{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Subseries\u0026page=8","prev":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Subseries\u0026page=7","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Subseries\u0026page=9","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Subseries\u0026page=78"},"meta":{"pages":{"current_page":8,"next_page":9,"prev_page":7,"total_pages":78,"limit_value":10,"offset_value":70,"total_count":779,"first_page?":false,"last_page?":false}},"data":[{"id":"viw_repositories_2_resources_9853_c01_c01_c09","type":"Subseries","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c09#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c09","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c09"],"id":"viw_repositories_2_resources_9853_c01_c01_c09","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard","title_ssm":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"title_tesim":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"unitdate_inclusive_ssm":["1859-2012"],"normalized_date_ssm":["1859/2012"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":19,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"_nest_path_":"/components#0/components#0/components#8","timestamp":"2026-05-21T07:21:03Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright Collection of Graphic Images of African Americans","title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright Collection of Graphic Images of African Americans","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"collection_title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThis collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T07:21:03Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c09"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c11","type":"Subseries","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c11#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c11","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c11"],"id":"viw_repositories_2_resources_9853_c01_c01_c11","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas","title_ssm":["\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas"],"title_tesim":["\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas"],"unitdate_inclusive_ssm":["1896-2013"],"normalized_date_ssm":["1896/2013"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas"],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"has_online_content_ssim":["false"],"child_component_count_isi":10,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":38,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"_nest_path_":"/components#0/components#0/components#10","timestamp":"2026-05-21T07:21:03Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright Collection of Graphic Images of African Americans","title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright Collection of Graphic Images of African Americans","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"collection_title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThis collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T07:21:03Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c11"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c12","type":"Subseries","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\"","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c12#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c12","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c12"],"id":"viw_repositories_2_resources_9853_c01_c01_c12","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\""],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\"","title_ssm":["\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\""],"title_tesim":["\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\""],"unitdate_inclusive_ssm":["1900-2011"],"normalized_date_ssm":["1900/2011"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\""],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"has_online_content_ssim":["false"],"child_component_count_isi":9,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":49,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011],"_nest_path_":"/components#0/components#0/components#11","timestamp":"2026-05-21T07:21:03Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright Collection of Graphic Images of African Americans","title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright Collection of Graphic Images of African Americans","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"collection_title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThis collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T07:21:03Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c12"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c19","type":"Subseries","attributes":{"title":"\"Clean Fun: Blacks in Comics,\" Untitled binder","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c19#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c19","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c19"],"id":"viw_repositories_2_resources_9853_c01_c01_c19","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Blacks in Comics,\" Untitled binder"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics,\" Untitled binder","title_ssm":["\"Clean Fun: Blacks in Comics,\" Untitled binder"],"title_tesim":["\"Clean Fun: Blacks in Comics,\" Untitled binder"],"unitdate_inclusive_ssm":["1900-2012"],"normalized_date_ssm":["1900/2012"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics,\" Untitled binder"],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"has_online_content_ssim":["false"],"child_component_count_isi":21,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":103,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"_nest_path_":"/components#0/components#0/components#18","timestamp":"2026-05-21T07:21:03Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright Collection of Graphic Images of African Americans","title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright Collection of Graphic Images of African Americans","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"collection_title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThis collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T07:21:03Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c19"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c18","type":"Subseries","attributes":{"title":"\"Clean Fun: Starring images of African-Americans in the Comic Art of America\"","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c18#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c18","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c18"],"id":"viw_repositories_2_resources_9853_c01_c01_c18","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright Collection of Graphic Images of African Americans","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Starring images of African-Americans in the Comic Art of America\""],"title_filing_ssi":"\"Clean Fun: Starring images of African-Americans in the Comic Art of America\"","title_ssm":["\"Clean Fun: Starring images of African-Americans in the Comic Art of America\""],"title_tesim":["\"Clean Fun: Starring images of African-Americans in the Comic Art of America\""],"unitdate_inclusive_ssm":["1804-2013"],"normalized_date_ssm":["1804/2013"],"normalized_title_ssm":["\"Clean Fun: Starring images of African-Americans in the Comic Art of America\""],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"has_online_content_ssim":["false"],"child_component_count_isi":30,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":72,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"_nest_path_":"/components#0/components#0/components#17","timestamp":"2026-05-21T07:21:03Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright Collection of Graphic Images of African Americans","title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright Collection of Graphic Images of African Americans","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright Collection of Graphic Images of African Americans"],"collection_title_tesim":["Richard Wright Collection of Graphic Images of African Americans"],"collection_ssim":["Richard Wright Collection of Graphic Images of African Americans"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright Collection of Graphic Images of African Americans, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThis collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T07:21:03Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c18"}},{"id":"viu_viu00917_c01_c21_c03","type":"Subseries","attributes":{"title":"C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_viu00917_c01_c21_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu00917_c01_c21_c03","ref_ssm":["viu_viu00917_c01_c21_c03"],"id":"viu_viu00917_c01_c21_c03","ead_ssi":"viu_viu00917","_root_":"viu_viu00917","_nest_parent_":"viu_viu00917_c01_c21","parent_ssi":"viu_viu00917_c01_c21","parent_ssim":["viu_viu00917","viu_viu00917_c01","viu_viu00917_c01_c21"],"parent_ids_ssim":["viu_viu00917","viu_viu00917_c01","viu_viu00917_c01_c21"],"parent_unittitles_ssm":["Papers of the Low Moor Iron Company \n         1873-1927","Bound Volumes","Payroll Books"],"parent_unittitles_tesim":["Papers of the Low Moor Iron Company \n         1873-1927","Bound Volumes","Payroll Books"],"text":["Papers of the Low Moor Iron Company \n         1873-1927","Bound Volumes","Payroll Books","C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines","11 volumes"],"title_filing_ssi":"C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines","title_ssm":["C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines"],"title_tesim":["C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines"],"unitdate_other_ssim":["1881-1925"],"normalized_date_ssm":["1881/1925"],"normalized_title_ssm":["C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines"],"component_level_isim":[3],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Papers of the Low Moor Iron Company \n         1873-1927"],"physdesc_tesim":["11 volumes"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":112,"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925],"_nest_path_":"/components#0/components#20/components#2","timestamp":"2026-05-21T12:10:02.328Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu00917","ead_ssi":"viu_viu00917","_root_":"viu_viu00917","_nest_parent_":"viu_viu00917","ead_source_url_ssi":"data/uva-sc/viu00917.xml","title_ssm":["Papers of the Low Moor Iron Company \n         1873-1927"],"title_tesim":["Papers of the Low Moor Iron Company \n         1873-1927"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["662"],"text":["662","Papers of the Low Moor Iron Company \n         1873-1927","95 linear feer + 1200\n         volumes","Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n","The word \"organization\" is used here with considerable\n         diffidence, for any researcher studying the container list\n         that follows will realize quickly that there is no\n         organization in the usual sense of the word.","As noted under \"Provenance,\" the Low Moor Iron Company\n         papers were subjected to a number of moves; when processing\n         began in the fall of 1976, no discernible scheme of\n         organization could be determined.","The first step was to review the series of coded numbers\n         placed on the bundles of papers before they were moved to\n         the dormitory attic, but these did not provide any sort of\n         useful organization. Next, the spine titles of the original\n         letter boxes were reviewed (they had been copied onto the\n         gray cardboard sheets before the move to the dormitory\n         attic), but they, too, proved useless.","These steps having provided no scheme, and after a\n         considerable hiatus due to a turnover in student processors\n         on the collection, the new student processors were\n         instructed to begin a box-by-box inventory of the contents\n         of the collection. During this inventory, old folders were\n         replaced with acid-free ones, and the original folder\n         headings were copied onto the new ones. Some removal of\n         paper clips was accomplished, and the materials were\n         reviewed and notes taken for the guide.","Some consolidation of materials was accomplished, and in\n         other cases, materials were moved. This work has created\n         some problems in the numbering of the boxes. Thus, the\n         researchers will find boxes marked \"6A\" and \"23C\"; he will\n         also discover that certain box numbers have been entirely\n         omitted. As the box numbers exist only to aid in the\n         location of material, it was not felt that the unusual\n         numbers and the omissions would cause problems in working\n         with the papers.","A certain amount of movement of boxes within the\n         collection, and of materials among boxes, probably would\n         ease use of it. But what processing was accomplished on\n         this project took far longer than had been anticipated, and\n         there was no time in the late spring of 1978, when the\n         processors had to complete their work with the project, to\n         undertake a mass movement of material. Thus, they stand in\n         the order in which we found them at the beginning of the\n         project.","The Low Moor Iron Company, the first producer of pig\n         iron in Virginia according to the company's claims, was a\n         self-contained manufacturing unit producing from its own\n         mines the coal, limestone, and iron ore needed for its iron\n         production. Located in Low Moor near Clifton Forge in\n         Alleghany County in western Virginia, an area rich in\n         mineral deposits, the company was in operation from\n         1872-1930, producing only pig iron; it never attempted to\n         produce finished iron products.","Coal came to the Low Moor furnaces from the Kay Moor\n         Mines at Kay Moor, West Virginia, about thirty miles from\n         Low Moor; limestone was produced from the Low Moor\n         limestone quarries; and iron ore came from the Fenwick,\n         Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n         Mines, most of them within twenty miles of Low Moor at\n         Covington or Clifton Forge.","The towns of Low Moor and Kay Moor were company towns in\n         every respect. Workers lived in company-owned houses,\n         bought food in company stores, worshiped at the company\n         church, saw movies in the company theater, were treated in\n         the company hospital, and were buried in the company\n         cemetery. Workers received part of their pay in scrip that\n         they exchanged for goods and services. According to a\n         statement from the Kay Moor Mines dated November 1904, Kay\n         Moor then employed 338 people, paid them an average wage of\n         $36.26 per month, and issued half of their pay in scrip.\n         Kay Moor had four stores; Low Moor had seven or eight. All\n         of these stores carried large inventories which are\n         detailed in the collection. These inventories are valuable\n         to anyone interested in determining the wants and needs of\n         a coal miner and his family.","In the late 1910's and 1920's Kay Moor had a company\n         theater called the Azure Theater which seated about 300\n         people. There were also plans for a company-owned social\n         center, to have pool tables, a soda fountain, and\n         provisions for dancing and skating. The company was in\n         tough economic straits by the 1920's, however, and there is\n         no evidence that the social center was built. The town of\n         Low Moor was so completely under the company's influence\n         that one of Low Moor Iron Company's assistant managers\n         served as the town sheriff. He often foreclosed on people\n         who did not pay their debts, and drove troublesome people\n         \"out of town on a rail\" as he put it.","The Low Moor Iron Company's fortunes fluctuated during\n         the various business cycles between the years 1880-1930.\n         Low Moor was one of the larger pig iron producers in\n         Virginia, but Virginia pig iron production was not\n         important nationally. Low Moor officials sometimes sold\n         their product themselves, but more often they used agents,\n         the prevalent method at the time. Low Moor Iron Company\n         used a variety of agents through the 1900's. James F. Bryan\n         acted as the exclusive agent for the sale of Kay Moor Coal\n         from September 21, 1903 to September, 1905. From about 1890\n         until about 1910 Dalton Nash and Company were the exclusive\n         eastern agents of Low Moor Iron. After that time the\n         exclusive agency went to Philips Isham and Company located\n         in New York. From about 1890 the western agency was handled\n         chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n         and Company underwent a name change, becoming Walter\n         Wallingford and Company, with offices located in\n         Cincinnati, Pittsburgh, and Chicago.","Perhaps the Low Moor Iron Company's biggest problem over\n         the years was obtaining railroad cars for the\n         transportation of its finished product. Low Moor Iron\n         Company had its own cars for transporting its raw materials\n         among its various facilities. For the long haul necessary\n         for its finished goods, however, it depended upon the\n         services of the Chesapeake and Ohio Railroad, and the\n         relationship was not always a happy one. The Low Moor\n         Company complained many times to the C \u0026 O Railroad\n         about the discrepancies between long-and shorthaul freight\n         rates. Low Moor also had trouble getting cars from the C\n         \u0026 O. In a letter to one of Low Moor Company's agents\n         from an irate customer dated 1898, the customer wrote: \"We\n         wrote you on Saturday and endeavored to question upon your\n         mind the necessity of taking care of us with Low Moor iron.\n         We are on our uppers--there is not a pound of Low Moor iron\n         in the yard. Of the one hundred tons ordered some time ago,\n         not one pound of it has been received.\" This was, according\n         to the Low Moor Iron Company, because they could not get\n         the railroad cars. In a letter from Thomas Mack and Company\n         dated November 26, 1901, to General Manager E. C. Means:\n         \"We are hopeful that the car supply will get better because\n         of the number of orders you have of ours for prompt\n         shipment. Our customers are complaining that they are not\n         getting the iron fast enough. . . . We hope that the\n         railroad will be able to supply you with empty cars.\" In\n         another letter dated 1916 to John B. Guernsey, then acting\n         General Manager of the Low Moor Iron Company, \"We were not\n         supplied with coke cars for today's loading, and\n         consequently we have been practically down of Kay Moor\n         ovens all day.\"","The problem of procuring labor also plagued the Low Moor\n         Company. The company sometimes tried to hire immigrant\n         laborers and send the men directly to Low Moor from New\n         York City. There were problems with this, as is explained\n         in the following letter dated April 7, 1906: \n          To Mr. George Wickes \n             Supt. of Mines \n             Kay Moor, Virginia \n             Dear George, \n             Tony arrived with twenty one men last night. One\n            got away in Jersey two in Washington D.C., four in\n            Charlottesville. Some of the men are very good looking,\n            but taken as a whole they are the worst lot I have ever\n            seen: Irish, German-Jews, and Italians. . . . Our New\n            York transportations to this place have never been a\n            success. Signed, \n             Ed D. Wickes Supt. of Mines Low Moor usually employed labor agencies, one\n         of which was Atwood's Employment Agency. Often the Low Moor\n         Company would request certain nationalities, believing them\n         to be better workers than others. Sometimes the company\n         would request a gang of twenty made up of \"ten Greeks and\n         ten Italians.\" Many of the immigrants fled Low Moor and Kay\n         Moor when they learned that they would have to work\n         underground. There is a fair amount of material on\n         immigrant labor and its procurement in the collection, and\n         it is noted in the description of the box contents.","Low Moor Iron Company not only had trouble procuring\n         labor, but it also had trouble with labor already employed\n         in the mines and at the factory. Labor dissension and\n         strikes troubled the Kay Moor Mines through the 1900's. The\n         great coal strike of 1902 hurt the Low Moor Company's coal\n         mining operation, but by 1903 things were \"nearly back to\n         normal\" according to the mine superintendent. There was\n         still trouble at Kay Moor Mines, however. In a letter dated\n         April 26, 1906, to the treasurer of Low Moor Company, the\n         manager of the mines wrote about the trouble in \"trying to\n         get the agitators out.\" The mines were seventy-five men\n         short of the total labor force needed because many of the\n         coal miners returned to their farms during the spring.\n         There were rumblings of another strike at Kay Moor, the\n         result of which was to be a fourteen percent increase in\n         wages for the Kay Moor Mine workers via an agreement with\n         the United Mine Workers Union in December.","The Low Moor Iron Company grew along with the rest of\n         Virginia industry in the 1890's and 1900's. Starting with\n         only one furnace in the 1870's, it opened a second furnace\n         at Covington, Virginia, in 1891. In 1911 it opened a third\n         furnace, this time at Low Moor. Covington, with its heavy\n         industry, soon became known as the \"Pittsburgh of\n         Virginia.\" Virginia's pig iron production rose from 9,000\n         short tons in 1870 to 544,034 long tons in 1903. Judging\n         from the Low Moor Company's correspondence, the most\n         prosperous period for the company fell between the years\n         1895-1907. In the years between 1907-1917 problems befell\n         the Virginia pig iron industry. In a letter from William W.\n         Hearns, the president of the Virginia based Princess Pig\n         Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n         writes of the problems of the Virginia pig iron industry:\n         \"There is not a blast furnace in Virginia that is making\n         any money from the manufacture of pig iron. The cause of\n         this is there is an exceedingly low price on pig iron in\n         the country at the present time, and the increased cost of\n         manufacturing is due to the increase in wages in all\n         lines.\" With the outbreak of World War I prices rose\n         dramatically, but in a market report to Low Moor dated\n         November 11, 1916, it was stated that: \"In spite of the\n         high prices, it is not a picnic to be in the iron industry.\n         There is a desperate shortage of cars and equipment in the\n         coal and iron districts, and in consequence there are\n         troubles of all kinds to get materials shipped. The\n         situation has grown serious.\"","When America became involved in the First World War, it\n         meant a boost for the Low Moor Iron Company. The government\n         helped it procure labor, and even helped it repair its\n         furnaces. The problem of supplies and cars for their\n         shipments, however, plagued the company more than ever. It\n         had a good deal of trouble getting all the raw materials it\n         needed due chiefly to the \"tight ship\" run by Harry F.\n         Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n         war very serious problems began to trouble the Low Moor\n         Iron Company. The demand for iron fell precipitously and a\n         short but severe depression ensued from 1919-1922. The\n         depression seemed to hit the iron industry especially hard.\n         Prices took a huge drop due to the lack of demand, and many\n         pre-war contracts had to be revalued. To compound the\n         company's problems, the Kay Moor Mines went on strike in\n         1919. This strike was quickly settled, as the market for\n         coal was so good that the Low Moor Company ceased taking\n         orders temporarily in 1921 as it could not fill the orders\n         it had on hand.","The Low Moor Company furnaces lay idle for some twenty\n         months. Finally, in November 1922 one of Low Moor's\n         furnaces was finally fired up. While prosperity gradually\n         returned to the rest of the country, the Low Moor Iron\n         Company never recovered. Production of pig iron in the\n         Virginia iron industry declined from 544,034 tons in 1903\n         to 148,053 tons in 1923, considered a good year for the\n         industry as a whole. In February 1926 Low Moor officials\n         talked of merging with two other iron companies in order to\n         revive the iron business for the three companies. The\n         merger, however, never occurred. By late 1926 the company\n         was in the process of liquidation. An advertisement in the\n         Charleston, West Virginia, Daily Mail dated April 30, 1927,\n         told of a huge warehouse sale at the Low Moor Iron Company.\n         The advertisement noted \"thousands of screws, pipe\n         fittings, valves, etc.\" The last piece of correspondence\n         from the Low Moor Iron Company in the collection is dated\n         1929. It deals with the sale of a machine.","Why did the iron industry in Virginia decline as it did?\n         Some say that lack of speed, efficiency, and a decent\n         transportation system for Alleghany County caused it. In a\n         letter from C. E. Bertie, secretary of the Virginia Pig\n         Iron Association, to the \n          Manufacturers Record dated 1925, Bertie claimed that it was the\n         tremendous rise in the cost of transportation. Virginia, he\n         claimed, had almost no home market. Over 80% of its normal\n         production was shipped out to other states. The failure of\n         the Interstate Commerce Commission to treat Virginia\n         furnaces as southern furnaces was the cause of much of the\n         trouble. From 1914-1925 there were four blanket increases\n         in freight rates in the country, of which only one applied\n         equally to all localities. Southern furnaces were received\n         only two increases--a 25% increase in 1918 and a 25%\n         increase in 1920--but northern furnaces had had 5%, 15%,\n         25%, and 40% increases in their transportation costs.