He became a professor of physics in 1962 and chairman of the department in 1968. In 1965 he was appointed director of the Center for Advanced Studies and in 1969 became dean of the Graduate School of Arts and Sciences; both positions he held until 1989. He retired as Alumni Professor of Physics Emeritus in 1992.Dexter was also an artist and many of his paintings reflect his love for both the University and Maine. He died at the age of 85 on May 27, 2008.\u003c/p\u003e\n","\u003cp\u003eSources\n \nBromley, Anne E. \"In Memoriam: Dexter Whitehead,\" UVA Today, University Of Virginia, May 28,2008, https://news.virginia.edu/content/memoriam-dexter-whitehead.\u003c/p\u003e\n","\u003cp\u003eCarlson, E. Mary. \"U.Va. Profiles: W. Dexter Whitehead: Physicist, Administrator and Painter,\" UVA Today, University Of Virginia, November 26,2007, https://news.virginia.edu/content/uva-profiles-w-dexter-whitehead-physicist-administrator-and-painter.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Dr. Walter Dexter Whitehead (1922-2008) was a professor of physics at the University of Virginia from 1956 to 1992. Walter Dexter Whitehead was born in San Diego, California in 1922. Whitehead grew up in Richmond and Old Church, Va., and attended the McGuire's University School. He was enrolled in the University of Virginia and was awarded a B.S. in chemistry (1944), M.S. in physics (1946), and Ph.D. in physics (1949) and was a member of ATO, the Raven Society, the Jefferson Society, Sigma Xi and several physics and University organizations.  In 1956 he joined the physics faculty at the University of Virginia. He became a professor of physics in 1962 and chairman of the department in 1968. In 1965 he was appointed director of the Center for Advanced Studies and in 1969 became dean of the Graduate School of Arts and Sciences; both positions he held until 1989. He retired as Alumni Professor of Physics Emeritus in 1992.Dexter was also an artist and many of his paintings reflect his love for both the University and Maine. He died at the age of 85 on May 27, 2008.","Sources\n \nBromley, Anne E. \"In Memoriam: Dexter Whitehead,\" UVA Today, University Of Virginia, May 28,2008, https://news.virginia.edu/content/memoriam-dexter-whitehead.","Carlson, E. Mary. \"U.Va. Profiles: W. Dexter Whitehead: Physicist, Administrator and Painter,\" UVA Today, University Of Virginia, November 26,2007, https://news.virginia.edu/content/uva-profiles-w-dexter-whitehead-physicist-administrator-and-painter."],"prefercite_html_tesm":["\u003cp\u003eMSS 16431, W. Dexter Whitehead prints, Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16431, W. Dexter Whitehead prints, Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains fifteen prints of drawings created by Dr. W. Dexter Whitehead, a professor of physics at the University of Virginia from 1956-1992. The drawings depict the following views and locations around Grounds, and are titled accordingly: Lawn Room, Steps at Pavilion IX, Pavilion IX Entrance Detail, Dome Room - The Rotunda, Levering Hall, Steps Behind Pavilion VIII, West Rotunda Arch, Pavilion III, Arcade Fan Windows, East Rotunda Arch, Pavilion VI, Pavilion IX - Entrance, Rotunda Fan Window, Dome Room - The Rotunda, and Fan Windows. Each print is signed by Whitehead in the bottom right corner.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains fifteen prints of drawings created by Dr. W. Dexter Whitehead, a professor of physics at the University of Virginia from 1956-1992. The drawings depict the following views and locations around Grounds, and are titled accordingly: Lawn Room, Steps at Pavilion IX, Pavilion IX Entrance Detail, Dome Room - The Rotunda, Levering Hall, Steps Behind Pavilion VIII, West Rotunda Arch, Pavilion III, Arcade Fan Windows, East Rotunda Arch, Pavilion VI, Pavilion IX - Entrance, Rotunda Fan Window, Dome Room - The Rotunda, and Fan Windows. Each print is signed by Whitehead in the bottom right corner."],"userestrict_html_tesm":["\u003cp\u003eThis collection contains some in-copyright material. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection contains some in-copyright material. Visit our Permissions and Publishing page for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_ssim":["Albert and Shirley Small Special Collections Library","Whitehead, Walter Dexter, 1922-2008"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Whitehead, Walter Dexter, 1922-2008"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:42:25.725Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_899","ead_ssi":"viu_repositories_3_resources_899","_root_":"viu_repositories_3_resources_899","_nest_parent_":"viu_repositories_3_resources_899","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_899.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/130984","title_filing_ssi":"Whitehead, W. Dexter, prints","title_ssm":["W. Dexter Whitehead prints"],"title_tesim":["W. Dexter Whitehead prints"],"unitdate_ssm":["undated"],"unitdate_other_ssim":["undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16431","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/899"],"text":["MSS 16431","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/899","W. Dexter Whitehead prints","University of Virginia -- Buildings -- Pictorial works","drawings (visual works)","The collection is open for research use.","Dr. Walter Dexter Whitehead (1922-2008) was a professor of physics at the University of Virginia from 1956 to 1992. Walter Dexter Whitehead was born in San Diego, California in 1922. Whitehead grew up in Richmond and Old Church, Va., and attended the McGuire's University School. He was enrolled in the University of Virginia and was awarded a B.S. in chemistry (1944), M.S. in physics (1946), and Ph.D. in physics (1949) and was a member of ATO, the Raven Society, the Jefferson Society, Sigma Xi and several physics and University organizations.  