\n         Virginia furnaces, although recognized as southern\n         furnaces, had had freight rates increased in line with the\n         northern furnaces. Prior to the war Virginia iron reached\n         all points in Ohio, Indiana, Michigan, and Illinois on a\n         competitive basis with southern furnaces. After World War I\n         the advantage was limited to a small portion of\n         southeastern Ohio. All of Indiana, Illinois, and Michigan\n         were now lost to the Virginia producers. The Virginia\n         producer, according to Bertie, felt that the freight rates\n         should be restored to a relationship with southern\n         furnaces. If what Bertie said was true, the other southern\n         states iron industries should not have been in the same\n         desperate economic straits as Virginia's, and statistics\n         should support this. In the 1920's production rose to new\n         heights in Alabama. In Tennessee, however, iron production\n         plunged to new lows during the 1920's. While the south\n         accounted for 10.2% of the entire U. S. production in the\n         years 1919-1924, Virginia accounted for less than 1% during\n         those years. In 1915 Virginia accounted for over 6% of the\n         U.S. iron production. One can see a decline in other areas\n         of the south than Virginia. While the discrepancies in the\n         freight rates may have helped cause the decline, clearly\n         there are other reasons.","During the 1900's there was a discovery of extremely\n         rich iron ore deposits in the mid-west. Much of this ore\n         was on or near the surface, making the mining of it both\n         easy and inexpensive. This in turn lowered production costs\n         of the pig iron. This caused iron production to shift to\n         that region, and resulted in a decline in the Virginia iron\n         industry. There was a sharp increase in iron production in\n         the mid-west through the 1920's. The iron ore in the\n         mid-west may have been of better quality than Virginia, but\n         the iron ore in Virginia was of sufficient quality to\n         produce a good pig iron. The western ore deposits were not\n         as conveniently located as Virginia deposits, but the\n         inexpensiveness of production more than made up for it.","In examining the rise and fall of the Low Moor Iron\n         Company, we can see a situation in which the conditions for\n         the manufacture of iron were nearly ideal. There was plenty\n         of land for expansion and resources for the manufacture of\n         the iron. The major internal problem faced by the Low Moor\n         Iron Company was that of transportation. External\n         developments, however, caused the final demise of the Low\n         Moor Iron Company.","Low Moor Iron Company Personnel:","Executive Staff: Managing Director, Colonel H. M.\n         Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n         1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n         1915 (acting General Manager); F. U. Humbert: ca.\n         1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n         1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n         ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n         G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n         ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n         1918-1928.","Factory and Mine Supervisors: Kay Moor Superintendents:\n         C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n         Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n         J. W. Monteith: manager of mines. ca. 1918; promoted in\n         1925 to general superintendent in charge of mine plants,\n         coke ovens, shops, repairs, and construction; A. L.\n         Monteith: assistant superintendent of mines, ca. 1918;\n         George T. Wickes: manager of Covington mines, ca.\n         1906-1917; Ross Howell, ca. 1918. Stack Mines\n         Superintendents: J. H. Carpenter: ca. 1906; C. D.\n         Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n         ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n         Thompson: foreman, ca. 1906. Low Moor assorted other\n         personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n         Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n         assistant traffic manager, ca. 1919.","The Low Moor Iron Company ceased operations in 1930;\n            what happened to the records of the company in the years\n            immediately following is not known, but in 1939, the Green\n            Bookman, a Charlottesville bookshop, sold the records to\n            the University of Virginia Library.","The records arrived at the receiving room door of the\n            new Alderman Library on October 16, 1939, in a trailer\n            truck whose load was estimated to weigh about fourteen\n            tons. As the manuscripts staff dug around in the piles of\n            over 1200 account books, and countless boxes of papers they\n            realized that the company had saved almost all of its\n            papers including checks, invoices, vouchers, and receipts,\n            and certain of these records were destroyed as their\n            information was recorded in other records. Once the bulk of\n            the collection had been reduced, the remaining records were\n            transferred to the stack area of the Division of Rare Books\n            and Manuscripts.","By 1958, little storage space remained in Alderman\n            Library, and the Rare Books and Manuscripts Division was\n            especially crowded because of the rapid growth of its\n            collections. After an examination of its storage areas, the\n            division's staff decided to move the Low Moor records to\n            the attic of one of the student dormitories. The collection\n            had had little use chiefly because there was no finding\n            aid. There seemed little likelihood of extensive researcher\n            use until the collection could be processed.","In preparation for the move, the old letter boxes in\n            which much of the collection had arrived in the Library\n            were discarded. The records from each box were placed\n            between sheets of the heavy gray cardboard used to protect\n            unbound newspapers in the Library's stacks, and the spine\n            labels of the old letter boxes were copied onto the\n            cardboard. The resulting bundles were wrapped with brown\n            Kraft paper and tied up with string. The bundles were\n            numbered. Whatever original order the letter boxes may have\n            had was lost by the time they arrived in the Library, and\n            after the bundling, removal to a dormitory attic, and\n            subsequent return to the Library in 1976, all vestiges of\n            the original order were lost.","The bundles remained in the dormitory attic for almost\n            twenty years. Occasional visits were made by the division\n            staff to check on their condition, and on very rare\n            occasions, a researcher was brave enough to ask to be shown\n            the collection. Once the researcher saw the imposing amount\n            of material and the conditions in the attic, interest in\n            using the collection invariably died.","In late 1976 a grant from the National Endowment for the\n            Humanities was obtained to allow the Library to process the\n            Low Moor Iron Company papers, and the papers of Edward L.\n            Stone and the Borderland Coal Company, another large\n            collection of records stored in the same dormitory attic.\n            All of these records and papers were moved back to the\n            Library where the bundles were cleaned and opened. The\n            contents of each were placed in a Hollinger storage box,\n            and all notes on the paper wrappings and on the gray\n            cardboard sheets were recorded.","The more than 1200 bound accounting records of the Low\n            Moor Iron Company were surveyed by the grant project staff.\n            The contents of each volume were noted on a mimeographed\n            form, and later typed on 3 x 5\" cards to create a\n            readily-accessible file for the Manuscripts Reading Room.\n            This information was also typed on pages to be added to\n            this guide.","The Low Moor Iron Company papers consist of\n         approximately 280 four-inch Hollinger archives boxes (ca.\n         95 linear feet) of records, ca. 1885-1927, and some 1200\n         bound volumes of the company's accounting records,\n         1873-1927, of this iron producing company located in Low\n         Moor (four miles southwest of Clifton Forge), Alleghany\n         County, Virginia.","This material consists of records typical of those\n         produced by a firm of this type in the period, but as the\n         company owned its own coal and iron mines and limestone\n         quarries, there is considerable information about the\n         production of these raw materials. Large numbers of the\n         records that deal with the company's employees have\n         survived: time books, payroll books, hands ledgers, and the\n         like. Because these books sometimes include information\n         about the employee's trade or job with the company, and as\n         race is indicated in some of the records, these books\n         should provide date for studies of the structure and upward\n         mobility within the labor force, patterns of\n         ethnic--possibly racial--occupational penetration and\n         mobility, material conditions of the workers, and so on.\n         The papers should permit a range of studies detailing the\n         pattern and evolution of industrial organization in the\n         iron industry, and the evolution of markets and marketing\n         structures for the entire period. Because the company was\n         dependent upon railroads to move its raw materials to the\n         furnaces, and for the marketing of its products, there is\n         considerable information about railroads and their\n         relationship to their customers.","See the \n             \n            University of Virginia Library’s use policy.","English"],"unitid_tesim":["662"],"normalized_title_ssm":["Papers of the Low Moor Iron Company \n         1873-1927"],"collection_title_tesim":["Papers of the Low Moor Iron Company \n         1873-1927"],"collection_ssim":["Papers of the Low Moor Iron Company \n         1873-1927"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["This collection was purchased from Green Bookman in\n            1939."],"has_online_content_ssim":["false"],"physdesc_tesim":["95 linear feer + 1200\n         volumes"],"accessrestrict_html_tesm":["\u003cp\u003eStored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n"],"arrangement_html_tesm":["\u003cp\u003eThe word \"organization\" is used here with considerable\n         diffidence, for any researcher studying the container list\n         that follows will realize quickly that there is no\n         organization in the usual sense of the word.\u003c/p\u003e","\u003cp\u003eAs noted under \"Provenance,\" the Low Moor Iron Company\n         papers were subjected to a number of moves; when processing\n         began in the fall of 1976, no discernible scheme of\n         organization could be determined.\u003c/p\u003e","\u003cp\u003eThe first step was to review the series of coded numbers\n         placed on the bundles of papers before they were moved to\n         the dormitory attic, but these did not provide any sort of\n         useful organization. Next, the spine titles of the original\n         letter boxes were reviewed (they had been copied onto the\n         gray cardboard sheets before the move to the dormitory\n         attic), but they, too, proved useless.\u003c/p\u003e","\u003cp\u003eThese steps having provided no scheme, and after a\n         considerable hiatus due to a turnover in student processors\n         on the collection, the new student processors were\n         instructed to begin a box-by-box inventory of the contents\n         of the collection. During this inventory, old folders were\n         replaced with acid-free ones, and the original folder\n         headings were copied onto the new ones. Some removal of\n         paper clips was accomplished, and the materials were\n         reviewed and notes taken for the guide.\u003c/p\u003e","\u003cp\u003eSome consolidation of materials was accomplished, and in\n         other cases, materials were moved. This work has created\n         some problems in the numbering of the boxes. Thus, the\n         researchers will find boxes marked \"6A\" and \"23C\"; he will\n         also discover that certain box numbers have been entirely\n         omitted. As the box numbers exist only to aid in the\n         location of material, it was not felt that the unusual\n         numbers and the omissions would cause problems in working\n         with the papers.\u003c/p\u003e","\u003cp\u003eA certain amount of movement of boxes within the\n         collection, and of materials among boxes, probably would\n         ease use of it. But what processing was accomplished on\n         this project took far longer than had been anticipated, and\n         there was no time in the late spring of 1978, when the\n         processors had to complete their work with the project, to\n         undertake a mass movement of material. Thus, they stand in\n         the order in which we found them at the beginning of the\n         project.\u003c/p\u003e"],"arrangement_heading_ssm":["Organization"],"arrangement_tesim":["The word \"organization\" is used here with considerable\n         diffidence, for any researcher studying the container list\n         that follows will realize quickly that there is no\n         organization in the usual sense of the word.","As noted under \"Provenance,\" the Low Moor Iron Company\n         papers were subjected to a number of moves; when processing\n         began in the fall of 1976, no discernible scheme of\n         organization could be determined.","The first step was to review the series of coded numbers\n         placed on the bundles of papers before they were moved to\n         the dormitory attic, but these did not provide any sort of\n         useful organization. Next, the spine titles of the original\n         letter boxes were reviewed (they had been copied onto the\n         gray cardboard sheets before the move to the dormitory\n         attic), but they, too, proved useless.","These steps having provided no scheme, and after a\n         considerable hiatus due to a turnover in student processors\n         on the collection, the new student processors were\n         instructed to begin a box-by-box inventory of the contents\n         of the collection. During this inventory, old folders were\n         replaced with acid-free ones, and the original folder\n         headings were copied onto the new ones. Some removal of\n         paper clips was accomplished, and the materials were\n         reviewed and notes taken for the guide.","Some consolidation of materials was accomplished, and in\n         other cases, materials were moved. This work has created\n         some problems in the numbering of the boxes. Thus, the\n         researchers will find boxes marked \"6A\" and \"23C\"; he will\n         also discover that certain box numbers have been entirely\n         omitted. As the box numbers exist only to aid in the\n         location of material, it was not felt that the unusual\n         numbers and the omissions would cause problems in working\n         with the papers.","A certain amount of movement of boxes within the\n         collection, and of materials among boxes, probably would\n         ease use of it. But what processing was accomplished on\n         this project took far longer than had been anticipated, and\n         there was no time in the late spring of 1978, when the\n         processors had to complete their work with the project, to\n         undertake a mass movement of material. Thus, they stand in\n         the order in which we found them at the beginning of the\n         project."],"bioghist_html_tesm":["\u003cp\u003eThe Low Moor Iron Company, the first producer of pig\n         iron in Virginia according to the company's claims, was a\n         self-contained manufacturing unit producing from its own\n         mines the coal, limestone, and iron ore needed for its iron\n         production. Located in Low Moor near Clifton Forge in\n         Alleghany County in western Virginia, an area rich in\n         mineral deposits, the company was in operation from\n         1872-1930, producing only pig iron; it never attempted to\n         produce finished iron products.\u003c/p\u003e","\u003cp\u003eCoal came to the Low Moor furnaces from the Kay Moor\n         Mines at Kay Moor, West Virginia, about thirty miles from\n         Low Moor; limestone was produced from the Low Moor\n         limestone quarries; and iron ore came from the Fenwick,\n         Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n         Mines, most of them within twenty miles of Low Moor at\n         Covington or Clifton Forge.\u003c/p\u003e","\u003cp\u003eThe towns of Low Moor and Kay Moor were company towns in\n         every respect. Workers lived in company-owned houses,\n         bought food in company stores, worshiped at the company\n         church, saw movies in the company theater, were treated in\n         the company hospital, and were buried in the company\n         cemetery. Workers received part of their pay in scrip that\n         they exchanged for goods and services. According to a\n         statement from the Kay Moor Mines dated November 1904, Kay\n         Moor then employed 338 people, paid them an average wage of\n         $36.26 per month, and issued half of their pay in scrip.\n         Kay Moor had four stores; Low Moor had seven or eight. All\n         of these stores carried large inventories which are\n         detailed in the collection. These inventories are valuable\n         to anyone interested in determining the wants and needs of\n         a coal miner and his family.\u003c/p\u003e","\u003cp\u003eIn the late 1910's and 1920's Kay Moor had a company\n         theater called the Azure Theater which seated about 300\n         people. There were also plans for a company-owned social\n         center, to have pool tables, a soda fountain, and\n         provisions for dancing and skating. The company was in\n         tough economic straits by the 1920's, however, and there is\n         no evidence that the social center was built. The town of\n         Low Moor was so completely under the company's influence\n         that one of Low Moor Iron Company's assistant managers\n         served as the town sheriff. He often foreclosed on people\n         who did not pay their debts, and drove troublesome people\n         \"out of town on a rail\" as he put it.\u003c/p\u003e","\u003cp\u003eThe Low Moor Iron Company's fortunes fluctuated during\n         the various business cycles between the years 1880-1930.\n         Low Moor was one of the larger pig iron producers in\n         Virginia, but Virginia pig iron production was not\n         important nationally. Low Moor officials sometimes sold\n         their product themselves, but more often they used agents,\n         the prevalent method at the time. Low Moor Iron Company\n         used a variety of agents through the 1900's. James F. Bryan\n         acted as the exclusive agent for the sale of Kay Moor Coal\n         from September 21, 1903 to September, 1905. From about 1890\n         until about 1910 Dalton Nash and Company were the exclusive\n         eastern agents of Low Moor Iron. After that time the\n         exclusive agency went to Philips Isham and Company located\n         in New York. From about 1890 the western agency was handled\n         chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n         and Company underwent a name change, becoming Walter\n         Wallingford and Company, with offices located in\n         Cincinnati, Pittsburgh, and Chicago.\u003c/p\u003e","\u003cp\u003ePerhaps the Low Moor Iron Company's biggest problem over\n         the years was obtaining railroad cars for the\n         transportation of its finished product. Low Moor Iron\n         Company had its own cars for transporting its raw materials\n         among its various facilities. For the long haul necessary\n         for its finished goods, however, it depended upon the\n         services of the Chesapeake and Ohio Railroad, and the\n         relationship was not always a happy one. The Low Moor\n         Company complained many times to the C \u0026amp; O Railroad\n         about the discrepancies between long-and shorthaul freight\n         rates. Low Moor also had trouble getting cars from the C\n         \u0026amp; O. In a letter to one of Low Moor Company's agents\n         from an irate customer dated 1898, the customer wrote: \"We\n         wrote you on Saturday and endeavored to question upon your\n         mind the necessity of taking care of us with Low Moor iron.\n         We are on our uppers--there is not a pound of Low Moor iron\n         in the yard. Of the one hundred tons ordered some time ago,\n         not one pound of it has been received.\" This was, according\n         to the Low Moor Iron Company, because they could not get\n         the railroad cars. In a letter from Thomas Mack and Company\n         dated November 26, 1901, to General Manager E. C. Means:\n         \"We are hopeful that the car supply will get better because\n         of the number of orders you have of ours for prompt\n         shipment. Our customers are complaining that they are not\n         getting the iron fast enough. . . . We hope that the\n         railroad will be able to supply you with empty cars.\" In\n         another letter dated 1916 to John B. Guernsey, then acting\n         General Manager of the Low Moor Iron Company, \"We were not\n         supplied with coke cars for today's loading, and\n         consequently we have been practically down of Kay Moor\n         ovens all day.\"\u003c/p\u003e","\u003cp\u003eThe problem of procuring labor also plagued the Low Moor\n         Company. The company sometimes tried to hire immigrant\n         laborers and send the men directly to Low Moor from New\n         York City. There were problems with this, as is explained\n         in the following letter dated April 7, 1906: \n         \u003cblockquote\u003e\n\u003cp\u003eTo Mr. George Wickes \n            \u003clb\u003e\u003c/lb\u003eSupt. of Mines \n            \u003clb\u003e\u003c/lb\u003eKay Moor, Virginia \n            \u003clb\u003e\u003c/lb\u003e\u003c/p\u003e\n\u003cp\u003eDear George, \n            \u003clb\u003e\u003c/lb\u003eTony arrived with twenty one men last night. One\n            got away in Jersey two in Washington D.C., four in\n            Charlottesville. Some of the men are very good looking,\n            but taken as a whole they are the worst lot I have ever\n            seen: Irish, German-Jews, and Italians. . . . Our New\n            York transportations to this place have never been a\n            success.\u003c/p\u003e\n\u003cp\u003eSigned, \n            \u003clb\u003e\u003c/lb\u003eEd D. Wickes Supt. of Mines\u003c/p\u003e\n\u003c/blockquote\u003eLow Moor usually employed labor agencies, one\n         of which was Atwood's Employment Agency. Often the Low Moor\n         Company would request certain nationalities, believing them\n         to be better workers than others. Sometimes the company\n         would request a gang of twenty made up of \"ten Greeks and\n         ten Italians.\" Many of the immigrants fled Low Moor and Kay\n         Moor when they learned that they would have to work\n         underground. There is a fair amount of material on\n         immigrant labor and its procurement in the collection, and\n         it is noted in the description of the box contents.\u003c/p\u003e","\u003cp\u003eLow Moor Iron Company not only had trouble procuring\n         labor, but it also had trouble with labor already employed\n         in the mines and at the factory. Labor dissension and\n         strikes troubled the Kay Moor Mines through the 1900's. The\n         great coal strike of 1902 hurt the Low Moor Company's coal\n         mining operation, but by 1903 things were \"nearly back to\n         normal\" according to the mine superintendent. There was\n         still trouble at Kay Moor Mines, however. In a letter dated\n         April 26, 1906, to the treasurer of Low Moor Company, the\n         manager of the mines wrote about the trouble in \"trying to\n         get the agitators out.\" The mines were seventy-five men\n         short of the total labor force needed because many of the\n         coal miners returned to their farms during the spring.\n         There were rumblings of another strike at Kay Moor, the\n         result of which was to be a fourteen percent increase in\n         wages for the Kay Moor Mine workers via an agreement with\n         the United Mine Workers Union in December.\u003c/p\u003e","\u003cp\u003eThe Low Moor Iron Company grew along with the rest of\n         Virginia industry in the 1890's and 1900's. Starting with\n         only one furnace in the 1870's, it opened a second furnace\n         at Covington, Virginia, in 1891. In 1911 it opened a third\n         furnace, this time at Low Moor. Covington, with its heavy\n         industry, soon became known as the \"Pittsburgh of\n         Virginia.\" Virginia's pig iron production rose from 9,000\n         short tons in 1870 to 544,034 long tons in 1903. Judging\n         from the Low Moor Company's correspondence, the most\n         prosperous period for the company fell between the years\n         1895-1907. In the years between 1907-1917 problems befell\n         the Virginia pig iron industry. In a letter from William W.\n         Hearns, the president of the Virginia based Princess Pig\n         Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n         writes of the problems of the Virginia pig iron industry:\n         \"There is not a blast furnace in Virginia that is making\n         any money from the manufacture of pig iron. The cause of\n         this is there is an exceedingly low price on pig iron in\n         the country at the present time, and the increased cost of\n         manufacturing is due to the increase in wages in all\n         lines.\" With the outbreak of World War I prices rose\n         dramatically, but in a market report to Low Moor dated\n         November 11, 1916, it was stated that: \"In spite of the\n         high prices, it is not a picnic to be in the iron industry.\n         There is a desperate shortage of cars and equipment in the\n         coal and iron districts, and in consequence there are\n         troubles of all kinds to get materials shipped. The\n         situation has grown serious.\"\u003c/p\u003e","\u003cp\u003eWhen America became involved in the First World War, it\n         meant a boost for the Low Moor Iron Company. The government\n         helped it procure labor, and even helped it repair its\n         furnaces. The problem of supplies and cars for their\n         shipments, however, plagued the company more than ever. It\n         had a good deal of trouble getting all the raw materials it\n         needed due chiefly to the \"tight ship\" run by Harry F.\n         Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n         war very serious problems began to trouble the Low Moor\n         Iron Company. The demand for iron fell precipitously and a\n         short but severe depression ensued from 1919-1922. The\n         depression seemed to hit the iron industry especially hard.\n         Prices took a huge drop due to the lack of demand, and many\n         pre-war contracts had to be revalued. To compound the\n         company's problems, the Kay Moor Mines went on strike in\n         1919. This strike was quickly settled, as the market for\n         coal was so good that the Low Moor Company ceased taking\n         orders temporarily in 1921 as it could not fill the orders\n         it had on hand.\u003c/p\u003e","\u003cp\u003eThe Low Moor Company furnaces lay idle for some twenty\n         months. Finally, in November 1922 one of Low Moor's\n         furnaces was finally fired up. While prosperity gradually\n         returned to the rest of the country, the Low Moor Iron\n         Company never recovered. Production of pig iron in the\n         Virginia iron industry declined from 544,034 tons in 1903\n         to 148,053 tons in 1923, considered a good year for the\n         industry as a whole. In February 1926 Low Moor officials\n         talked of merging with two other iron companies in order to\n         revive the iron business for the three companies. The\n         merger, however, never occurred. By late 1926 the company\n         was in the process of liquidation. An advertisement in the\n         Charleston, West Virginia, Daily Mail dated April 30, 1927,\n         told of a huge warehouse sale at the Low Moor Iron Company.\n         The advertisement noted \"thousands of screws, pipe\n         fittings, valves, etc.\" The last piece of correspondence\n         from the Low Moor Iron Company in the collection is dated\n         1929. It deals with the sale of a machine.\u003c/p\u003e","\u003cp\u003eWhy did the iron industry in Virginia decline as it did?\n         Some say that lack of speed, efficiency, and a decent\n         transportation system for Alleghany County caused it. In a\n         letter from C. E. Bertie, secretary of the Virginia Pig\n         Iron Association, to the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eManufacturers Record\u003c/title\u003e\u003c/bibref\u003edated 1925, Bertie claimed that it was the\n         tremendous rise in the cost of transportation. Virginia, he\n         claimed, had almost no home market. Over 80% of its normal\n         production was shipped out to other states. The failure of\n         the Interstate Commerce Commission to treat Virginia\n         furnaces as southern furnaces was the cause of much of the\n         trouble. From 1914-1925 there were four blanket increases\n         in freight rates in the country, of which only one applied\n         equally to all localities. Southern furnaces were received\n         only two increases--a 25% increase in 1918 and a 25%\n         increase in 1920--but northern furnaces had had 5%, 15%,\n         25%, and 40% increases in their transportation costs.\n         Virginia furnaces, although recognized as southern\n         furnaces, had had freight rates increased in line with the\n         northern furnaces. Prior to the war Virginia iron reached\n         all points in Ohio, Indiana, Michigan, and Illinois on a\n         competitive basis with southern furnaces. After World War I\n         the advantage was limited to a small portion of\n         southeastern Ohio. All of Indiana, Illinois, and Michigan\n         were now lost to the Virginia producers. The Virginia\n         producer, according to Bertie, felt that the freight rates\n         should be restored to a relationship with southern\n         furnaces. If what Bertie said was true, the other southern\n         states iron industries should not have been in the same\n         desperate economic straits as Virginia's, and statistics\n         should support this. In the 1920's production rose to new\n         heights in Alabama. In Tennessee, however, iron production\n         plunged to new lows during the 1920's. While the south\n         accounted for 10.2% of the entire U. S. production in the\n         years 1919-1924, Virginia accounted for less than 1% during\n         those years. In 1915 Virginia accounted for over 6% of the\n         U.S. iron production. One can see a decline in other areas\n         of the south than Virginia. While the discrepancies in the\n         freight rates may have helped cause the decline, clearly\n         there are other reasons.\u003c/p\u003e","\u003cp\u003eDuring the 1900's there was a discovery of extremely\n         rich iron ore deposits in the mid-west. Much of this ore\n         was on or near the surface, making the mining of it both\n         easy and inexpensive. This in turn lowered production costs\n         of the pig iron. This caused iron production to shift to\n         that region, and resulted in a decline in the Virginia iron\n         industry. There was a sharp increase in iron production in\n         the mid-west through the 1920's. The iron ore in the\n         mid-west may have been of better quality than Virginia, but\n         the iron ore in Virginia was of sufficient quality to\n         produce a good pig iron. The western ore deposits were not\n         as conveniently located as Virginia deposits, but the\n         inexpensiveness of production more than made up for it.\u003c/p\u003e","\u003cp\u003eIn examining the rise and fall of the Low Moor Iron\n         Company, we can see a situation in which the conditions for\n         the manufacture of iron were nearly ideal. There was plenty\n         of land for expansion and resources for the manufacture of\n         the iron. The major internal problem faced by the Low Moor\n         Iron Company was that of transportation. External\n         developments, however, caused the final demise of the Low\n         Moor Iron Company.\u003c/p\u003e","\u003cp\u003eLow Moor Iron Company Personnel:\u003c/p\u003e","\u003cp\u003eExecutive Staff: Managing Director, Colonel H. M.\n         Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n         1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n         1915 (acting General Manager); F. U. Humbert: ca.\n         1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n         1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n         ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n         G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n         ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n         1918-1928.\u003c/p\u003e","\u003cp\u003eFactory and Mine Supervisors: Kay Moor Superintendents:\n         C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n         Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n         J. W. Monteith: manager of mines. ca. 1918; promoted in\n         1925 to general superintendent in charge of mine plants,\n         coke ovens, shops, repairs, and construction; A. L.\n         Monteith: assistant superintendent of mines, ca. 1918;\n         George T. Wickes: manager of Covington mines, ca.\n         1906-1917; Ross Howell, ca. 1918. Stack Mines\n         Superintendents: J. H. Carpenter: ca. 1906; C. D.\n         Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n         ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n         Thompson: foreman, ca. 1906. Low Moor assorted other\n         personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n         Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n         assistant traffic manager, ca. 1919.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Information"],"bioghist_tesim":["The Low Moor Iron Company, the first producer of pig\n         iron in Virginia according to the company's claims, was a\n         self-contained manufacturing unit producing from its own\n         mines the coal, limestone, and iron ore needed for its iron\n         production. Located in Low Moor near Clifton Forge in\n         Alleghany County in western Virginia, an area rich in\n         mineral deposits, the company was in operation from\n         1872-1930, producing only pig iron; it never attempted to\n         produce finished iron products.","Coal came to the Low Moor furnaces from the Kay Moor\n         Mines at Kay Moor, West Virginia, about thirty miles from\n         Low Moor; limestone was produced from the Low Moor\n         limestone quarries; and iron ore came from the Fenwick,\n         Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n         Mines, most of them within twenty miles of Low Moor at\n         Covington or Clifton Forge.","The towns of Low Moor and Kay Moor were company towns in\n         every respect. Workers lived in company-owned houses,\n         bought food in company stores, worshiped at the company\n         church, saw movies in the company theater, were treated in\n         the company hospital, and were buried in the company\n         cemetery. Workers received part of their pay in scrip that\n         they exchanged for goods and services. According to a\n         statement from the Kay Moor Mines dated November 1904, Kay\n         Moor then employed 338 people, paid them an average wage of\n         $36.26 per month, and issued half of their pay in scrip.\n         Kay Moor had four stores; Low Moor had seven or eight. All\n         of these stores carried large inventories which are\n         detailed in the collection. These inventories are valuable\n         to anyone interested in determining the wants and needs of\n         a coal miner and his family.","In the late 1910's and 1920's Kay Moor had a company\n         theater called the Azure Theater which seated about 300\n         people. There were also plans for a company-owned social\n         center, to have pool tables, a soda fountain, and\n         provisions for dancing and skating. The company was in\n         tough economic straits by the 1920's, however, and there is\n         no evidence that the social center was built. The town of\n         Low Moor was so completely under the company's influence\n         that one of Low Moor Iron Company's assistant managers\n         served as the town sheriff. He often foreclosed on people\n         who did not pay their debts, and drove troublesome people\n         \"out of town on a rail\" as he put it.","The Low Moor Iron Company's fortunes fluctuated during\n         the various business cycles between the years 1880-1930.\n         Low Moor was one of the larger pig iron producers in\n         Virginia, but Virginia pig iron production was not\n         important nationally. Low Moor officials sometimes sold\n         their product themselves, but more often they used agents,\n         the prevalent method at the time. Low Moor Iron Company\n         used a variety of agents through the 1900's. James F. Bryan\n         acted as the exclusive agent for the sale of Kay Moor Coal\n         from September 21, 1903 to September, 1905. From about 1890\n         until about 1910 Dalton Nash and Company were the exclusive\n         eastern agents of Low Moor Iron. After that time the\n         exclusive agency went to Philips Isham and Company located\n         in New York. From about 1890 the western agency was handled\n         chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n         and Company underwent a name change, becoming Walter\n         Wallingford and Company, with offices located in\n         Cincinnati, Pittsburgh, and Chicago.","Perhaps the Low Moor Iron Company's biggest problem over\n         the years was obtaining railroad cars for the\n         transportation of its finished product. Low Moor Iron\n         Company had its own cars for transporting its raw materials\n         among its various facilities. For the long haul necessary\n         for its finished goods, however, it depended upon the\n         services of the Chesapeake and Ohio Railroad, and the\n         relationship was not always a happy one. The Low Moor\n         Company complained many times to the C \u0026 O Railroad\n         about the discrepancies between long-and shorthaul freight\n         rates. Low Moor also had trouble getting cars from the C\n         \u0026 O. In a letter to one of Low Moor Company's agents\n         from an irate customer dated 1898, the customer wrote: \"We\n         wrote you on Saturday and endeavored to question upon your\n         mind the necessity of taking care of us with Low Moor iron.\n         We are on our uppers--there is not a pound of Low Moor iron\n         in the yard. Of the one hundred tons ordered some time ago,\n         not one pound of it has been received.\" This was, according\n         to the Low Moor Iron Company, because they could not get\n         the railroad cars. In a letter from Thomas Mack and Company\n         dated November 26, 1901, to General Manager E. C. Means:\n         \"We are hopeful that the car supply will get better because\n         of the number of orders you have of ours for prompt\n         shipment. Our customers are complaining that they are not\n         getting the iron fast enough. . . . We hope that the\n         railroad will be able to supply you with empty cars.\" In\n         another letter dated 1916 to John B. Guernsey, then acting\n         General Manager of the Low Moor Iron Company, \"We were not\n         supplied with coke cars for today's loading, and\n         consequently we have been practically down of Kay Moor\n         ovens all day.\"","The problem of procuring labor also plagued the Low Moor\n         Company. The company sometimes tried to hire immigrant\n         laborers and send the men directly to Low Moor from New\n         York City. There were problems with this, as is explained\n         in the following letter dated April 7, 1906: \n          To Mr. George Wickes \n             Supt. of Mines \n             Kay Moor, Virginia \n             Dear George, \n             Tony arrived with twenty one men last night. One\n            got away in Jersey two in Washington D.C., four in\n            Charlottesville. Some of the men are very good looking,\n            but taken as a whole they are the worst lot I have ever\n            seen: Irish, German-Jews, and Italians. . . . Our New\n            York transportations to this place have never been a\n            success. Signed, \n             Ed D. Wickes Supt. of Mines Low Moor usually employed labor agencies, one\n         of which was Atwood's Employment Agency. Often the Low Moor\n         Company would request certain nationalities, believing them\n         to be better workers than others. Sometimes the company\n         would request a gang of twenty made up of \"ten Greeks and\n         ten Italians.\" Many of the immigrants fled Low Moor and Kay\n         Moor when they learned that they would have to work\n         underground. There is a fair amount of material on\n         immigrant labor and its procurement in the collection, and\n         it is noted in the description of the box contents.","Low Moor Iron Company not only had trouble procuring\n         labor, but it also had trouble with labor already employed\n         in the mines and at the factory. Labor dissension and\n         strikes troubled the Kay Moor Mines through the 1900's. The\n         great coal strike of 1902 hurt the Low Moor Company's coal\n         mining operation, but by 1903 things were \"nearly back to\n         normal\" according to the mine superintendent. There was\n         still trouble at Kay Moor Mines, however. In a letter dated\n         April 26, 1906, to the treasurer of Low Moor Company, the\n         manager of the mines wrote about the trouble in \"trying to\n         get the agitators out.\" The mines were seventy-five men\n         short of the total labor force needed because many of the\n         coal miners returned to their farms during the spring.\n         There were rumblings of another strike at Kay Moor, the\n         result of which was to be a fourteen percent increase in\n         wages for the Kay Moor Mine workers via an agreement with\n         the United Mine Workers Union in December.","The Low Moor Iron Company grew along with the rest of\n         Virginia industry in the 1890's and 1900's. Starting with\n         only one furnace in the 1870's, it opened a second furnace\n         at Covington, Virginia, in 1891. In 1911 it opened a third\n         furnace, this time at Low Moor. Covington, with its heavy\n         industry, soon became known as the \"Pittsburgh of\n         Virginia.\" Virginia's pig iron production rose from 9,000\n         short tons in 1870 to 544,034 long tons in 1903. Judging\n         from the Low Moor Company's correspondence, the most\n         prosperous period for the company fell between the years\n         1895-1907. In the years between 1907-1917 problems befell\n         the Virginia pig iron industry. In a letter from William W.\n         Hearns, the president of the Virginia based Princess Pig\n         Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n         writes of the problems of the Virginia pig iron industry:\n         \"There is not a blast furnace in Virginia that is making\n         any money from the manufacture of pig iron. The cause of\n         this is there is an exceedingly low price on pig iron in\n         the country at the present time, and the increased cost of\n         manufacturing is due to the increase in wages in all\n         lines.\" With the outbreak of World War I prices rose\n         dramatically, but in a market report to Low Moor dated\n         November 11, 1916, it was stated that: \"In spite of the\n         high prices, it is not a picnic to be in the iron industry.\n         There is a desperate shortage of cars and equipment in the\n         coal and iron districts, and in consequence there are\n         troubles of all kinds to get materials shipped. The\n         situation has grown serious.\"","When America became involved in the First World War, it\n         meant a boost for the Low Moor Iron Company. The government\n         helped it procure labor, and even helped it repair its\n         furnaces. The problem of supplies and cars for their\n         shipments, however, plagued the company more than ever. It\n         had a good deal of trouble getting all the raw materials it\n         needed due chiefly to the \"tight ship\" run by Harry F.\n         Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n         war very serious problems began to trouble the Low Moor\n         Iron Company. The demand for iron fell precipitously and a\n         short but severe depression ensued from 1919-1922. The\n         depression seemed to hit the iron industry especially hard.\n         Prices took a huge drop due to the lack of demand, and many\n         pre-war contracts had to be revalued. To compound the\n         company's problems, the Kay Moor Mines went on strike in\n         1919. This strike was quickly settled, as the market for\n         coal was so good that the Low Moor Company ceased taking\n         orders temporarily in 1921 as it could not fill the orders\n         it had on hand.","The Low Moor Company furnaces lay idle for some twenty\n         months. Finally, in November 1922 one of Low Moor's\n         furnaces was finally fired up. While prosperity gradually\n         returned to the rest of the country, the Low Moor Iron\n         Company never recovered. Production of pig iron in the\n         Virginia iron industry declined from 544,034 tons in 1903\n         to 148,053 tons in 1923, considered a good year for the\n         industry as a whole. In February 1926 Low Moor officials\n         talked of merging with two other iron companies in order to\n         revive the iron business for the three companies. The\n         merger, however, never occurred. By late 1926 the company\n         was in the process of liquidation. An advertisement in the\n         Charleston, West Virginia, Daily Mail dated April 30, 1927,\n         told of a huge warehouse sale at the Low Moor Iron Company.\n         The advertisement noted \"thousands of screws, pipe\n         fittings, valves, etc.\" The last piece of correspondence\n         from the Low Moor Iron Company in the collection is dated\n         1929. It deals with the sale of a machine.","Why did the iron industry in Virginia decline as it did?\n         Some say that lack of speed, efficiency, and a decent\n         transportation system for Alleghany County caused it. In a\n         letter from C. E. Bertie, secretary of the Virginia Pig\n         Iron Association, to the \n          Manufacturers Record dated 1925, Bertie claimed that it was the\n         tremendous rise in the cost of transportation. Virginia, he\n         claimed, had almost no home market. Over 80% of its normal\n         production was shipped out to other states. The failure of\n         the Interstate Commerce Commission to treat Virginia\n         furnaces as southern furnaces was the cause of much of the\n         trouble. From 1914-1925 there were four blanket increases\n         in freight rates in the country, of which only one applied\n         equally to all localities. Southern furnaces were received\n         only two increases--a 25% increase in 1918 and a 25%\n         increase in 1920--but northern furnaces had had 5%, 15%,\n         25%, and 40% increases in their transportation costs.\n         Virginia furnaces, although recognized as southern\n         furnaces, had had freight rates increased in line with the\n         northern furnaces. Prior to the war Virginia iron reached\n         all points in Ohio, Indiana, Michigan, and Illinois on a\n         competitive basis with southern furnaces. After World War I\n         the advantage was limited to a small portion of\n         southeastern Ohio. All of Indiana, Illinois, and Michigan\n         were now lost to the Virginia producers. The Virginia\n         producer, according to Bertie, felt that the freight rates\n         should be restored to a relationship with southern\n         furnaces. If what Bertie said was true, the other southern\n         states iron industries should not have been in the same\n         desperate economic straits as Virginia's, and statistics\n         should support this. In the 1920's production rose to new\n         heights in Alabama. In Tennessee, however, iron production\n         plunged to new lows during the 1920's. While the south\n         accounted for 10.2% of the entire U. S. production in the\n         years 1919-1924, Virginia accounted for less than 1% during\n         those years. In 1915 Virginia accounted for over 6% of the\n         U.S. iron production. One can see a decline in other areas\n         of the south than Virginia. While the discrepancies in the\n         freight rates may have helped cause the decline, clearly\n         there are other reasons.","During the 1900's there was a discovery of extremely\n         rich iron ore deposits in the mid-west. Much of this ore\n         was on or near the surface, making the mining of it both\n         easy and inexpensive. This in turn lowered production costs\n         of the pig iron. This caused iron production to shift to\n         that region, and resulted in a decline in the Virginia iron\n         industry. There was a sharp increase in iron production in\n         the mid-west through the 1920's. The iron ore in the\n         mid-west may have been of better quality than Virginia, but\n         the iron ore in Virginia was of sufficient quality to\n         produce a good pig iron. The western ore deposits were not\n         as conveniently located as Virginia deposits, but the\n         inexpensiveness of production more than made up for it.","In examining the rise and fall of the Low Moor Iron\n         Company, we can see a situation in which the conditions for\n         the manufacture of iron were nearly ideal. There was plenty\n         of land for expansion and resources for the manufacture of\n         the iron. The major internal problem faced by the Low Moor\n         Iron Company was that of transportation. External\n         developments, however, caused the final demise of the Low\n         Moor Iron Company.","Low Moor Iron Company Personnel:","Executive Staff: Managing Director, Colonel H. M.\n         Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n         1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n         1915 (acting General Manager); F. U. Humbert: ca.\n         1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n         1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n         ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n         G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n         ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n         1918-1928.","Factory and Mine Supervisors: Kay Moor Superintendents:\n         C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n         Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n         J. W. Monteith: manager of mines. ca. 1918; promoted in\n         1925 to general superintendent in charge of mine plants,\n         coke ovens, shops, repairs, and construction; A. L.\n         Monteith: assistant superintendent of mines, ca. 1918;\n         George T. Wickes: manager of Covington mines, ca.\n         1906-1917; Ross Howell, ca. 1918. Stack Mines\n         Superintendents: J. H. Carpenter: ca. 1906; C. D.\n         Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n         ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n         Thompson: foreman, ca. 1906. Low Moor assorted other\n         personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n         Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n         assistant traffic manager, ca. 1919."],"custodhist_html_tesm":["\u003cp\u003eThe Low Moor Iron Company ceased operations in 1930;\n            what happened to the records of the company in the years\n            immediately following is not known, but in 1939, the Green\n            Bookman, a Charlottesville bookshop, sold the records to\n            the University of Virginia Library.\u003c/p\u003e","\u003cp\u003eThe records arrived at the receiving room door of the\n            new Alderman Library on October 16, 1939, in a trailer\n            truck whose load was estimated to weigh about fourteen\n            tons. As the manuscripts staff dug around in the piles of\n            over 1200 account books, and countless boxes of papers they\n            realized that the company had saved almost all of its\n            papers including checks, invoices, vouchers, and receipts,\n            and certain of these records were destroyed as their\n            information was recorded in other records. Once the bulk of\n            the collection had been reduced, the remaining records were\n            transferred to the stack area of the Division of Rare Books\n            and Manuscripts.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The Low Moor Iron Company ceased operations in 1930;\n            what happened to the records of the company in the years\n            immediately following is not known, but in 1939, the Green\n            Bookman, a Charlottesville bookshop, sold the records to\n            the University of Virginia Library.","The records arrived at the receiving room door of the\n            new Alderman Library on October 16, 1939, in a trailer\n            truck whose load was estimated to weigh about fourteen\n            tons. As the manuscripts staff dug around in the piles of\n            over 1200 account books, and countless boxes of papers they\n            realized that the company had saved almost all of its\n            papers including checks, invoices, vouchers, and receipts,\n            and certain of these records were destroyed as their\n            information was recorded in other records. Once the bulk of\n            the collection had been reduced, the remaining records were\n            transferred to the stack area of the Division of Rare Books\n            and Manuscripts."],"otherfindaid_html_tesm":["\u003cp\u003eSome 1200 bound accounting record books of the Low Moor\n            Iron Company came into the custody of the Library with the\n            loose papers. When the project staff investigated these\n            volumes in the dormitory attic where they were stored, they\n            found that the volumes had been shelved by size rather than\n            by series. Thus, a letterbook may stand next to a stock\n            report book for a furnace, which is, in turn, next to a\n            store account book for the Kay Moor Mines' store. No series\n            are shelved in order.\u003c/p\u003e","\u003cp\u003eMembers of the project staff surveyed the volumes,\n            completing for each volume two copies of a mimeographed\n            survey form, and assigning to each volume a number. One\n            copy of the survey report form was placed in the volume,\n            and the second was returned to the Library.\u003c/p\u003e","\u003cp\u003eFrom the survey report forms, 3 x 5 inch index\n            cards--with a carbon copy of each--were typed. One set of\n            index cards has been kept in order by the numbers assigned\n            to the volumes as they stand on the shelves. This provides\n            a shelf list for the use of the library staff. The other\n            set of cards was sorted into categories as a finding aid.