In 1956 he joined the physics faculty at the University of Virginia. He became a professor of physics in 1962 and chairman of the department in 1968. In 1965 he was appointed director of the Center for Advanced Studies and in 1969 became dean of the Graduate School of Arts and Sciences; both positions he held until 1989. He retired as Alumni Professor of Physics Emeritus in 1992.Dexter was also an artist and many of his paintings reflect his love for both the University and Maine. He died at the age of 85 on May 27, 2008.","Sources\n \nBromley, Anne E. \"In Memoriam: Dexter Whitehead,\" UVA Today, University Of Virginia, May 28,2008, https://news.virginia.edu/content/memoriam-dexter-whitehead.","Carlson, E. Mary. \"U.Va. Profiles: W. Dexter Whitehead: Physicist, Administrator and Painter,\" UVA Today, University Of Virginia, November 26,2007, https://news.virginia.edu/content/uva-profiles-w-dexter-whitehead-physicist-administrator-and-painter.","This collection contains fifteen prints of drawings created by Dr. W. Dexter Whitehead, a professor of physics at the University of Virginia from 1956-1992. The drawings depict the following views and locations around Grounds, and are titled accordingly: Lawn Room, Steps at Pavilion IX, Pavilion IX Entrance Detail, Dome Room - The Rotunda, Levering Hall, Steps Behind Pavilion VIII, West Rotunda Arch, Pavilion III, Arcade Fan Windows, East Rotunda Arch, Pavilion VI, Pavilion IX - Entrance, Rotunda Fan Window, Dome Room - The Rotunda, and Fan Windows. Each print is signed by Whitehead in the bottom right corner.","This collection contains some in-copyright material. 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Walter Dexter Whitehead was born in San Diego, California in 1922. Whitehead grew up in Richmond and Old Church, Va., and attended the McGuire's University School. He was enrolled in the University of Virginia and was awarded a B.S. in chemistry (1944), M.S. in physics (1946), and Ph.D. in physics (1949) and was a member of ATO, the Raven Society, the Jefferson Society, Sigma Xi and several physics and University organizations.  In 1956 he joined the physics faculty at the University of Virginia. He became a professor of physics in 1962 and chairman of the department in 1968. In 1965 he was appointed director of the Center for Advanced Studies and in 1969 became dean of the Graduate School of Arts and Sciences; both positions he held until 1989. He retired as Alumni Professor of Physics Emeritus in 1992.Dexter was also an artist and many of his paintings reflect his love for both the University and Maine. He died at the age of 85 on May 27, 2008.\u003c/p\u003e\n","\u003cp\u003eSources\n \nBromley, Anne E. \"In Memoriam: Dexter Whitehead,\" UVA Today, University Of Virginia, May 28,2008, https://news.virginia.edu/content/memoriam-dexter-whitehead.\u003c/p\u003e\n","\u003cp\u003eCarlson, E. Mary. \"U.Va. Profiles: W. Dexter Whitehead: Physicist, Administrator and Painter,\" UVA Today, University Of Virginia, November 26,2007, https://news.virginia.edu/content/uva-profiles-w-dexter-whitehead-physicist-administrator-and-painter.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Dr. Walter Dexter Whitehead (1922-2008) was a professor of physics at the University of Virginia from 1956 to 1992. Walter Dexter Whitehead was born in San Diego, California in 1922. Whitehead grew up in Richmond and Old Church, Va., and attended the McGuire's University School. He was enrolled in the University of Virginia and was awarded a B.S. in chemistry (1944), M.S. in physics (1946), and Ph.D. in physics (1949) and was a member of ATO, the Raven Society, the Jefferson Society, Sigma Xi and several physics and University organizations.  In 1956 he joined the physics faculty at the University of Virginia. He became a professor of physics in 1962 and chairman of the department in 1968. In 1965 he was appointed director of the Center for Advanced Studies and in 1969 became dean of the Graduate School of Arts and Sciences; both positions he held until 1989. He retired as Alumni Professor of Physics Emeritus in 1992.Dexter was also an artist and many of his paintings reflect his love for both the University and Maine. He died at the age of 85 on May 27, 2008.","Sources\n \nBromley, Anne E. \"In Memoriam: Dexter Whitehead,\" UVA Today, University Of Virginia, May 28,2008, https://news.virginia.edu/content/memoriam-dexter-whitehead.","Carlson, E. Mary. \"U.Va. Profiles: W. Dexter Whitehead: Physicist, Administrator and Painter,\" UVA Today, University Of Virginia, November 26,2007, https://news.virginia.edu/content/uva-profiles-w-dexter-whitehead-physicist-administrator-and-painter."],"prefercite_html_tesm":["\u003cp\u003eMSS 16431, W. Dexter Whitehead prints, Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16431, W. Dexter Whitehead prints, Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains fifteen prints of drawings created by Dr. W. Dexter Whitehead, a professor of physics at the University of Virginia from 1956-1992. 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