\n            On the list that follows, the researcher will find a number\n            of major headings such as \"Accounts,\" \"Inventories,\"\n            \"Letter Books,\" and \"Shipments-Outgoing.\"\u003c/p\u003e","\u003cp\u003eInsofar as it has been possible to determine from the\n            data on the survey report forms, the volumes have been\n            assigned to categories. Most of the major categories, or\n            headings, have sub-headings. Within those sub-headings, the\n            volumes have been arranged chronologically. The\n            investigators realize that after careful study of some of\n            these volumes, they will be revealed as belonging to other\n            categories than those in which they have initially been\n            placed. The card index will allow such movement.\u003c/p\u003e","\u003cp\u003eAvailable in the Manuscripts/Archives Reading Room in\n            the Library is the sorted card index file. There is a card\n            for every volume in this file whereas, on the pages that\n            follow, volumes have been summarized under the headings and\n            sub-headings. In each case, the number of volumes has been\n            given in the summarized list; the date ranges given are\n            inclusive in most cases, and do not reveal the many gaps in\n            sequences unless the number of volumes is small and the\n            date range wide. Occasional remarks about the content of\n            volumes have been supplied if the contents are not obvious\n            from the heading or sub-heading.\u003c/p\u003e","\u003cp\u003eResearchers wishing to examine any of these volumes will\n            have to use the card index file in order to be able to give\n            to the staff the volume number assigned to the individual\n            volumes that are to be inspected.\u003c/p\u003e"],"otherfindaid_heading_ssm":["Other Finding Aid"],"otherfindaid_tesim":["Some 1200 bound accounting record books of the Low Moor\n            Iron Company came into the custody of the Library with the\n            loose papers. When the project staff investigated these\n            volumes in the dormitory attic where they were stored, they\n            found that the volumes had been shelved by size rather than\n            by series. Thus, a letterbook may stand next to a stock\n            report book for a furnace, which is, in turn, next to a\n            store account book for the Kay Moor Mines' store. No series\n            are shelved in order.","Members of the project staff surveyed the volumes,\n            completing for each volume two copies of a mimeographed\n            survey form, and assigning to each volume a number. One\n            copy of the survey report form was placed in the volume,\n            and the second was returned to the Library.","From the survey report forms, 3 x 5 inch index\n            cards--with a carbon copy of each--were typed. One set of\n            index cards has been kept in order by the numbers assigned\n            to the volumes as they stand on the shelves. This provides\n            a shelf list for the use of the library staff. The other\n            set of cards was sorted into categories as a finding aid.\n            On the list that follows, the researcher will find a number\n            of major headings such as \"Accounts,\" \"Inventories,\"\n            \"Letter Books,\" and \"Shipments-Outgoing.\"","Insofar as it has been possible to determine from the\n            data on the survey report forms, the volumes have been\n            assigned to categories. Most of the major categories, or\n            headings, have sub-headings. Within those sub-headings, the\n            volumes have been arranged chronologically. The\n            investigators realize that after careful study of some of\n            these volumes, they will be revealed as belonging to other\n            categories than those in which they have initially been\n            placed. The card index will allow such movement.","Available in the Manuscripts/Archives Reading Room in\n            the Library is the sorted card index file. There is a card\n            for every volume in this file whereas, on the pages that\n            follow, volumes have been summarized under the headings and\n            sub-headings. In each case, the number of volumes has been\n            given in the summarized list; the date ranges given are\n            inclusive in most cases, and do not reveal the many gaps in\n            sequences unless the number of volumes is small and the\n            date range wide. Occasional remarks about the content of\n            volumes have been supplied if the contents are not obvious\n            from the heading or sub-heading.","Researchers wishing to examine any of these volumes will\n            have to use the card index file in order to be able to give\n            to the staff the volume number assigned to the individual\n            volumes that are to be inspected."],"prefercite_html_tesm":["\u003cp\u003ePapers of the Low Moor Iron Company, Accession #662,\n            Special Collections, University of Virginia Library,\n            Charlottesville, Va.\u003c/p\u003e"],"prefercite_tesim":["Papers of the Low Moor Iron Company, Accession #662,\n            Special Collections, University of Virginia Library,\n            Charlottesville, Va."],"processinfo_html_tesm":["\u003cp\u003eBy 1958, little storage space remained in Alderman\n            Library, and the Rare Books and Manuscripts Division was\n            especially crowded because of the rapid growth of its\n            collections. After an examination of its storage areas, the\n            division's staff decided to move the Low Moor records to\n            the attic of one of the student dormitories. The collection\n            had had little use chiefly because there was no finding\n            aid. There seemed little likelihood of extensive researcher\n            use until the collection could be processed.\u003c/p\u003e","\u003cp\u003eIn preparation for the move, the old letter boxes in\n            which much of the collection had arrived in the Library\n            were discarded. The records from each box were placed\n            between sheets of the heavy gray cardboard used to protect\n            unbound newspapers in the Library's stacks, and the spine\n            labels of the old letter boxes were copied onto the\n            cardboard. The resulting bundles were wrapped with brown\n            Kraft paper and tied up with string. The bundles were\n            numbered. Whatever original order the letter boxes may have\n            had was lost by the time they arrived in the Library, and\n            after the bundling, removal to a dormitory attic, and\n            subsequent return to the Library in 1976, all vestiges of\n            the original order were lost.\u003c/p\u003e","\u003cp\u003eThe bundles remained in the dormitory attic for almost\n            twenty years. Occasional visits were made by the division\n            staff to check on their condition, and on very rare\n            occasions, a researcher was brave enough to ask to be shown\n            the collection. Once the researcher saw the imposing amount\n            of material and the conditions in the attic, interest in\n            using the collection invariably died.\u003c/p\u003e","\u003cp\u003eIn late 1976 a grant from the National Endowment for the\n            Humanities was obtained to allow the Library to process the\n            Low Moor Iron Company papers, and the papers of Edward L.\n            Stone and the Borderland Coal Company, another large\n            collection of records stored in the same dormitory attic.\n            All of these records and papers were moved back to the\n            Library where the bundles were cleaned and opened. The\n            contents of each were placed in a Hollinger storage box,\n            and all notes on the paper wrappings and on the gray\n            cardboard sheets were recorded.\u003c/p\u003e","\u003cp\u003eThe more than 1200 bound accounting records of the Low\n            Moor Iron Company were surveyed by the grant project staff.\n            The contents of each volume were noted on a mimeographed\n            form, and later typed on 3 x 5\" cards to create a\n            readily-accessible file for the Manuscripts Reading Room.\n            This information was also typed on pages to be added to\n            this guide.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["By 1958, little storage space remained in Alderman\n            Library, and the Rare Books and Manuscripts Division was\n            especially crowded because of the rapid growth of its\n            collections. After an examination of its storage areas, the\n            division's staff decided to move the Low Moor records to\n            the attic of one of the student dormitories. The collection\n            had had little use chiefly because there was no finding\n            aid. There seemed little likelihood of extensive researcher\n            use until the collection could be processed.","In preparation for the move, the old letter boxes in\n            which much of the collection had arrived in the Library\n            were discarded. The records from each box were placed\n            between sheets of the heavy gray cardboard used to protect\n            unbound newspapers in the Library's stacks, and the spine\n            labels of the old letter boxes were copied onto the\n            cardboard. The resulting bundles were wrapped with brown\n            Kraft paper and tied up with string. The bundles were\n            numbered. Whatever original order the letter boxes may have\n            had was lost by the time they arrived in the Library, and\n            after the bundling, removal to a dormitory attic, and\n            subsequent return to the Library in 1976, all vestiges of\n            the original order were lost.","The bundles remained in the dormitory attic for almost\n            twenty years. Occasional visits were made by the division\n            staff to check on their condition, and on very rare\n            occasions, a researcher was brave enough to ask to be shown\n            the collection. Once the researcher saw the imposing amount\n            of material and the conditions in the attic, interest in\n            using the collection invariably died.","In late 1976 a grant from the National Endowment for the\n            Humanities was obtained to allow the Library to process the\n            Low Moor Iron Company papers, and the papers of Edward L.\n            Stone and the Borderland Coal Company, another large\n            collection of records stored in the same dormitory attic.\n            All of these records and papers were moved back to the\n            Library where the bundles were cleaned and opened. The\n            contents of each were placed in a Hollinger storage box,\n            and all notes on the paper wrappings and on the gray\n            cardboard sheets were recorded.","The more than 1200 bound accounting records of the Low\n            Moor Iron Company were surveyed by the grant project staff.\n            The contents of each volume were noted on a mimeographed\n            form, and later typed on 3 x 5\" cards to create a\n            readily-accessible file for the Manuscripts Reading Room.\n            This information was also typed on pages to be added to\n            this guide."],"scopecontent_html_tesm":["\u003cp\u003eThe Low Moor Iron Company papers consist of\n         approximately 280 four-inch Hollinger archives boxes (ca.\n         95 linear feet) of records, ca. 1885-1927, and some 1200\n         bound volumes of the company's accounting records,\n         1873-1927, of this iron producing company located in Low\n         Moor (four miles southwest of Clifton Forge), Alleghany\n         County, Virginia.\u003c/p\u003e","\u003cp\u003eThis material consists of records typical of those\n         produced by a firm of this type in the period, but as the\n         company owned its own coal and iron mines and limestone\n         quarries, there is considerable information about the\n         production of these raw materials. Large numbers of the\n         records that deal with the company's employees have\n         survived: time books, payroll books, hands ledgers, and the\n         like. Because these books sometimes include information\n         about the employee's trade or job with the company, and as\n         race is indicated in some of the records, these books\n         should provide date for studies of the structure and upward\n         mobility within the labor force, patterns of\n         ethnic--possibly racial--occupational penetration and\n         mobility, material conditions of the workers, and so on.\n         The papers should permit a range of studies detailing the\n         pattern and evolution of industrial organization in the\n         iron industry, and the evolution of markets and marketing\n         structures for the entire period. Because the company was\n         dependent upon railroads to move its raw materials to the\n         furnaces, and for the marketing of its products, there is\n         considerable information about railroads and their\n         relationship to their customers.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Information"],"scopecontent_tesim":["The Low Moor Iron Company papers consist of\n         approximately 280 four-inch Hollinger archives boxes (ca.\n         95 linear feet) of records, ca. 1885-1927, and some 1200\n         bound volumes of the company's accounting records,\n         1873-1927, of this iron producing company located in Low\n         Moor (four miles southwest of Clifton Forge), Alleghany\n         County, Virginia.","This material consists of records typical of those\n         produced by a firm of this type in the period, but as the\n         company owned its own coal and iron mines and limestone\n         quarries, there is considerable information about the\n         production of these raw materials. Large numbers of the\n         records that deal with the company's employees have\n         survived: time books, payroll books, hands ledgers, and the\n         like. Because these books sometimes include information\n         about the employee's trade or job with the company, and as\n         race is indicated in some of the records, these books\n         should provide date for studies of the structure and upward\n         mobility within the labor force, patterns of\n         ethnic--possibly racial--occupational penetration and\n         mobility, material conditions of the workers, and so on.\n         The papers should permit a range of studies detailing the\n         pattern and evolution of industrial organization in the\n         iron industry, and the evolution of markets and marketing\n         structures for the entire period. Because the company was\n         dependent upon railroads to move its raw materials to the\n         furnaces, and for the marketing of its products, there is\n         considerable information about railroads and their\n         relationship to their customers."],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["See the \n             \n            University of Virginia Library’s use policy."],"language_ssim":["English"],"total_component_count_is":1879,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T12:10:02.328Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_viu00917_c01_c21_c03"}},{"id":"viblbv_repositories_2_resources_2863_c02_c02","type":"Subseries","attributes":{"title":"Collected printed material","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2863_c02_c02#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eSeveral serial and standalone German publications on architecture and architects. Some publications likely belonged to King's mother, Gudrun Horn (Stelzer), who was studying architecture when she met King's father, Gerhard Stelzer. She resumed her studies in the late 1940s after divorcing Stelzer, at which time she reverted to her maiden name, Horn. [Source: Dorothee Stelzer King's family history, Box 1, Folder 3, Dorothee Stelzer King Architectural Collection, Ms2013-023]\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2863_c02_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2863_c02_c02","ref_ssm":["viblbv_repositories_2_resources_2863_c02_c02"],"id":"viblbv_repositories_2_resources_2863_c02_c02","ead_ssi":"viblbv_repositories_2_resources_2863","_root_":"viblbv_repositories_2_resources_2863","_nest_parent_":"viblbv_repositories_2_resources_2863_c02","parent_ssi":"viblbv_repositories_2_resources_2863_c02","parent_ssim":["viblbv_repositories_2_resources_2863","viblbv_repositories_2_resources_2863_c02"],"parent_ids_ssim":["viblbv_repositories_2_resources_2863","viblbv_repositories_2_resources_2863_c02"],"parent_unittitles_ssm":["Dorothee Stelzer King Architectural Collection","Publications"],"parent_unittitles_tesim":["Dorothee Stelzer King Architectural Collection","Publications"],"text":["Dorothee Stelzer King Architectural Collection","Publications","Collected printed material","Several serial and standalone German publications on architecture and architects. Some publications likely belonged to King's mother, Gudrun Horn (Stelzer), who was studying architecture when she met King's father, Gerhard Stelzer. She resumed her studies in the late 1940s after divorcing Stelzer, at which time she reverted to her maiden name, Horn. [Source: Dorothee Stelzer King's family history, Box 1, Folder 3, Dorothee Stelzer King Architectural Collection, Ms2013-023]"],"title_filing_ssi":"Collected printed material","title_ssm":["Collected printed material"],"title_tesim":["Collected printed material"],"unitdate_inclusive_ssm":["1920-2002"],"normalized_date_ssm":["1920/2002"],"normalized_title_ssm":["Collected printed material"],"component_level_isim":[2],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Dorothee Stelzer King Architectural Collection"],"has_online_content_ssim":["false"],"child_component_count_isi":13,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":25,"parent_access_restrict_tesm":["Collection is open for research."],"parent_access_terms_tesm":["Permission to publish material from Dorothee Stelzer King Architectural Collection must be obtained from Special Collections, Virginia Tech."],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002],"scopecontent_html_tesm":["\u003cp\u003eSeveral serial and standalone German publications on architecture and architects. Some publications likely belonged to King's mother, Gudrun Horn (Stelzer), who was studying architecture when she met King's father, Gerhard Stelzer. She resumed her studies in the late 1940s after divorcing Stelzer, at which time she reverted to her maiden name, Horn. [Source: Dorothee Stelzer King's family history, Box 1, Folder 3, Dorothee Stelzer King Architectural Collection, Ms2013-023]\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Several serial and standalone German publications on architecture and architects. Some publications likely belonged to King's mother, Gudrun Horn (Stelzer), who was studying architecture when she met King's father, Gerhard Stelzer. She resumed her studies in the late 1940s after divorcing Stelzer, at which time she reverted to her maiden name, Horn. [Source: Dorothee Stelzer King's family history, Box 1, Folder 3, Dorothee Stelzer King Architectural Collection, Ms2013-023]"],"_nest_path_":"/components#1/components#1","timestamp":"2026-05-21T02:04:32.548Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2863","ead_ssi":"viblbv_repositories_2_resources_2863","_root_":"viblbv_repositories_2_resources_2863","_nest_parent_":"viblbv_repositories_2_resources_2863","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2863.xml","title_filing_ssi":"King, Dorothee Stelzer, Architectural Collection","title_ssm":["Dorothee Stelzer King Architectural Collection"],"title_tesim":["Dorothee Stelzer King Architectural Collection"],"unitdate_ssm":["1950-2018"],"unitdate_inclusive_ssm":["1950-2018"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2013.023"],"text":["Ms.2013.023","Dorothee Stelzer King Architectural Collection","Women -- History","International Archive of Women in Architecture (IAWA)","Architects","Architecture (discipline)","Architectural drawings (visual works)","Collection is open for research.","Born in Berlin, Germany. King is an architect and professor who has practiced in Germany, the United States, and the Bahamas. She graduated from the Hochschule fur Bildende Kunste (HBK) with the title 'Diplom Architect HBK Berlin' in 1962. Upon graduating from HBK she worked for two years (1962-1964) in the architectural office of Dipl. Ing.  Hilde Westrom , one of the few independently working women architects in Berlin. King would go on to receive the Airlift Memorial Scholarship and Fulbright Travel Grant allowing her to study under Louis I. Kahn in his Master Studio at the University of Pennsylvania (1965-1967). Her experiences with Kahn would greatly influence her own style of teaching at the Pratt Institute School of Architecture (1969-1981) and other organizations. ","King and her husband, fellow architect Douglas King, were offered the opportunity to work as architects with the Government of the Bahamas in Nassau (1981-1985). There she primarily worked on projects for the Ministries of Health and Housing including: public rental units with a senior citizen complex, design for a high school library in Cooperstown, and as project architect and head construction supervisor for the Bahamas Nursing School.  1985-1991 saw King commuting between New York, Nassau, and Florida as she finished supervising the Bahamas Nursing School and partnered with her husband on a design-build company called Kingston Homes in West Palm Beach, Florida.  Shortly after returning to New York full-time (1991) King began teaching at several New York institutions and public schools within the city (1993-2008). \n ","The processing, arrangement, and description of the Dorothee Stelzer King Architectural Collection was completed in May 2013. Additional donations processed in September 2021.","The collection consists of material created and accumulated by King during the course of her days as a student and her professional career. This material primarily comprises drawings, presentation boards, photographs, and printed material related to various design projects undertaken by King during the time period 1957 to 1988. Also included within the collection is a detailed biographical narrative written by King describing the trajectory of her career and a family history and genealogy titled  From the Basilius, Gersdorff and Horn Families to the King, Kruppa and Stelzer Families , also written by King.","This subseries consists of Dorothee S. King's personal documents, school reports, drawings, and notes on projects relating to her at Hochschule fur Bildende Kunste (HBK) and the University of Pennsylvania.","Materials present include a project description, 2 model photographs, 1 set of photographic reductions of the model, 1 set of slides of the drawings and model, along with a publication \"ars viva 62\" featuring the project.  Drawings include: 7 original ink drawings on board and transparent paper and 2 blueprints.","2 original ink drawings on board and transparent paper.","9 original ink drawings in transparent paper.","7 original ink drawings on transparent paper.","Several serial and standalone German publications on architecture and architects. Some publications likely belonged to King's mother, Gudrun Horn (Stelzer), who was studying architecture when she met King's father, Gerhard Stelzer. She resumed her studies in the late 1940s after divorcing Stelzer, at which time she reverted to her maiden name, Horn. [Source: Dorothee Stelzer King's family history, Box 1, Folder 3, Dorothee Stelzer King Architectural Collection, Ms2013-023]","Builder: Monthly journal of architectural culture and practice [two issues]","International Building Exhibition Berlin: Reconstruction of the Hansa neighborhood (West) Berlin [two issues]; King won second prize for a student project conpetition associated with the exhibition","Serial publication on architecture, construction technology and industry[5 issues]","Reconstruction of the Helgoland Archipelago","Work and Time [two issues]: \"From the 1920s: An Inheritance and Its Heirs,\" and \"Form and Formalism\"","2 hand colored presentation drawings on prints.","3 original construction drawings, pencil on vellum.","2 hand colored original presentation drawings on board.","Tusculum Plantation, New Providence, Bahamas Illustrations - Recorded and Drawn by Dorothee Stelzer King","Figure Number Followed by Subject and Description \n1.1 Map of the Bahamas \n1.2 Map of New Providence; Tusculum is located on the northwest coastline \n3.1 Map pre-dating recent subdivisions that occurred circa 1985. The map shows the Tusculum site located on the northern coastline of New Providence and its relationship to adjacent areas and topography. A curved road leads to the ruin complex situated at the top of the ridge \n3.3 Cross section of the Gambier Ridge at the Tusculum site \n3.8 Site plan of the Ruin Complex showing Ruin A on the summit of the ridge, and the locations Ruins B, C, D and F. Also shown are three wells and the old roadway in dotted lines \n3.10 Ruin A: Axonometric View as it appeared at the time of the survey. The north facade with the entrance and the north terrace are in the foreground \n3.25 Ruin A: Wall Plan at the time of the survey. \n3.26 Ruin A: North-South Section through the Ruin \n3.27 Ruin A: North Elevation \n3.28 Ruin A: South Elevation \n3.29 Ruin A: East Elevation \n3.30 Ruin A: West Elevation \n3.31 Ruin A: Typical Wall Section with Window Opening \n3.32 Ruin A: Typical Wall Section through Cellar Window\n3.34 Ruin B: Axonometric View of the Ruin at the time of the survey. In the foreground, attached to the eastern wall, is a small addition. The wall shown collapsed and faces Ruin A. \n3.35 Ruin B: Wall Plan \n3.36 Ruin B: West Elevation \n3.37 Ruin B: East Elevation \n3.38 Ruin B: North Elevation \n3.39 Ruin B: South Elevation \n3.40 Ruin C: Axonometric View of the Ruin at the time of the survey. The front elevation with three doors and a window faces east and the Main House, Ruin A. In the foreground, to the right, are the remains of the fireplace. The rear wall, to the west, has collapsed to its foundations. \n3.41 Ruin C: Wall Plan \n3.42 Ruin C: North Elevation \n3.43 Ruin C: South Elevation \n3.44 Ruin C: East Elevation \n3.45 Ruin C: West Elevation","One copy of description and a documentation report titled\"Ten Small Houses in Grants Town, Nassau, Bahamas,\" April 2014","Original report, printed text with hand drawn icon diagrams for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"","Original report drawings on transparent paper of houses(site plans, floor plans, sections and elevations) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\".","Hand written notes and first hard line draft drawings for the\ndocumentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"","Original field notes, sketches and resident interviews(1983-1984) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas.\"","Original field notes, sketches and resident interviews(1983-1984) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas.\"","Photographic negatives of houses analyzed for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"","Corespendence and meeting records, 1980-1985","Introduction for Louis I. Kahn for a Talk He Gave at Pratt, 1973","General class talk, introduction to Amerinds, Pueblo Lecture #1, Puebloe Lecture #2 (in depth), Seminar outline: plazas and countryards, maps","Amerinds Slides Records of Lectures","Pueblo Reports, The Navajo Hogan and Eskmo Dwellings, 1978","Pueblo Settlement Patterns, notes and discussions, general and details, 1978","Pueblo Seminar, May 1978","American Pueblo Lecture Materials, Notes, Semi-final, 1978","Course Outline and Class Schedule","Hand Wrriten Course Notes","Housing Design Studio Notes","Class List and Course Information","Permission to publish material from Dorothee Stelzer King Architectural Collection must be obtained from Special Collections, Virginia Tech.","Born in Berlin, Germany. Dorothee Stelzer King is an architect and professor who has practiced in Germany, the United States, and the Bahamas. The collection consists of material (drawings, presentation boards, photographs, and printed material) created and accumulated by King as a student and during her professional career. Some examples include: her award-winning student project of creating a flexible and transportable exhibition hall and her project work for the Government of the Bahamas. Materials in this collection range in date from 1950-2008.","Special Collections and University Archives, Virginia Tech","King, Dorothée","Material is in English and German."],"unitid_tesim":["Ms.2013.023"],"normalized_title_ssm":["Dorothee Stelzer King Architectural Collection"],"collection_title_tesim":["Dorothee Stelzer King Architectural Collection"],"collection_ssim":["Dorothee Stelzer King Architectural Collection"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["King, Dorothée"],"creator_ssim":["King, Dorothée"],"creator_persname_ssim":["King, Dorothée"],"creators_ssim":["King, Dorothée"],"access_terms_ssm":["Permission to publish material from Dorothee Stelzer King Architectural Collection must be obtained from Special Collections, Virginia Tech."],"acqinfo_ssim":["The Dorothee Stelzer King Architectural Collection was donated to Special Collections in December 2008."],"access_subjects_ssim":["Women -- History","International Archive of Women in Architecture (IAWA)","Architects","Architecture (discipline)","Architectural drawings (visual works)"],"access_subjects_ssm":["Women -- History","International Archive of Women in Architecture (IAWA)","Architects","Architecture (discipline)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["6.92 Cubic Feet 6 boxes; 6 oversize folders"],"extent_tesim":["6.92 Cubic Feet 6 boxes; 6 oversize folders"],"genreform_ssim":["Architecture (discipline)","Architectural drawings (visual works)"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eBorn in Berlin, Germany. King is an architect and professor who has practiced in Germany, the United States, and the Bahamas. She graduated from the Hochschule fur Bildende Kunste (HBK) with the title 'Diplom Architect HBK Berlin' in 1962. Upon graduating from HBK she worked for two years (1962-1964) in the architectural office of Dipl. Ing. \u003cextref actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00140.xml\" title=\"Hilde Westrom\"\u003eHilde Westrom\u003c/extref\u003e, one of the few independently working women architects in Berlin. King would go on to receive the Airlift Memorial Scholarship and Fulbright Travel Grant allowing her to study under Louis I. Kahn in his Master Studio at the University of Pennsylvania (1965-1967). Her experiences with Kahn would greatly influence her own style of teaching at the Pratt Institute School of Architecture (1969-1981) and other organizations. \u003c/p\u003e\n","\u003cp\u003eKing and her husband, fellow architect Douglas King, were offered the opportunity to work as architects with the Government of the Bahamas in Nassau (1981-1985). There she primarily worked on projects for the Ministries of Health and Housing including: public rental units with a senior citizen complex, design for a high school library in Cooperstown, and as project architect and head construction supervisor for the Bahamas Nursing School.  1985-1991 saw King commuting between New York, Nassau, and Florida as she finished supervising the Bahamas Nursing School and partnered with her husband on a design-build company called Kingston Homes in West Palm Beach, Florida.  Shortly after returning to New York full-time (1991) King began teaching at several New York institutions and public schools within the city (1993-2008). \n \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note "],"bioghist_tesim":["Born in Berlin, Germany. King is an architect and professor who has practiced in Germany, the United States, and the Bahamas. She graduated from the Hochschule fur Bildende Kunste (HBK) with the title 'Diplom Architect HBK Berlin' in 1962. Upon graduating from HBK she worked for two years (1962-1964) in the architectural office of Dipl. Ing.  Hilde Westrom , one of the few independently working women architects in Berlin. King would go on to receive the Airlift Memorial Scholarship and Fulbright Travel Grant allowing her to study under Louis I. Kahn in his Master Studio at the University of Pennsylvania (1965-1967). Her experiences with Kahn would greatly influence her own style of teaching at the Pratt Institute School of Architecture (1969-1981) and other organizations. ","King and her husband, fellow architect Douglas King, were offered the opportunity to work as architects with the Government of the Bahamas in Nassau (1981-1985). There she primarily worked on projects for the Ministries of Health and Housing including: public rental units with a senior citizen complex, design for a high school library in Cooperstown, and as project architect and head construction supervisor for the Bahamas Nursing School.  1985-1991 saw King commuting between New York, Nassau, and Florida as she finished supervising the Bahamas Nursing School and partnered with her husband on a design-build company called Kingston Homes in West Palm Beach, Florida.  Shortly after returning to New York full-time (1991) King began teaching at several New York institutions and public schools within the city (1993-2008). \n "],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: Dorothee Stelzer King Architectural Collection Ms2013-023, Special Collections, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: Dorothee Stelzer King Architectural Collection Ms2013-023, Special Collections, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Dorothee Stelzer King Architectural Collection was completed in May 2013. Additional donations processed in September 2021.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Dorothee Stelzer King Architectural Collection was completed in May 2013. Additional donations processed in September 2021."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of material created and accumulated by King during the course of her days as a student and her professional career. This material primarily comprises drawings, presentation boards, photographs, and printed material related to various design projects undertaken by King during the time period 1957 to 1988. Also included within the collection is a detailed biographical narrative written by King describing the trajectory of her career and a family history and genealogy titled \u003ctitle render=\"doublequote\"\u003eFrom the Basilius, Gersdorff and Horn Families to the King, Kruppa and Stelzer Families\u003c/title\u003e, also written by King.\u003c/p\u003e","\u003cp\u003eThis subseries consists of Dorothee S. King's personal documents, school reports, drawings, and notes on projects relating to her at Hochschule fur Bildende Kunste (HBK) and the University of Pennsylvania.\u003c/p\u003e","\u003cp\u003eMaterials present include a project description, 2 model photographs, 1 set of photographic reductions of the model, 1 set of slides of the drawings and model, along with a publication \"ars viva 62\" featuring the project.  Drawings include: 7 original ink drawings on board and transparent paper and 2 blueprints.\u003c/p\u003e","\u003cp\u003e2 original ink drawings on board and transparent paper.\u003c/p\u003e","\u003cp\u003e9 original ink drawings in transparent paper.\u003c/p\u003e","\u003cp\u003e7 original ink drawings on transparent paper.\u003c/p\u003e","\u003cp\u003eSeveral serial and standalone German publications on architecture and architects. Some publications likely belonged to King's mother, Gudrun Horn (Stelzer), who was studying architecture when she met King's father, Gerhard Stelzer. She resumed her studies in the late 1940s after divorcing Stelzer, at which time she reverted to her maiden name, Horn. [Source: Dorothee Stelzer King's family history, Box 1, Folder 3, Dorothee Stelzer King Architectural Collection, Ms2013-023]\u003c/p\u003e","\u003cp\u003eBuilder: Monthly journal of architectural culture and practice [two issues]\u003c/p\u003e","\u003cp\u003eInternational Building Exhibition Berlin: Reconstruction of the Hansa neighborhood (West) Berlin [two issues]; King won second prize for a student project conpetition associated with the exhibition\u003c/p\u003e","\u003cp\u003eSerial publication on architecture, construction technology and industry[5 issues]\u003c/p\u003e","\u003cp\u003eReconstruction of the Helgoland Archipelago\u003c/p\u003e","\u003cp\u003eWork and Time [two issues]: \"From the 1920s: An Inheritance and Its Heirs,\" and \"Form and Formalism\"\u003c/p\u003e","\u003cp\u003e2 hand colored presentation drawings on prints.\u003c/p\u003e\n","\u003cp\u003e3 original construction drawings, pencil on vellum.\u003c/p\u003e","\u003cp\u003e2 hand colored original presentation drawings on board.\u003c/p\u003e","\u003cp\u003eTusculum Plantation, New Providence, Bahamas Illustrations - Recorded and Drawn by Dorothee Stelzer King\u003c/p\u003e\n","\u003cp\u003eFigure Number Followed by Subject and Description\u003cbr\u003e\n1.1 Map of the Bahamas\u003cbr\u003e\n1.2 Map of New Providence; Tusculum is located on the northwest coastline\u003cbr\u003e\n3.1 Map pre-dating recent subdivisions that occurred circa 1985. The map shows the Tusculum site located on the northern coastline of New Providence and its relationship to adjacent areas and topography. A curved road leads to the ruin complex situated at the top of the ridge\u003cbr\u003e\n3.3 Cross section of the Gambier Ridge at the Tusculum site\u003cbr\u003e\n3.8 Site plan of the Ruin Complex showing Ruin A on the summit of the ridge, and the locations Ruins B, C, D and F. Also shown are three wells and the old roadway in dotted lines\u003cbr\u003e\n3.10 Ruin A: Axonometric View as it appeared at the time of the survey. The north facade with the entrance and the north terrace are in the foreground\u003cbr\u003e\n3.25 Ruin A: Wall Plan at the time of the survey.\u003cbr\u003e\n3.26 Ruin A: North-South Section through the Ruin\u003cbr\u003e\n3.27 Ruin A: North Elevation\u003cbr\u003e\n3.28 Ruin A: South Elevation\u003cbr\u003e\n3.29 Ruin A: East Elevation\u003cbr\u003e\n3.30 Ruin A: West Elevation\u003cbr\u003e\n3.31 Ruin A: Typical Wall Section with Window Opening\u003cbr\u003e\n3.32 Ruin A: Typical Wall Section through Cellar Window\n3.34 Ruin B: Axonometric View of the Ruin at the time of the survey. In the foreground, attached to the eastern wall, is a small addition. The wall shown collapsed and faces Ruin A.\u003cbr\u003e\n3.35 Ruin B: Wall Plan\u003cbr\u003e\n3.36 Ruin B: West Elevation\u003cbr\u003e\n3.37 Ruin B: East Elevation\u003cbr\u003e\n3.38 Ruin B: North Elevation\u003cbr\u003e\n3.39 Ruin B: South Elevation\u003cbr\u003e\n3.40 Ruin C: Axonometric View of the Ruin at the time of the survey. The front elevation with three doors and a window faces east and the Main House, Ruin A. In the foreground, to the right, are the remains of the fireplace. The rear wall, to the west, has collapsed to its foundations.\u003cbr\u003e\n3.41 Ruin C: Wall Plan\u003cbr\u003e\n3.42 Ruin C: North Elevation\u003cbr\u003e\n3.43 Ruin C: South Elevation\u003cbr\u003e\n3.44 Ruin C: East Elevation\u003cbr\u003e\n3.45 Ruin C: West Elevation\u003cbr\u003e\u003c/p\u003e","\u003cp\u003eOne copy of description and a documentation report titled\"Ten Small Houses in Grants Town, Nassau, Bahamas,\" April 2014\u003c/p\u003e","\u003cp\u003eOriginal report, printed text with hand drawn icon diagrams for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"\u003c/p\u003e","\u003cp\u003eOriginal report drawings on transparent paper of houses(site plans, floor plans, sections and elevations) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\".\u003c/p\u003e","\u003cp\u003eHand written notes and first hard line draft drawings for the\ndocumentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"\u003c/p\u003e\n","\u003cp\u003eOriginal field notes, sketches and resident interviews(1983-1984) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas.\"\u003c/p\u003e","\u003cp\u003eOriginal field notes, sketches and resident interviews(1983-1984) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas.\"\u003c/p\u003e","\u003cp\u003ePhotographic negatives of houses analyzed for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"\u003c/p\u003e","\u003cp\u003eCorespendence and meeting records, 1980-1985\u003c/p\u003e","\u003cp\u003eIntroduction for Louis I. Kahn for a Talk He Gave at Pratt, 1973\u003c/p\u003e","\u003cp\u003eGeneral class talk, introduction to Amerinds, Pueblo Lecture #1, Puebloe Lecture #2 (in depth), Seminar outline: plazas and countryards, maps\u003c/p\u003e","\u003cp\u003eAmerinds Slides Records of Lectures\u003c/p\u003e","\u003cp\u003ePueblo Reports, The Navajo Hogan and Eskmo Dwellings, 1978\u003c/p\u003e","\u003cp\u003ePueblo Settlement Patterns, notes and discussions, general and details, 1978\u003c/p\u003e","\u003cp\u003ePueblo Seminar, May 1978\u003c/p\u003e","\u003cp\u003eAmerican Pueblo Lecture Materials, Notes, Semi-final, 1978\u003c/p\u003e","\u003cp\u003eCourse Outline and Class Schedule\u003c/p\u003e","\u003cp\u003eHand Wrriten Course Notes\u003c/p\u003e","\u003cp\u003eHousing Design Studio Notes\u003c/p\u003e","\u003cp\u003eClass List and Course Information\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The collection consists of material created and accumulated by King during the course of her days as a student and her professional career. This material primarily comprises drawings, presentation boards, photographs, and printed material related to various design projects undertaken by King during the time period 1957 to 1988. Also included within the collection is a detailed biographical narrative written by King describing the trajectory of her career and a family history and genealogy titled  From the Basilius, Gersdorff and Horn Families to the King, Kruppa and Stelzer Families , also written by King.","This subseries consists of Dorothee S. King's personal documents, school reports, drawings, and notes on projects relating to her at Hochschule fur Bildende Kunste (HBK) and the University of Pennsylvania.","Materials present include a project description, 2 model photographs, 1 set of photographic reductions of the model, 1 set of slides of the drawings and model, along with a publication \"ars viva 62\" featuring the project.  Drawings include: 7 original ink drawings on board and transparent paper and 2 blueprints.","2 original ink drawings on board and transparent paper.","9 original ink drawings in transparent paper.","7 original ink drawings on transparent paper.","Several serial and standalone German publications on architecture and architects. Some publications likely belonged to King's mother, Gudrun Horn (Stelzer), who was studying architecture when she met King's father, Gerhard Stelzer. She resumed her studies in the late 1940s after divorcing Stelzer, at which time she reverted to her maiden name, Horn. [Source: Dorothee Stelzer King's family history, Box 1, Folder 3, Dorothee Stelzer King Architectural Collection, Ms2013-023]","Builder: Monthly journal of architectural culture and practice [two issues]","International Building Exhibition Berlin: Reconstruction of the Hansa neighborhood (West) Berlin [two issues]; King won second prize for a student project conpetition associated with the exhibition","Serial publication on architecture, construction technology and industry[5 issues]","Reconstruction of the Helgoland Archipelago","Work and Time [two issues]: \"From the 1920s: An Inheritance and Its Heirs,\" and \"Form and Formalism\"","2 hand colored presentation drawings on prints.","3 original construction drawings, pencil on vellum.","2 hand colored original presentation drawings on board.","Tusculum Plantation, New Providence, Bahamas Illustrations - Recorded and Drawn by Dorothee Stelzer King","Figure Number Followed by Subject and Description \n1.1 Map of the Bahamas \n1.2 Map of New Providence; Tusculum is located on the northwest coastline \n3.1 Map pre-dating recent subdivisions that occurred circa 1985. The map shows the Tusculum site located on the northern coastline of New Providence and its relationship to adjacent areas and topography. A curved road leads to the ruin complex situated at the top of the ridge \n3.3 Cross section of the Gambier Ridge at the Tusculum site \n3.8 Site plan of the Ruin Complex showing Ruin A on the summit of the ridge, and the locations Ruins B, C, D and F. Also shown are three wells and the old roadway in dotted lines \n3.10 Ruin A: Axonometric View as it appeared at the time of the survey. The north facade with the entrance and the north terrace are in the foreground \n3.25 Ruin A: Wall Plan at the time of the survey. \n3.26 Ruin A: North-South Section through the Ruin \n3.27 Ruin A: North Elevation \n3.28 Ruin A: South Elevation \n3.29 Ruin A: East Elevation \n3.30 Ruin A: West Elevation \n3.31 Ruin A: Typical Wall Section with Window Opening \n3.32 Ruin A: Typical Wall Section through Cellar Window\n3.34 Ruin B: Axonometric View of the Ruin at the time of the survey. In the foreground, attached to the eastern wall, is a small addition. The wall shown collapsed and faces Ruin A. \n3.35 Ruin B: Wall Plan \n3.36 Ruin B: West Elevation \n3.37 Ruin B: East Elevation \n3.38 Ruin B: North Elevation \n3.39 Ruin B: South Elevation \n3.40 Ruin C: Axonometric View of the Ruin at the time of the survey. The front elevation with three doors and a window faces east and the Main House, Ruin A. In the foreground, to the right, are the remains of the fireplace. The rear wall, to the west, has collapsed to its foundations. \n3.41 Ruin C: Wall Plan \n3.42 Ruin C: North Elevation \n3.43 Ruin C: South Elevation \n3.44 Ruin C: East Elevation \n3.45 Ruin C: West Elevation","One copy of description and a documentation report titled\"Ten Small Houses in Grants Town, Nassau, Bahamas,\" April 2014","Original report, printed text with hand drawn icon diagrams for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"","Original report drawings on transparent paper of houses(site plans, floor plans, sections and elevations) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\".","Hand written notes and first hard line draft drawings for the\ndocumentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"","Original field notes, sketches and resident interviews(1983-1984) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas.\"","Original field notes, sketches and resident interviews(1983-1984) for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas.\"","Photographic negatives of houses analyzed for the documentation report \"Ten Small Houses in Grants Town, Nassau, Bahamas\"","Corespendence and meeting records, 1980-1985","Introduction for Louis I. Kahn for a Talk He Gave at Pratt, 1973","General class talk, introduction to Amerinds, Pueblo Lecture #1, Puebloe Lecture #2 (in depth), Seminar outline: plazas and countryards, maps","Amerinds Slides Records of Lectures","Pueblo Reports, The Navajo Hogan and Eskmo Dwellings, 1978","Pueblo Settlement Patterns, notes and discussions, general and details, 1978","Pueblo Seminar, May 1978","American Pueblo Lecture Materials, Notes, Semi-final, 1978","Course Outline and Class Schedule","Hand Wrriten Course Notes","Housing Design Studio Notes","Class List and Course Information"],"userestrict_html_tesm":["\u003cp\u003ePermission to publish material from Dorothee Stelzer King Architectural Collection must be obtained from Special Collections, Virginia Tech.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Permission to publish material from Dorothee Stelzer King Architectural Collection must be obtained from Special Collections, Virginia Tech."],"abstract_html_tesm":["\u003cabstract id=\"aspace_948bcc29da18f2208d2d64a12e44e0be\" label=\"Abstract\"\u003eBorn in Berlin, Germany. Dorothee Stelzer King is an architect and professor who has practiced in Germany, the United States, and the Bahamas. The collection consists of material (drawings, presentation boards, photographs, and printed material) created and accumulated by King as a student and during her professional career. Some examples include: her award-winning student project of creating a flexible and transportable exhibition hall and her project work for the Government of the Bahamas. Materials in this collection range in date from 1950-2008.\u003c/abstract\u003e"],"abstract_tesim":["Born in Berlin, Germany. Dorothee Stelzer King is an architect and professor who has practiced in Germany, the United States, and the Bahamas. The collection consists of material (drawings, presentation boards, photographs, and printed material) created and accumulated by King as a student and during her professional career. Some examples include: her award-winning student project of creating a flexible and transportable exhibition hall and her project work for the Government of the Bahamas. Materials in this collection range in date from 1950-2008."],"names_ssim":["Special Collections and University Archives, Virginia Tech","King, Dorothée"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"persname_ssim":["King, Dorothée"],"language_ssim":["Material is in English and German."],"total_component_count_is":168,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:04:32.548Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2863_c02_c02"}},{"id":"wvmturhc_repositories_2_resources_5312_c02_c01","type":"Subseries","attributes":{"title":"Collected Research Materials-General","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_5312_c02_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_5312_c02_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_5312_c02_c01","ref_ssm":["wvmturhc_repositories_2_resources_5312_c02_c01"],"id":"wvmturhc_repositories_2_resources_5312_c02_c01","ead_ssi":"wvmturhc_repositories_2_resources_5312","_root_":"wvmturhc_repositories_2_resources_5312","_nest_parent_":"wvmturhc_repositories_2_resources_5312_c02","parent_ssi":"wvmturhc_repositories_2_resources_5312_c02","parent_ssim":["wvmturhc_repositories_2_resources_5312","wvmturhc_repositories_2_resources_5312_c02"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_5312","wvmturhc_repositories_2_resources_5312_c02"],"parent_unittitles_ssm":["Earl L. Core (1902-1984) Papers","Collected Research Materials"],"parent_unittitles_tesim":["Earl L. Core (1902-1984) Papers","Collected Research Materials"],"text":["Earl L. Core (1902-1984) Papers","Collected Research Materials","Collected Research Materials-General","This subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. "," Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters."],"title_filing_ssi":"Collected Research Materials-General","title_ssm":["Collected Research Materials-General"],"title_tesim":["Collected Research Materials-General"],"unitdate_inclusive_ssm":["1878-1913, ca. 1940, 1959-1978"],"normalized_date_ssm":["1878/1978"],"normalized_title_ssm":["Collected Research Materials-General"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Earl L. Core (1902-1984) Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":3,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":12,"parent_access_restrict_tesm":["Requires signed form for boxes 1-5, 24."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"scopecontent_html_tesm":["\u003cp\u003eThis subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. \u003c/p\u003e","\u003cp\u003e Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. "," Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters."],"_nest_path_":"/components#1/components#0","timestamp":"2026-05-21T00:43:47.713Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_5312","ead_ssi":"wvmturhc_repositories_2_resources_5312","_root_":"wvmturhc_repositories_2_resources_5312","_nest_parent_":"wvmturhc_repositories_2_resources_5312","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_5312.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/198607","title_ssm":["Earl L. Core (1902-1984) Papers"],"title_tesim":["Earl L. Core (1902-1984) Papers"],"unitdate_ssm":["1756-1985"],"unitdate_inclusive_ssm":["1756-1985"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312"],"text":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312","Earl L. Core (1902-1984) Papers","Monongalia County (W. Va.)","Morgantown (W. Va.)","Botany","Botany -- West Virginia","Requires signed form for boxes 1-5, 24.","Earl Lemley Core, botanist, educator, and historian, was born in Core, West Virginia, Monongalia County in 1902.  He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the  Cinchona  tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus  Corethamnium , was named for him.  ","Core was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal,  Castenea , for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards:  General Biology  with P.D. Strausbauh and B.R. Weimer and  A New Manual for the Biology Laboratory  with Weimer.  He also collaborated with Strausbaugh to write the classic  The Flora of West Virginia .   Other botany texts include  Vegetation of West Virginia ,  Woody Plants in Winter , and his most popular book  Spring Wild Flowers of West Virginia  which has been in print since 1948.  Core published articles in  Castenea ,  Proceedings of the West Virginia Academy of Science , and other scholarly sources.   ","After retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia,  The Monongalia Story  (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's  Dominion Post  also details the history of the county.  Earlier he had written  The Chronicles of Core  (1937) about the town where he was born, and  Morgantown Disciples: a History of the First Christian Church of Morgantown  (1960).","Core's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  ","He died in Morgantown in 1984.","Elizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977","\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    ","Bartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    ","The Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    ","She died in Morgantown in 1985.","1197, 1556, 1730","Original Accession; 1756-1985; boxes 1-21 and two oversize folders","\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.","\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County,  The Monongalia Story , as well as numerous newspaper columns in the  Dominion Post .  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  ","\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.","\nSee series and subseries descriptions for more information.","\nAddendum of 2018-09; 1907-1984; boxes 22-25","\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.","\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.","\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.","\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.","This series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as  The Flora of West Virginia ,  Wild Flowers of West Virginia , and  Spring Wild Flowers ; content and business for the journal  Castenea ; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. "," Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. "," Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus  Scleria ; and correspondence with various colleges and universities and governmental units. "," Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. "," Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. "," Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. "," Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book  The Monongalia Story .","This subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. "," Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.","This subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the  Plant Newsletter  (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture;  West Virginia Conservation  from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and  Twinleaf  (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus  Cinchona  resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.","These collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled  The Monongalia Story . This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. "," While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. "," See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.","Includes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. "," See the Correspondence Series for more regarding Morgantown history.","This subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. "," The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. "," See the Correspondence Series, particularly Box 8, for more West Virginia materials.","This series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the  Biology Newsletter  (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the  Beacon  (Hope Natural Gas) (1951) featuring WVU. "," The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. "," Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). "," See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.","Earl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the  Dominion Post  which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes  Guide to the North American International Excursion  from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of  History of Harrison County ; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. "," See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in  The Monongalia Story .","Includes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. "," Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and  The Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers  (1925) which includes a history of the Morgan Family. "," Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.","Includes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. "," The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book  The Monongalia Story ; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.","This series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\"","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum","Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A.","English"],"unitid_tesim":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312"],"normalized_title_ssm":["Earl L. Core (1902-1984) Papers"],"collection_title_tesim":["Earl L. Core (1902-1984) Papers"],"collection_ssim":["Earl L. Core (1902-1984) Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"geogname_ssim":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"creator_ssm":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creator_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creator_persname_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creators_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"places_ssim":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"access_subjects_ssim":["Botany","Botany -- West Virginia"],"access_subjects_ssm":["Botany","Botany -- West Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["9.1 Linear Feet Summary: 9 ft. 3/4 in. (13 document cases, 5 in. each); (1 document case, 4 in.); (6 document cases, 2 1/2 in. each); (1 flat document case, 3 in.); (2 flat document cases, 1 1/2 in. each); (1 artifact box, 3 1/2 in.); (1 record carton, 15 in.); (2 oversized folders, 1/4 in.)"],"extent_tesim":["9.1 Linear Feet Summary: 9 ft. 3/4 in. 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He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the \u003cemph render=\"italic\"\u003eCinchona\u003c/emph\u003e tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus \u003cemph render=\"italic\"\u003eCorethamnium\u003c/emph\u003e, was named for him.  \u003c/p\u003e\n","\u003cp\u003eCore was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal, \u003ctitle\u003eCastenea\u003c/title\u003e, for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards: \u003ctitle\u003eGeneral Biology\u003c/title\u003e with P.D. Strausbauh and B.R. Weimer and \u003ctitle\u003eA New Manual for the Biology Laboratory\u003c/title\u003e with Weimer.  He also collaborated with Strausbaugh to write the classic \u003ctitle\u003eThe Flora of West Virginia\u003c/title\u003e.   Other botany texts include \u003ctitle\u003eVegetation of West Virginia\u003c/title\u003e, \u003ctitle\u003eWoody Plants in Winter\u003c/title\u003e, and his most popular book \u003ctitle\u003eSpring Wild Flowers of West Virginia\u003c/title\u003e which has been in print since 1948.  Core published articles in \u003ctitle\u003eCastenea\u003c/title\u003e, \u003ctitle\u003eProceedings of the West Virginia Academy of Science\u003c/title\u003e, and other scholarly sources.   \u003c/p\u003e\n","\u003cp\u003eAfter retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia, \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's \u003ctitle\u003eDominion Post\u003c/title\u003e also details the history of the county.  Earlier he had written \u003ctitle\u003eThe Chronicles of Core\u003c/title\u003e (1937) about the town where he was born, and \u003ctitle\u003eMorgantown Disciples: a History of the First Christian Church of Morgantown\u003c/title\u003e (1960).\u003c/p\u003e\n","\u003cp\u003eCore's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  \u003c/p\u003e\n","\u003cp\u003eHe died in Morgantown in 1984.\u003c/p\u003e","\u003cp\u003eElizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977\u003c/p\u003e\n","\u003cp\u003e\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    \u003c/p\u003e\n","\u003cp\u003eBartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    \u003c/p\u003e\n","\u003cp\u003eThe Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    \u003c/p\u003e\n","\u003cp\u003eShe died in Morgantown in 1985.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical","Biographical / Historical"],"bioghist_tesim":["Earl Lemley Core, botanist, educator, and historian, was born in Core, West Virginia, Monongalia County in 1902.  He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the  Cinchona  tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus  Corethamnium , was named for him.  ","Core was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal,  Castenea , for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards:  General Biology  with P.D. Strausbauh and B.R. Weimer and  A New Manual for the Biology Laboratory  with Weimer.  He also collaborated with Strausbaugh to write the classic  The Flora of West Virginia .   Other botany texts include  Vegetation of West Virginia ,  Woody Plants in Winter , and his most popular book  Spring Wild Flowers of West Virginia  which has been in print since 1948.  Core published articles in  Castenea ,  Proceedings of the West Virginia Academy of Science , and other scholarly sources.   ","After retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia,  The Monongalia Story  (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's  Dominion Post  also details the history of the county.  Earlier he had written  The Chronicles of Core  (1937) about the town where he was born, and  Morgantown Disciples: a History of the First Christian Church of Morgantown  (1960).","Core's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  ","He died in Morgantown in 1984.","Elizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977","\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    ","Bartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    ","The Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    ","She died in Morgantown in 1985."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Earl L. Core (1902-1984) Papers, A\u0026amp;M 1730, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Earl L. Core (1902-1984) Papers, A\u0026M 1730, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e1197, 1556, 1730\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related A\u0026M Collections"],"relatedmaterial_tesim":["1197, 1556, 1730"],"scopecontent_html_tesm":["\u003cp\u003eOriginal Accession; 1756-1985; boxes 1-21 and two oversize folders\u003c/p\u003e\n","\u003cp\u003e\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.\u003c/p\u003e\n","\u003cp\u003e\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County, \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e, as well as numerous newspaper columns in the \u003ctitle\u003eDominion Post\u003c/title\u003e.  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  \u003c/p\u003e\n","\u003cp\u003e\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.\u003c/p\u003e\n","\u003cp\u003e\nSee series and subseries descriptions for more information.\u003c/p\u003e\n","\u003cp\u003e\nAddendum of 2018-09; 1907-1984; boxes 22-25\u003c/p\u003e\n","\u003cp\u003e\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026amp;M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.\u003c/p\u003e\n","\u003cp\u003e\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.\u003c/p\u003e\n","\u003cp\u003e\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.\u003c/p\u003e\n","\u003cp\u003e\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.\u003c/p\u003e","\u003cp\u003eThis series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as \u003ctitle\u003eThe Flora of West Virginia\u003c/title\u003e, \u003ctitle\u003eWild Flowers of West Virginia\u003c/title\u003e, and \u003ctitle\u003eSpring Wild Flowers\u003c/title\u003e; content and business for the journal \u003ctitle\u003eCastenea\u003c/title\u003e; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. \u003c/p\u003e\n","\u003cp\u003e Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. \u003c/p\u003e\n","\u003cp\u003e Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus \u003cemph render=\"italic\"\u003eScleria\u003c/emph\u003e; and correspondence with various colleges and universities and governmental units. \u003c/p\u003e\n","\u003cp\u003e Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. \u003c/p\u003e\n","\u003cp\u003e Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. \u003c/p\u003e\n","\u003cp\u003e Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. \u003c/p\u003e\n","\u003cp\u003e Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. \u003c/p\u003e\n","\u003cp\u003e Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.\u003c/p\u003e","\u003cp\u003eThis subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the \u003ctitle\u003ePlant Newsletter\u003c/title\u003e (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture; \u003ctitle\u003eWest Virginia Conservation\u003c/title\u003e from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and \u003ctitle\u003eTwinleaf\u003c/title\u003e (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus \u003cemph render=\"italic\"\u003eCinchona\u003c/emph\u003e resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.\u003c/p\u003e","\u003cp\u003eThese collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e. This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. \u003c/p\u003e\n","\u003cp\u003e While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.\u003c/p\u003e","\u003cp\u003eIncludes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for more regarding Morgantown history.\u003c/p\u003e","\u003cp\u003eThis subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. \u003c/p\u003e\n","\u003cp\u003e The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series, particularly Box 8, for more West Virginia materials.\u003c/p\u003e","\u003cp\u003eThis series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the \u003ctitle\u003eBiology Newsletter\u003c/title\u003e (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the \u003ctitle\u003eBeacon\u003c/title\u003e (Hope Natural Gas) (1951) featuring WVU. \u003c/p\u003e\n","\u003cp\u003e The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. \u003c/p\u003e\n","\u003cp\u003e Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.\u003c/p\u003e","\u003cp\u003eEarl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the \u003ctitle\u003eDominion Post\u003c/title\u003e which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes \u003ctitle\u003eGuide to the North American International Excursion\u003c/title\u003e from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of \u003ctitle\u003eHistory of Harrison County\u003c/title\u003e; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eIncludes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. \u003c/p\u003e\n","\u003cp\u003e Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and \u003ctitle\u003eThe Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers\u003c/title\u003e (1925) which includes a history of the Morgan Family. \u003c/p\u003e\n","\u003cp\u003e Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.\u003c/p\u003e","\u003cp\u003eIncludes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. \u003c/p\u003e\n","\u003cp\u003e The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.\u003c/p\u003e","\u003cp\u003eThis series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["Original Accession; 1756-1985; boxes 1-21 and two oversize folders","\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.","\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County,  The Monongalia Story , as well as numerous newspaper columns in the  Dominion Post .  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  ","\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.","\nSee series and subseries descriptions for more information.","\nAddendum of 2018-09; 1907-1984; boxes 22-25","\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.","\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.","\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.","\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.","This series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as  The Flora of West Virginia ,  Wild Flowers of West Virginia , and  Spring Wild Flowers ; content and business for the journal  Castenea ; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. "," Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. "," Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus  Scleria ; and correspondence with various colleges and universities and governmental units. "," Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. "," Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. "," Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. "," Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book  The Monongalia Story .","This subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. "," Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.","This subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the  Plant Newsletter  (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture;  West Virginia Conservation  from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and  Twinleaf  (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus  Cinchona  resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.","These collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled  The Monongalia Story . This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. "," While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. "," See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.","Includes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. "," See the Correspondence Series for more regarding Morgantown history.","This subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. "," The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. "," See the Correspondence Series, particularly Box 8, for more West Virginia materials.","This series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the  Biology Newsletter  (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the  Beacon  (Hope Natural Gas) (1951) featuring WVU. "," The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. "," Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). "," See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.","Earl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the  Dominion Post  which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes  Guide to the North American International Excursion  from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of  History of Harrison County ; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. "," See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in  The Monongalia Story .","Includes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. "," Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and  The Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers  (1925) which includes a history of the Morgan Family. "," Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.","Includes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. "," The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book  The Monongalia Story ; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.","This series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\""],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_302616bc2fb2a17f49ac5e83fdb97216\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum","Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum"],"persname_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":70,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:43:47.713Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_5312_c02_c01"}},{"id":"wvmturhc_repositories_2_resources_5312_c02_c03","type":"Subseries","attributes":{"title":"Collected Research Materials-Monongalia County, WV","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_5312_c02_c03#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThese collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled \u003cspan\u003eThe Monongalia Story\u003c/span\u003e. This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_5312_c02_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_5312_c02_c03","ref_ssm":["wvmturhc_repositories_2_resources_5312_c02_c03"],"id":"wvmturhc_repositories_2_resources_5312_c02_c03","ead_ssi":"wvmturhc_repositories_2_resources_5312","_root_":"wvmturhc_repositories_2_resources_5312","_nest_parent_":"wvmturhc_repositories_2_resources_5312_c02","parent_ssi":"wvmturhc_repositories_2_resources_5312_c02","parent_ssim":["wvmturhc_repositories_2_resources_5312","wvmturhc_repositories_2_resources_5312_c02"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_5312","wvmturhc_repositories_2_resources_5312_c02"],"parent_unittitles_ssm":["Earl L. Core (1902-1984) Papers","Collected Research Materials"],"parent_unittitles_tesim":["Earl L. Core (1902-1984) Papers","Collected Research Materials"],"text":["Earl L. Core (1902-1984) Papers","Collected Research Materials","Collected Research Materials-Monongalia County, WV","These collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled  The Monongalia Story . This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. "," While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. "," See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families."],"title_filing_ssi":"Collected Research Materials-Monongalia County, WV","title_ssm":["Collected Research Materials-Monongalia County, WV"],"title_tesim":["Collected Research Materials-Monongalia County, WV"],"unitdate_inclusive_ssm":["1793, 1820-1828, 1869-1980"],"normalized_date_ssm":["1793/1980"],"normalized_title_ssm":["Collected Research Materials-Monongalia County, WV"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Earl L. Core (1902-1984) Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":10,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":22,"parent_access_restrict_tesm":["Requires signed form for boxes 1-5, 24."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980],"scopecontent_html_tesm":["\u003cp\u003eThese collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e. This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. \u003c/p\u003e","\u003cp\u003e While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. \u003c/p\u003e","\u003cp\u003e See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["These collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled  The Monongalia Story . This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. "," While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. "," See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families."],"_nest_path_":"/components#1/components#2","timestamp":"2026-05-21T00:43:47.713Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_5312","ead_ssi":"wvmturhc_repositories_2_resources_5312","_root_":"wvmturhc_repositories_2_resources_5312","_nest_parent_":"wvmturhc_repositories_2_resources_5312","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_5312.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/198607","title_ssm":["Earl L. Core (1902-1984) Papers"],"title_tesim":["Earl L. Core (1902-1984) Papers"],"unitdate_ssm":["1756-1985"],"unitdate_inclusive_ssm":["1756-1985"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312"],"text":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312","Earl L. Core (1902-1984) Papers","Monongalia County (W. Va.)","Morgantown (W. Va.)","Botany","Botany -- West Virginia","Requires signed form for boxes 1-5, 24.","Earl Lemley Core, botanist, educator, and historian, was born in Core, West Virginia, Monongalia County in 1902.  He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the  Cinchona  tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus  Corethamnium , was named for him.  ","Core was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal,  Castenea , for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards:  General Biology  with P.D. Strausbauh and B.R. Weimer and  A New Manual for the Biology Laboratory  with Weimer.  He also collaborated with Strausbaugh to write the classic  The Flora of West Virginia .   Other botany texts include  Vegetation of West Virginia ,  Woody Plants in Winter , and his most popular book  Spring Wild Flowers of West Virginia  which has been in print since 1948.  Core published articles in  Castenea ,  Proceedings of the West Virginia Academy of Science , and other scholarly sources.   ","After retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia,  The Monongalia Story  (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's  Dominion Post  also details the history of the county.  Earlier he had written  The Chronicles of Core  (1937) about the town where he was born, and  Morgantown Disciples: a History of the First Christian Church of Morgantown  (1960).","Core's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  ","He died in Morgantown in 1984.","Elizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977","\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    ","Bartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    ","The Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    ","She died in Morgantown in 1985.","1197, 1556, 1730","Original Accession; 1756-1985; boxes 1-21 and two oversize folders","\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.","\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County,  The Monongalia Story , as well as numerous newspaper columns in the  Dominion Post .  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  ","\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.","\nSee series and subseries descriptions for more information.","\nAddendum of 2018-09; 1907-1984; boxes 22-25","\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.","\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.","\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.","\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.","This series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as  The Flora of West Virginia ,  Wild Flowers of West Virginia , and  Spring Wild Flowers ; content and business for the journal  Castenea ; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. "," Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. "," Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus  Scleria ; and correspondence with various colleges and universities and governmental units. "," Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. "," Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. "," Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. "," Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book  The Monongalia Story .","This subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. "," Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.","This subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the  Plant Newsletter  (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture;  West Virginia Conservation  from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and  Twinleaf  (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus  Cinchona  resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.","These collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled  The Monongalia Story . This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. "," While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. "," See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.","Includes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. "," See the Correspondence Series for more regarding Morgantown history.","This subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. "," The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. "," See the Correspondence Series, particularly Box 8, for more West Virginia materials.","This series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the  Biology Newsletter  (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the  Beacon  (Hope Natural Gas) (1951) featuring WVU. "," The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. "," Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). "," See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.","Earl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the  Dominion Post  which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes  Guide to the North American International Excursion  from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of  History of Harrison County ; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. "," See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in  The Monongalia Story .","Includes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. "," Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and  The Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers  (1925) which includes a history of the Morgan Family. "," Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.","Includes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. "," The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book  The Monongalia Story ; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.","This series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\"","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum","Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A.","English"],"unitid_tesim":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312"],"normalized_title_ssm":["Earl L. Core (1902-1984) Papers"],"collection_title_tesim":["Earl L. Core (1902-1984) Papers"],"collection_ssim":["Earl L. Core (1902-1984) Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"geogname_ssim":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"creator_ssm":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creator_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creator_persname_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creators_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"places_ssim":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"access_subjects_ssim":["Botany","Botany -- West Virginia"],"access_subjects_ssm":["Botany","Botany -- West Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["9.1 Linear Feet Summary: 9 ft. 3/4 in. (13 document cases, 5 in. each); (1 document case, 4 in.); (6 document cases, 2 1/2 in. each); (1 flat document case, 3 in.); (2 flat document cases, 1 1/2 in. each); (1 artifact box, 3 1/2 in.); (1 record carton, 15 in.); (2 oversized folders, 1/4 in.)"],"extent_tesim":["9.1 Linear Feet Summary: 9 ft. 3/4 in. (13 document cases, 5 in. each); (1 document case, 4 in.); (6 document cases, 2 1/2 in. each); (1 flat document case, 3 in.); (2 flat document cases, 1 1/2 in. each); (1 artifact box, 3 1/2 in.); (1 record carton, 15 in.); (2 oversized folders, 1/4 in.)"],"date_range_isim":[1756,1757,1758,1759,1760,1761,1762,1763,1764,1765,1766,1767,1768,1769,1770,1771,1772,1773,1774,1775,1776,1777,1778,1779,1780,1781,1782,1783,1784,1785,1786,1787,1788,1789,1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985],"accessrestrict_html_tesm":["\u003cp\u003eRequires signed form for boxes 1-5, 24.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Requires signed form for boxes 1-5, 24."],"bioghist_html_tesm":["\u003cp\u003eEarl Lemley Core, botanist, educator, and historian, was born in Core, West Virginia, Monongalia County in 1902.  He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the \u003cemph render=\"italic\"\u003eCinchona\u003c/emph\u003e tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus \u003cemph render=\"italic\"\u003eCorethamnium\u003c/emph\u003e, was named for him.  \u003c/p\u003e\n","\u003cp\u003eCore was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal, \u003ctitle\u003eCastenea\u003c/title\u003e, for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards: \u003ctitle\u003eGeneral Biology\u003c/title\u003e with P.D. Strausbauh and B.R. Weimer and \u003ctitle\u003eA New Manual for the Biology Laboratory\u003c/title\u003e with Weimer.  He also collaborated with Strausbaugh to write the classic \u003ctitle\u003eThe Flora of West Virginia\u003c/title\u003e.   Other botany texts include \u003ctitle\u003eVegetation of West Virginia\u003c/title\u003e, \u003ctitle\u003eWoody Plants in Winter\u003c/title\u003e, and his most popular book \u003ctitle\u003eSpring Wild Flowers of West Virginia\u003c/title\u003e which has been in print since 1948.  Core published articles in \u003ctitle\u003eCastenea\u003c/title\u003e, \u003ctitle\u003eProceedings of the West Virginia Academy of Science\u003c/title\u003e, and other scholarly sources.   \u003c/p\u003e\n","\u003cp\u003eAfter retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia, \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's \u003ctitle\u003eDominion Post\u003c/title\u003e also details the history of the county.  Earlier he had written \u003ctitle\u003eThe Chronicles of Core\u003c/title\u003e (1937) about the town where he was born, and \u003ctitle\u003eMorgantown Disciples: a History of the First Christian Church of Morgantown\u003c/title\u003e (1960).\u003c/p\u003e\n","\u003cp\u003eCore's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  \u003c/p\u003e\n","\u003cp\u003eHe died in Morgantown in 1984.\u003c/p\u003e","\u003cp\u003eElizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977\u003c/p\u003e\n","\u003cp\u003e\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    \u003c/p\u003e\n","\u003cp\u003eBartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    \u003c/p\u003e\n","\u003cp\u003eThe Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    \u003c/p\u003e\n","\u003cp\u003eShe died in Morgantown in 1985.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical","Biographical / Historical"],"bioghist_tesim":["Earl Lemley Core, botanist, educator, and historian, was born in Core, West Virginia, Monongalia County in 1902.  He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the  Cinchona  tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus  Corethamnium , was named for him.  ","Core was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal,  Castenea , for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards:  General Biology  with P.D. Strausbauh and B.R. Weimer and  A New Manual for the Biology Laboratory  with Weimer.  He also collaborated with Strausbaugh to write the classic  The Flora of West Virginia .   Other botany texts include  Vegetation of West Virginia ,  Woody Plants in Winter , and his most popular book  Spring Wild Flowers of West Virginia  which has been in print since 1948.  Core published articles in  Castenea ,  Proceedings of the West Virginia Academy of Science , and other scholarly sources.   ","After retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia,  The Monongalia Story  (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's  Dominion Post  also details the history of the county.  Earlier he had written  The Chronicles of Core  (1937) about the town where he was born, and  Morgantown Disciples: a History of the First Christian Church of Morgantown  (1960).","Core's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  ","He died in Morgantown in 1984.","Elizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977","\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    ","Bartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    ","The Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    ","She died in Morgantown in 1985."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Earl L. Core (1902-1984) Papers, A\u0026amp;M 1730, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Earl L. Core (1902-1984) Papers, A\u0026M 1730, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e1197, 1556, 1730\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related A\u0026M Collections"],"relatedmaterial_tesim":["1197, 1556, 1730"],"scopecontent_html_tesm":["\u003cp\u003eOriginal Accession; 1756-1985; boxes 1-21 and two oversize folders\u003c/p\u003e\n","\u003cp\u003e\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.\u003c/p\u003e\n","\u003cp\u003e\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County, \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e, as well as numerous newspaper columns in the \u003ctitle\u003eDominion Post\u003c/title\u003e.  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  \u003c/p\u003e\n","\u003cp\u003e\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.\u003c/p\u003e\n","\u003cp\u003e\nSee series and subseries descriptions for more information.\u003c/p\u003e\n","\u003cp\u003e\nAddendum of 2018-09; 1907-1984; boxes 22-25\u003c/p\u003e\n","\u003cp\u003e\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026amp;M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.\u003c/p\u003e\n","\u003cp\u003e\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.\u003c/p\u003e\n","\u003cp\u003e\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.\u003c/p\u003e\n","\u003cp\u003e\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.\u003c/p\u003e","\u003cp\u003eThis series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as \u003ctitle\u003eThe Flora of West Virginia\u003c/title\u003e, \u003ctitle\u003eWild Flowers of West Virginia\u003c/title\u003e, and \u003ctitle\u003eSpring Wild Flowers\u003c/title\u003e; content and business for the journal \u003ctitle\u003eCastenea\u003c/title\u003e; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. \u003c/p\u003e\n","\u003cp\u003e Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. \u003c/p\u003e\n","\u003cp\u003e Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus \u003cemph render=\"italic\"\u003eScleria\u003c/emph\u003e; and correspondence with various colleges and universities and governmental units. \u003c/p\u003e\n","\u003cp\u003e Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. \u003c/p\u003e\n","\u003cp\u003e Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. \u003c/p\u003e\n","\u003cp\u003e Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. \u003c/p\u003e\n","\u003cp\u003e Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. \u003c/p\u003e\n","\u003cp\u003e Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.\u003c/p\u003e","\u003cp\u003eThis subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the \u003ctitle\u003ePlant Newsletter\u003c/title\u003e (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture; \u003ctitle\u003eWest Virginia Conservation\u003c/title\u003e from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and \u003ctitle\u003eTwinleaf\u003c/title\u003e (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus \u003cemph render=\"italic\"\u003eCinchona\u003c/emph\u003e resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.\u003c/p\u003e","\u003cp\u003eThese collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e. This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. \u003c/p\u003e\n","\u003cp\u003e While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.\u003c/p\u003e","\u003cp\u003eIncludes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for more regarding Morgantown history.\u003c/p\u003e","\u003cp\u003eThis subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. \u003c/p\u003e\n","\u003cp\u003e The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series, particularly Box 8, for more West Virginia materials.\u003c/p\u003e","\u003cp\u003eThis series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the \u003ctitle\u003eBiology Newsletter\u003c/title\u003e (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the \u003ctitle\u003eBeacon\u003c/title\u003e (Hope Natural Gas) (1951) featuring WVU. \u003c/p\u003e\n","\u003cp\u003e The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. \u003c/p\u003e\n","\u003cp\u003e Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.\u003c/p\u003e","\u003cp\u003eEarl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the \u003ctitle\u003eDominion Post\u003c/title\u003e which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes \u003ctitle\u003eGuide to the North American International Excursion\u003c/title\u003e from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of \u003ctitle\u003eHistory of Harrison County\u003c/title\u003e; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eIncludes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. \u003c/p\u003e\n","\u003cp\u003e Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and \u003ctitle\u003eThe Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers\u003c/title\u003e (1925) which includes a history of the Morgan Family. \u003c/p\u003e\n","\u003cp\u003e Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.\u003c/p\u003e","\u003cp\u003eIncludes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. \u003c/p\u003e\n","\u003cp\u003e The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.\u003c/p\u003e","\u003cp\u003eThis series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["Original Accession; 1756-1985; boxes 1-21 and two oversize folders","\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.","\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County,  The Monongalia Story , as well as numerous newspaper columns in the  Dominion Post .  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  ","\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.","\nSee series and subseries descriptions for more information.","\nAddendum of 2018-09; 1907-1984; boxes 22-25","\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.","\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.","\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.","\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.","This series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as  The Flora of West Virginia ,  Wild Flowers of West Virginia , and  Spring Wild Flowers ; content and business for the journal  Castenea ; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. "," Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. "," Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus  Scleria ; and correspondence with various colleges and universities and governmental units. "," Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. "," Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. "," Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. "," Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book  The Monongalia Story .","This subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. "," Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.","This subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the  Plant Newsletter  (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture;  West Virginia Conservation  from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and  Twinleaf  (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus  Cinchona  resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.","These collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled  The Monongalia Story . This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. "," While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. "," See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.","Includes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. "," See the Correspondence Series for more regarding Morgantown history.","This subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. "," The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. "," See the Correspondence Series, particularly Box 8, for more West Virginia materials.","This series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the  Biology Newsletter  (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the  Beacon  (Hope Natural Gas) (1951) featuring WVU. "," The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. "," Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). "," See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.","Earl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the  Dominion Post  which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes  Guide to the North American International Excursion  from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of  History of Harrison County ; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. "," See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in  The Monongalia Story .","Includes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. "," Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and  The Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers  (1925) which includes a history of the Morgan Family. "," Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.","Includes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. "," The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book  The Monongalia Story ; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.","This series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\""],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_302616bc2fb2a17f49ac5e83fdb97216\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum","Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum"],"persname_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":70,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:43:47.713Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_5312_c02_c03"}},{"id":"wvmturhc_repositories_2_resources_5312_c02_c04","type":"Subseries","attributes":{"title":"Collected Research Materials-Morgantown, WV","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_5312_c02_c04#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eIncludes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. 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A facsimile of the story of David Morgan, Indian fighter, is included. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_5312_c02_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_5312_c02_c04","ref_ssm":["wvmturhc_repositories_2_resources_5312_c02_c04"],"id":"wvmturhc_repositories_2_resources_5312_c02_c04","ead_ssi":"wvmturhc_repositories_2_resources_5312","_root_":"wvmturhc_repositories_2_resources_5312","_nest_parent_":"wvmturhc_repositories_2_resources_5312_c02","parent_ssi":"wvmturhc_repositories_2_resources_5312_c02","parent_ssim":["wvmturhc_repositories_2_resources_5312","wvmturhc_repositories_2_resources_5312_c02"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_5312","wvmturhc_repositories_2_resources_5312_c02"],"parent_unittitles_ssm":["Earl L. Core (1902-1984) Papers","Collected Research Materials"],"parent_unittitles_tesim":["Earl L. Core (1902-1984) Papers","Collected Research Materials"],"text":["Earl L. Core (1902-1984) Papers","Collected Research Materials","Collected Research Materials-Morgantown, WV","Includes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. "," See the Correspondence Series for more regarding Morgantown history."],"title_filing_ssi":"Collected Research Materials-Morgantown, WV","title_ssm":["Collected Research Materials-Morgantown, WV"],"title_tesim":["Collected Research Materials-Morgantown, WV"],"unitdate_inclusive_ssm":["1895, 1924-1982"],"normalized_date_ssm":["1895/1982"],"normalized_title_ssm":["Collected Research Materials-Morgantown, WV"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Earl L. Core (1902-1984) Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":7,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":33,"parent_access_restrict_tesm":["Requires signed form for boxes 1-5, 24."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982],"scopecontent_html_tesm":["\u003cp\u003eIncludes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. \u003c/p\u003e","\u003cp\u003e See the Correspondence Series for more regarding Morgantown history.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Includes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. "," See the Correspondence Series for more regarding Morgantown history."],"_nest_path_":"/components#1/components#3","timestamp":"2026-05-21T00:43:47.713Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_5312","ead_ssi":"wvmturhc_repositories_2_resources_5312","_root_":"wvmturhc_repositories_2_resources_5312","_nest_parent_":"wvmturhc_repositories_2_resources_5312","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_5312.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/198607","title_ssm":["Earl L. Core (1902-1984) Papers"],"title_tesim":["Earl L. Core (1902-1984) Papers"],"unitdate_ssm":["1756-1985"],"unitdate_inclusive_ssm":["1756-1985"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312"],"text":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312","Earl L. Core (1902-1984) Papers","Monongalia County (W. Va.)","Morgantown (W. Va.)","Botany","Botany -- West Virginia","Requires signed form for boxes 1-5, 24.","Earl Lemley Core, botanist, educator, and historian, was born in Core, West Virginia, Monongalia County in 1902.  He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the  Cinchona  tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus  Corethamnium , was named for him.  ","Core was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal,  Castenea , for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards:  General Biology  with P.D. Strausbauh and B.R. Weimer and  A New Manual for the Biology Laboratory  with Weimer.  He also collaborated with Strausbaugh to write the classic  The Flora of West Virginia .   Other botany texts include  Vegetation of West Virginia ,  Woody Plants in Winter , and his most popular book  Spring Wild Flowers of West Virginia  which has been in print since 1948.  Core published articles in  Castenea ,  Proceedings of the West Virginia Academy of Science , and other scholarly sources.   ","After retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia,  The Monongalia Story  (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's  Dominion Post  also details the history of the county.  Earlier he had written  The Chronicles of Core  (1937) about the town where he was born, and  Morgantown Disciples: a History of the First Christian Church of Morgantown  (1960).","Core's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  ","He died in Morgantown in 1984.","Elizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977","\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    ","Bartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    ","The Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    ","She died in Morgantown in 1985.","1197, 1556, 1730","Original Accession; 1756-1985; boxes 1-21 and two oversize folders","\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.","\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County,  The Monongalia Story , as well as numerous newspaper columns in the  Dominion Post .  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  ","\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.","\nSee series and subseries descriptions for more information.","\nAddendum of 2018-09; 1907-1984; boxes 22-25","\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.","\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.","\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.","\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.","This series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as  The Flora of West Virginia ,  Wild Flowers of West Virginia , and  Spring Wild Flowers ; content and business for the journal  Castenea ; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. "," Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. "," Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus  Scleria ; and correspondence with various colleges and universities and governmental units. "," Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. "," Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. "," Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. "," Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book  The Monongalia Story .","This subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. "," Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.","This subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the  Plant Newsletter  (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture;  West Virginia Conservation  from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and  Twinleaf  (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus  Cinchona  resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.","These collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled  The Monongalia Story . This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. "," While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. "," See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.","Includes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. "," See the Correspondence Series for more regarding Morgantown history.","This subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. "," The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. "," See the Correspondence Series, particularly Box 8, for more West Virginia materials.","This series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the  Biology Newsletter  (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the  Beacon  (Hope Natural Gas) (1951) featuring WVU. "," The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. "," Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). "," See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.","Earl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the  Dominion Post  which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes  Guide to the North American International Excursion  from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of  History of Harrison County ; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. "," See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in  The Monongalia Story .","Includes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. "," Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and  The Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers  (1925) which includes a history of the Morgan Family. "," Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.","Includes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. "," The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book  The Monongalia Story ; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.","This series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\"","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum","Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A.","English"],"unitid_tesim":["A\u0026M 1730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/5312"],"normalized_title_ssm":["Earl L. Core (1902-1984) Papers"],"collection_title_tesim":["Earl L. Core (1902-1984) Papers"],"collection_ssim":["Earl L. Core (1902-1984) Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"geogname_ssim":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"creator_ssm":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creator_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creator_persname_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"creators_ssim":["Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"places_ssim":["Monongalia County (W. Va.)","Morgantown (W. Va.)"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"access_subjects_ssim":["Botany","Botany -- West Virginia"],"access_subjects_ssm":["Botany","Botany -- West Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["9.1 Linear Feet Summary: 9 ft. 3/4 in. (13 document cases, 5 in. each); (1 document case, 4 in.); (6 document cases, 2 1/2 in. each); (1 flat document case, 3 in.); (2 flat document cases, 1 1/2 in. each); (1 artifact box, 3 1/2 in.); (1 record carton, 15 in.); (2 oversized folders, 1/4 in.)"],"extent_tesim":["9.1 Linear Feet Summary: 9 ft. 3/4 in. (13 document cases, 5 in. each); (1 document case, 4 in.); (6 document cases, 2 1/2 in. each); (1 flat document case, 3 in.); (2 flat document cases, 1 1/2 in. each); (1 artifact box, 3 1/2 in.); (1 record carton, 15 in.); (2 oversized folders, 1/4 in.)"],"date_range_isim":[1756,1757,1758,1759,1760,1761,1762,1763,1764,1765,1766,1767,1768,1769,1770,1771,1772,1773,1774,1775,1776,1777,1778,1779,1780,1781,1782,1783,1784,1785,1786,1787,1788,1789,1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985],"accessrestrict_html_tesm":["\u003cp\u003eRequires signed form for boxes 1-5, 24.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Requires signed form for boxes 1-5, 24."],"bioghist_html_tesm":["\u003cp\u003eEarl Lemley Core, botanist, educator, and historian, was born in Core, West Virginia, Monongalia County in 1902.  He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the \u003cemph render=\"italic\"\u003eCinchona\u003c/emph\u003e tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus \u003cemph render=\"italic\"\u003eCorethamnium\u003c/emph\u003e, was named for him.  \u003c/p\u003e\n","\u003cp\u003eCore was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal, \u003ctitle\u003eCastenea\u003c/title\u003e, for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards: \u003ctitle\u003eGeneral Biology\u003c/title\u003e with P.D. Strausbauh and B.R. Weimer and \u003ctitle\u003eA New Manual for the Biology Laboratory\u003c/title\u003e with Weimer.  He also collaborated with Strausbaugh to write the classic \u003ctitle\u003eThe Flora of West Virginia\u003c/title\u003e.   Other botany texts include \u003ctitle\u003eVegetation of West Virginia\u003c/title\u003e, \u003ctitle\u003eWoody Plants in Winter\u003c/title\u003e, and his most popular book \u003ctitle\u003eSpring Wild Flowers of West Virginia\u003c/title\u003e which has been in print since 1948.  Core published articles in \u003ctitle\u003eCastenea\u003c/title\u003e, \u003ctitle\u003eProceedings of the West Virginia Academy of Science\u003c/title\u003e, and other scholarly sources.   \u003c/p\u003e\n","\u003cp\u003eAfter retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia, \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's \u003ctitle\u003eDominion Post\u003c/title\u003e also details the history of the county.  Earlier he had written \u003ctitle\u003eThe Chronicles of Core\u003c/title\u003e (1937) about the town where he was born, and \u003ctitle\u003eMorgantown Disciples: a History of the First Christian Church of Morgantown\u003c/title\u003e (1960).\u003c/p\u003e\n","\u003cp\u003eCore's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  \u003c/p\u003e\n","\u003cp\u003eHe died in Morgantown in 1984.\u003c/p\u003e","\u003cp\u003eElizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977\u003c/p\u003e\n","\u003cp\u003e\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    \u003c/p\u003e\n","\u003cp\u003eBartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    \u003c/p\u003e\n","\u003cp\u003eThe Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    \u003c/p\u003e\n","\u003cp\u003eShe died in Morgantown in 1985.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical","Biographical / Historical"],"bioghist_tesim":["Earl Lemley Core, botanist, educator, and historian, was born in Core, West Virginia, Monongalia County in 1902.  He received his Bachelor of Arts from West Virginia University in 1926; his masters from WVU in 1928; and a Ph.D. from Columbia University in 1936.  Dr. Core was a professor in WVU's Biology Department for 44 years (1928-1972) and chair of the Department for 18 years (1948-1966).  He was also curator of the WVU Herbarium for 40 years (1934-1972).  During World War II the Foreign Economic Administration sent Core to Columbia, South America (1943-1944), to explore the Andes Mountains in search of a source for quinine from the  Cinchona  tree.  There he discovered at least 15 new species and in 1978 one of the plants he discovered, the genus  Corethamnium , was named for him.  ","Core was founder (1936) of the Southern Appalachian Botanical Club and editor of the journal,  Castenea , for 35 years.  He was the author of scholarly books and articles with his early works focusing on the botany of West Virginia, and later works on local history and church history.  Two biology textbooks he co-authored became standards:  General Biology  with P.D. Strausbauh and B.R. Weimer and  A New Manual for the Biology Laboratory  with Weimer.  He also collaborated with Strausbaugh to write the classic  The Flora of West Virginia .   Other botany texts include  Vegetation of West Virginia ,  Woody Plants in Winter , and his most popular book  Spring Wild Flowers of West Virginia  which has been in print since 1948.  Core published articles in  Castenea ,  Proceedings of the West Virginia Academy of Science , and other scholarly sources.   ","After retirement in 1972, Core turned more of his attention to local history.  His most extensive local history work is the five-volume history of Monongalia County, West Virginia,  The Monongalia Story  (1974-1984).  His regular column, \"The Monongalia Story\" in Morgantown's  Dominion Post  also details the history of the county.  Earlier he had written  The Chronicles of Core  (1937) about the town where he was born, and  Morgantown Disciples: a History of the First Christian Church of Morgantown  (1960).","Core's civic activities were numerous and include serving on the Morgantown Public Library Board for 20 years (1959-1979), Morgantown City Council for 4 years, and Mayor of Morgantown for 2 years (1956-1957).  Core was an elder in his church, president of the Monongalia Historical Society, president of the Kiwanis, and much more.  In 1948, Core persuaded WVU to set aside 100 acres for an Arboretum. The Core Arboretum was named for him in 1967.   Earl L. Core Road in Morgantown also sports his name.  ","He died in Morgantown in 1984.","Elizabeth \"Betty\" Ann Bartholomew, botanist and educator, was born in Wheeling, West Virginia, in 1912.  She received a Bachelor of Arts degree in botany from West Virginia University in 1934.  She received a Master of Arts degree in botany from WVU with the thesis titled \"The Flora of Wirt County, West Virginia\" in 1948.  Bartholomew joined the staff of the WVU Biology Department in 1938, first as Herbarium clerk and later as Herbarium assistant.  In 1963 she was appointed as a biology instructor and curator of the Herbarium.  During this time she created the Distribution of Southeastern Plants to facilitate the exchange of specimens.  She added thousands of plants to the Herbarium collection and in 1950 started a 2,000-plant seed collection.  She retired from WVU in 1977","\nBartholomew was a member of the West Virginia Academy of Science, editor of its newsletter (1960-61), and secretary (1972-1985); member and secretary for the Southern Appalachian Botanical Club (1946-1981); member of the American Nut Growers Association; charter member and faculty advisor of the botany fraternity Phi Epsilon Phi; and member of Phi Mu.\n    ","Bartholomew who joined the Girl Scouts at age 12 earned all the nature badges and maintained a life-long interest in scouting.  She served as a Girl Scout leader for more than 20 years.  She also promoted nature to children through the Phi Epsilon Phi annual Wildflower Day.  Additionally she worked with the Oglebay Nature Camp, church camp, and others.  She was a leader at the annual Wildflower Pilgrimage at Blackwater Falls.\n    ","The Southern Appalachian Botanical Society created the Elizabeth Ann Bartholomew Award in 1989 in her honor and the governor named her as the Outstanding West Virginia in 1974.\n    ","She died in Morgantown in 1985."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Earl L. Core (1902-1984) Papers, A\u0026amp;M 1730, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Earl L. Core (1902-1984) Papers, A\u0026M 1730, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e1197, 1556, 1730\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related A\u0026M Collections"],"relatedmaterial_tesim":["1197, 1556, 1730"],"scopecontent_html_tesm":["\u003cp\u003eOriginal Accession; 1756-1985; boxes 1-21 and two oversize folders\u003c/p\u003e\n","\u003cp\u003e\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.\u003c/p\u003e\n","\u003cp\u003e\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County, \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e, as well as numerous newspaper columns in the \u003ctitle\u003eDominion Post\u003c/title\u003e.  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  \u003c/p\u003e\n","\u003cp\u003e\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.\u003c/p\u003e\n","\u003cp\u003e\nSee series and subseries descriptions for more information.\u003c/p\u003e\n","\u003cp\u003e\nAddendum of 2018-09; 1907-1984; boxes 22-25\u003c/p\u003e\n","\u003cp\u003e\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026amp;M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.\u003c/p\u003e\n","\u003cp\u003e\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.\u003c/p\u003e\n","\u003cp\u003e\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.\u003c/p\u003e\n","\u003cp\u003e\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.\u003c/p\u003e","\u003cp\u003eThis series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as \u003ctitle\u003eThe Flora of West Virginia\u003c/title\u003e, \u003ctitle\u003eWild Flowers of West Virginia\u003c/title\u003e, and \u003ctitle\u003eSpring Wild Flowers\u003c/title\u003e; content and business for the journal \u003ctitle\u003eCastenea\u003c/title\u003e; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. \u003c/p\u003e\n","\u003cp\u003e Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. \u003c/p\u003e\n","\u003cp\u003e Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus \u003cemph render=\"italic\"\u003eScleria\u003c/emph\u003e; and correspondence with various colleges and universities and governmental units. \u003c/p\u003e\n","\u003cp\u003e Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. \u003c/p\u003e\n","\u003cp\u003e Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. \u003c/p\u003e\n","\u003cp\u003e Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. \u003c/p\u003e\n","\u003cp\u003e Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. \u003c/p\u003e\n","\u003cp\u003e Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.\u003c/p\u003e","\u003cp\u003eThis subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the \u003ctitle\u003ePlant Newsletter\u003c/title\u003e (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture; \u003ctitle\u003eWest Virginia Conservation\u003c/title\u003e from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and \u003ctitle\u003eTwinleaf\u003c/title\u003e (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus \u003cemph render=\"italic\"\u003eCinchona\u003c/emph\u003e resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.\u003c/p\u003e","\u003cp\u003eThese collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e. This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. \u003c/p\u003e\n","\u003cp\u003e While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.\u003c/p\u003e","\u003cp\u003eIncludes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for more regarding Morgantown history.\u003c/p\u003e","\u003cp\u003eThis subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. \u003c/p\u003e\n","\u003cp\u003e The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series, particularly Box 8, for more West Virginia materials.\u003c/p\u003e","\u003cp\u003eThis series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the \u003ctitle\u003eBiology Newsletter\u003c/title\u003e (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the \u003ctitle\u003eBeacon\u003c/title\u003e (Hope Natural Gas) (1951) featuring WVU. \u003c/p\u003e\n","\u003cp\u003e The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. \u003c/p\u003e\n","\u003cp\u003e Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.\u003c/p\u003e","\u003cp\u003eEarl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the \u003ctitle\u003eDominion Post\u003c/title\u003e which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes \u003ctitle\u003eGuide to the North American International Excursion\u003c/title\u003e from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of \u003ctitle\u003eHistory of Harrison County\u003c/title\u003e; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. \u003c/p\u003e\n","\u003cp\u003e See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eIncludes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. \u003c/p\u003e\n","\u003cp\u003e Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and \u003ctitle\u003eThe Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers\u003c/title\u003e (1925) which includes a history of the Morgan Family. \u003c/p\u003e\n","\u003cp\u003e Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.\u003c/p\u003e","\u003cp\u003eIncludes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. \u003c/p\u003e\n","\u003cp\u003e The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book \u003ctitle\u003eThe Monongalia Story\u003c/title\u003e; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.\u003c/p\u003e","\u003cp\u003eThis series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["Original Accession; 1756-1985; boxes 1-21 and two oversize folders","\nRecords of Earl L. Core, botanist, writer, editor, historian, and West Virginia University professor and Biology Department Head.  Includes the correspondence, collected research materials, and writings of Dr. Core. The earliest correspondence, 1951-1960, deals mostly with his role as a botanist and West Virginia University Botany Department chair, and includes letters both to and from Dr. Core. Later correspondence, mostly from the 1960s but up to 1984, includes historical and genealogical inquiries in addition to matters pertaining to botany, publications, and Biology Department business.  Of importance is Dr. Core's correspondence with two prominent botanists, P.D. Strausbaugh, with whom Core authored botany and biology texts, and H.A. Allard.","\nIn addition to botany and nature, a large part of the collection deals with the history of Morgantown, Monongalia County, and West Virginia.  The collected research materials for these areas include newspaper clippings, booklets and pamphlets, correspondence, genealogical charts, maps, original historical documents, and more.  Dr. Core's research resulted in the publication of a 5-volume history of Monongalia County,  The Monongalia Story , as well as numerous newspaper columns in the  Dominion Post .  The collected research materials support Dr. Core's research for some 30 monographs on various aspects of natural history, local history, and to a lesser extent Bible and religious study.  ","\nGraphic materials include oversized maps, photographs, photographic glass negatives and film, greeting cards, and post cards.","\nSee series and subseries descriptions for more information.","\nAddendum of 2018-09; 1907-1984; boxes 22-25","\nThese records include handwritten plant lists; typewritten scientific and history papers; newspapers and newspaper clippings; maps; University class records; collected research materials; and magnetic audio tapes of Dr. Core's lectures on the flora of West Virginia. Plant lists and lecture notes presumably refer to slides in A\u0026M 5211.  This addendum includes Core's curriculum vita; some correspondence; and various short publications.","\nOther collected research materials include maps, postcards, book lists, technical reports about West Virginia and the region, flyers, photographs, newsletters, brochures, programs, and calendars of events from the WVU Experimental Station, the WVU Department of Biology, West Virginia State Parks, West Virginia Department of Natural Resources, West Virginia Department of Agriculture, the Phi Epsilon Phi fraternity, the Southern Appalachian Botanical Club, the West Virginia University (Core) Arboretum, the American Association of University Professors, the National Audubon Society, and the American Association for the Advancement of Science.  These items treat the following subjects: trees, forestry, insects, plant species, water, flooding, ecology, wildflower walks, and biography.  The files contain a number of reprints and facsimiles of scholarly scientific papers.  There is one local history, that of Wheeling.  Biology student records include a graded research paper, a graded bibliography, Core's class record book, and summer class trip schedules.","\nThe audio tapes are recordings of Dr. Core's lectures on West Virginia flora, February-April, 1966.  There are 15 of the 1.25\" reel to reel tapes in box 25.  Five of the tapes are undated.","\nIn addition to Earl L. Core materials in boxes 24 and 25, this addenda includes materials collected by Elizabeth \"Betty\" Ann Bartholomew, boxes 22 and 23.  Bartholomew was also a West Virginia botanist, educator, and manager for the West Virginia University Herbarium. Her artifacts include buttons, a flag, and a Girls Scout cloth badge.  A metal box contains items collected by Elizabeth Bartholomew including identification cards and Girl Scout records.  Her papers include collected materials about biology and nature as well as materials, including teaching materials, from the WVU Biology Department.","This series includes both professional and personal correspondence received; carbon copies of correspondence sent; and collected research materials in addition to letters. The correspondence is with colleagues from across the United States and abroad; citizens with inquiries regarding plants, such as roots in a basement; students regarding grades, course work, and recommendations; as well as family and friends including greeting cards. Some correspondence is typed, some handwritten, some on mimeographed pages, and some on postcards and slips of paper. Subjects include discussions of publications and orders for publications such as  The Flora of West Virginia ,  Wild Flowers of West Virginia , and  Spring Wild Flowers ; content and business for the journal  Castenea ; discussions and notifications of botanical species' identification and request for specimens; WVU academic matters and WVU Department of Biology business; and family and other personal matters including letters and flyers regarding the Disciples of Christ Church and the First Christian Church in Morgantown where Dr. Core was a member. Of significance are letters from botanists P. D. (Perry Daniel) Strausbaugh, 1886-1965, and H. A. (Harry Ardell) Allard, 1880-1963. An envelope of addresses on slips of paper, torn from envelopes, and business cards is included in this series. "," Specifically, boxes 1 and 2 contain correspondence (1951-1957) which is arranged chronologically by month and year. Boxes 3 and 4 contain correspondence (1958) which is also arranged chronologically by month. Boxes 5-8, and 15 contain correspondence not in chronological order, but arranged by subtopics. "," Box 5 (1943-1984, with the majority from the 1960s) contains correspondence regarding botany and specifically Core's research in Columbia, 1943-1945, where he worked on the genus  Scleria ; and correspondence with various colleges and universities and governmental units. "," Box 6 (1953-1984) contains correspondence regarding the P.D. Strausbaugh Student Loan Fund; Core's writings; and Monongalia County history. Also included is correspondence with professional and business organizations; West Virginia University and WVU academic departments; other colleges and universities; and personal letters, photographs, and cards. "," Box 7 (1978-1982) contains multi-occasion personal greeting cards received by Dr. Core. "," Box 8 (1800-1879, 1920-1928, 1959-1984) contains correspondence, facsimiles of articles and historical documents, and newspaper clippings regarding Monongalia County; Morgantown and other municipalities; Preston County; the Delta Tau Delta fraternity at Bethany College; and biographical materials about Earl L. Core including his curriculum vita and others' handwritten narratives of his life. "," Box 15, folders 7-10 (1974-1984) contains correspondence responding to Core's book  The Monongalia Story .","This subseries includes scholarly articles, often with compliments from the authors, and dealing with scientific topics but some are about the intersection of science and humanities. Collected reports and booklets covering the topics of the Civil War, coal and coal mining, the National Road, Greene County (PA), poetry, and books about and from the Southeast. Includes programs from seminars and conferences attended by Dr. Core. "," Facsimiles and transcriptions of historical documents include a letter and other materials from Samuel C. Malone, 1857-1938, and Civil War letters.","This subseries includes the publications, announcements, and plant lists of a number of West Virginia naturalists' societies in Box 14 and including the Mountaineer Chapter of the National Audubon Society (1978-1979); the Brooks Bird Club, Inc. (Wheeling; 1978-1979, 1982, 1984); Nature Conservancy, WV Chapter (1978, 1983); the George M. Sutton Audubon Society (Bethany; 1978, 1983); The West Virginia Highlands Conservancy (1979); the West Virginia Garden Club (1965); Bud and Blossom Garden Club (Princeton). Other publications include the  Plant Newsletter  (1978, 1983) (Box 9, Folder 11) from the West Virginia Department of Agriculture;  West Virginia Conservation  from the WV Department of Natural Resources (1962); WV State Parks promotional brochures, flyers, and plant lists including materials pertaining to the West Virginia Wildflower Pilgrimage; and  Twinleaf  (1979) Washington Crossing State Park (PA) Bowman's Hill State Wildlife Preserve. This subseries includes the program for the Adanson Bicentennial Symposium (1963, Box 9) at The Hunt Library of the Carnegie Institute of Technology with signatures of some attendees and attended by Dr. Core. Box 20 contains a map, ca. 1944, of the Cauca Department in Columbia indicating the location of the plant genus  Cinchona  resulting from Core's research study there. Additional information regarding Dr. Core's time in Columbia can be found in the Correspondence Series, Box 5. Also, see the Correspondence Series for letters and more regarding Dr. Core's botany work and botany publications. See the West Virginia University Series for more on the Biology Department and the Herbarium.","These collected research materials may have supported Dr. Core's research of Monongalia County history for his newspaper columns and five-volume book titled  The Monongalia Story . This subseries includes miscellaneous original historical documents and facsimiles of historical documents (mostly in Boxes 9 and 12) including land grants, river boat registry, court cases, city of Westover and Granville records, property assessment, Mexican War muster list and pension, broadside for the Socialist Party in Star City (Box 21), and account book. Other formats include newspapers, newspaper clippings, magazine article clippings, annual reports, pamphlets and brochures, and maps. Topics covered in this series include County Health Department, agriculture, shipping, churches (Boxes 12 and 17), technology, organizations, flooding, schools, ethnic groups (Box 15), biography, genealogies, funeral homes, various communities, and more. "," While the majority of materials for this subseries are in box 9, other boxes include some content. Box 19 contains two original and one facsimile land grant, and a register of boats. "," See the Correspondence Series for letters and more regarding Dr. Core's research on Monongalia County history and families.","Includes newspaper clippings, pamphlets, event brochures, editorials, reports, booklets, newspaper clippings, Chamber of Commerce publications (particularly Box 12), and more. Topics covered include many aspects of Morgantown history including the telephone system; police force and federal prison; walking tours; houses; industries; people; businesses; the Morgan family; parks; and churches and synagogues (particularly Box 17). A facsimile of the story of David Morgan, Indian fighter, is included. "," See the Correspondence Series for more regarding Morgantown history.","This subseries includes collected research materials regarding other parts of West Virginia not included in the Morgantown and Monongalia County Subseries. Formats include student research papers, newsletters (Humanities Foundation), event programs, booklets, and reports. Topics covered include Boone and Clay county schools, weather, Independence Hall (Wheeling), the 4-H Camp at Jackson Mills, Future Farmers of America (FFA), various municipalities, Appalachia, Bethany College, vegetation management, mining, and churches and religion. "," The majority of materials are in Box 13, however Box 9 contains a folder with facsimiles and transcriptions of historical documents about Prickett's Fort and one on West Virginia agriculture. Box 17 contains a folder on West Virginia churches. "," See the Correspondence Series, particularly Box 8, for more West Virginia materials.","This series includes collected materials from and about West Virginia University, the WVU Biology Department, and the Herbarium. Included are programs and brochures; annual reports; magazines; a souvenir program for athletic events; and newspapers and newspaper clippings. Periodical publications are from the WVU Foundation, Alumni Association, Cooperative Extension Service, the Board of Regents, the Office of Development, and the Division of Forestry. Materials from the Biology Department include faculty meeting minutes, the  Biology Newsletter  (1959), memoranda, event programs, brochures, and course listings. Specific subjects include the Personal Rapid Transit (PRT); honor societies; special summer courses; the Medical Center; history of the University; WVU baseball; and WVU presidential inaugurations. Included is a special issue of the  Beacon  (Hope Natural Gas) (1951) featuring WVU. "," The series also includes a notebook with notes and commentary regarding Core's 1950 WVU recruitment efforts at West Virginia high schools: Philippi High School, Lost Creek High School, Jane Lew High School, Buckhannon Upshur High School, Buckhannon Upshur High School-Tennerton Branch, Walkersville High School, Weston High School, and St. Patrick High School in Weston. Each high school entry includes introductory notes usually with the principal; attendance; individual interviews with a few students; and possible enrollments for WVU. "," Box 11 contains the majority of the materials, however Box 20 contains a map of an Evansdale master plan (ca. 1964). "," See the Correspondence Series for letters and more regarding Dr. Core's work in the WVU Biology Department, the Herbarium, and the University at large.","Earl L. Core published scholarly articles, newspaper columns, and books about Monongalia County history and its environs as well as definitive works on the botany of West Virginia. Dr. Core published a newspaper column titled \"The Monongalia Story\" in the  Dominion Post  which presumably provided background research for a book by the same title. This series includes some of the original published articles as newspaper clippings (1976-1985, but most with no dates; box 19, folder 5) as well as typed and handwritten drafts (Box 15, ca. 1977-1979). Box 15 also includes  Guide to the North American International Excursion  from the International Society for Vegetation Science for which Dr. Core wrote Chapter 8. Box 19 includes a newspaper clipping of a book review of  History of Harrison County ; and handwritten text, possibly lecture notes, which discusses evolution, creation, and religion. "," See the Correspondence Series for letters requesting copies and discussing Dr. Core's botany books. See the Graphic Materials series for sketches, photographs, and maps included in  The Monongalia Story .","Includes files, sorted alphabetically by family name researched in box 10, of correspondence to and from Dr. Core with some facsimiles and transcriptions of historical documents included. The Genealogy Series also includes some genealogical charts and typed family histories. "," Publications in the series include the 1983 surname list from the KYOWA Genealogical Society (Huntington), and  The Pioneer: Second Annual Report of the Descendants of the French Creek Pioneers  (1925) which includes a history of the Morgan Family. "," Additional Core family history is found throughout the Correspondence Series, boxes 1-8. Box 8, folder 5 contains biographical materials for Earl Lemley Core and Lewis Addison Core.","Includes photographs, some black and white and some color, some original and some facsimiles; postcards some with writing and some blank; glass plate negatives; film negatives; facsimiles of sketches including David Hunter Strother's work; and maps. Some photographs include subject identification, some do not. It appears that some of the photographs and maps were illustrations in publications since they have figure numbers noted. Topics covered by the photographs, postcards, and negatives include plants, animals, gardens, and forests; buildings; scenes; individuals and groups of people including members of the Core family; WVU buildings; the WVU Arboretum; WVU personages; West Virginia; and more. Most of the photographs are from the Morgantown and Monongalia County areas, particularly Blacksville in Box 16. The glass plates, also Box 16, are of birds and other animals; one includes a woman and a chipmunk; and one is of a child with a cart pulled by two opossums and includes prints. Some of the glass plate photographs have been digitized. Additional film negatives include portraits, buildings, and more, and may have been illustrations for Core's books. In addition to Strother's sketches, the sketches include facsimiles of portraits and one original sketch of a man shucking corn. "," The maps include an historical map of Botetourt County, Virginia (1756); edited historical Monongalia County map (1826); map of Morgantown (1785); and map of Monongalia County churches (1953). The series includes the maps and sketches on paper board for the book  The Monongalia Story ; box 15 contains maps of Monongalia County and environs as well as municipalities; box 19, folders 1 and 3 contain a sketch and maps; boxes 20-21 include sketches and maps.","This series includes these objects: address stamp for Earl L. Core, Biology Department (ca. 1963); small trowel imprinted with \"The Duntile Company\" (ca. 1960s); and a \"Micro Windgauge Receiver Sight, No. 48, for Springfield Rifles\" with box and insert (ca. 1910). Also, includes these objects moved from box 14: three cut nails (ca. 1820) and mailing envelope; and an unidentified key on twine taped to envelope labeled \"FILM.\""],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_302616bc2fb2a17f49ac5e83fdb97216\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. Alpha Chapter (West Virginia University)","Core Arboretum","Core, Earl Lemley, 1902-1984","Strausbaugh, Perry Daniel, 1886-1965","Bartholomew, Elizabeth A."],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Department of Biology","Phi Epsilon Phi. 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