{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept.","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept.\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":9,"first_page?":true,"last_page?":true}},"data":[{"id":"viu_repositories_3_resources_1485","type":"collection","attributes":{"title":"Collection of photographs of African American Men and Boys from New Orleans, 1930","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1485#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains three photographs with captions on the verso, \"Black children and men taken in or near New Orleans.\" These images were taken \"en route\" to New Orleans, possibly from a train, in the 1930s. One photograph shows a group of young boys on a street with an inscription on the reverse that says \"New Orleans.\" Another depicts three boys and one older man singing on train tracks with an inscription that reads \"En Route to New Orleans/ Kids singing.\" The last is a photograph of three boys tumbling on train tracks, with the inscription \"En route to New Orleans/ scrambling for money.\" The photographs are black and white gelatin silver measuring 3 x 5.5 inches\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1485#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1485","ead_ssi":"viu_repositories_3_resources_1485","_root_":"viu_repositories_3_resources_1485","_nest_parent_":"viu_repositories_3_resources_1485","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1485.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/188834","title_filing_ssi":"Collection of African American Men and Boys from New Orleans","title_ssm":["Collection of photographs of African American Men and Boys from New Orleans"],"title_tesim":["Collection of photographs of African American Men and Boys from New Orleans"],"unitdate_ssm":["c.1930"],"unitdate_other_ssim":["c.1930"],"normalized_date_ssm":["1930"],"normalized_title_ssm":["Collection of photographs of African American Men and Boys from New Orleans, 1930"],"text":["Collection of photographs of African American Men and Boys from New Orleans, 1930","MSS 16760","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1485","Louisiana -- New Orleans","African American young men","African Americans","African Americans -- Photographs","The collection is open for research use.","This collection contains three photographs with captions on the verso, \"Black children and men taken in or near New Orleans.\" These images were taken \"en route\" to New Orleans, possibly from a train, in the 1930s.  One photograph shows a group of young boys on a street with an inscription on the reverse that says \"New Orleans.\"  Another depicts three boys and one older man singing on train tracks with an inscription that reads \"En Route to New Orleans/ Kids singing.\" The last is a photograph of three boys tumbling on train tracks, with the inscription \"En route to  New Orleans/ scrambling for money.\" The photographs are black and white gelatin silver  measuring 3 x 5.5 inches","Albert and Shirley Small Special Collections Library","English"],"collection_title_tesim":["Collection of photographs of African American Men and Boys from New Orleans, 1930"],"collection_ssim":["Collection of photographs of African American Men and Boys from New Orleans, 1930"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16760","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1485"],"unitid_tesim":["MSS 16760","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1485"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Louisiana -- New Orleans"],"geogname_ssim":["Louisiana -- New Orleans"],"places_ssim":["Louisiana -- New Orleans"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was purchased from Between the Covers, Rare Books., Inc. by the Small Special Collections Library at the University of Virginia Library on 10 January 2022."],"access_subjects_ssim":["African American young men","African Americans","African Americans -- Photographs"],"access_subjects_ssm":["African American young men","African Americans","African Americans -- Photographs"],"has_online_content_ssim":["false"],"extent_ssm":[".03 Cubic Feet 1 letter-sized folder"],"extent_tesim":[".03 Cubic Feet 1 letter-sized folder"],"genreform_ssim":["African Americans -- Photographs"],"date_range_isim":[1930],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"prefercite_html_tesm":["\u003cp\u003eMSS 16760, Collection of African American Men and Boys from New Orleans, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16760, Collection of African American Men and Boys from New Orleans, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains three photographs with captions on the verso, \"Black children and men taken in or near New Orleans.\" These images were taken \"en route\" to New Orleans, possibly from a train, in the 1930s.  One photograph shows a group of young boys on a street with an inscription on the reverse that says \"New Orleans.\"  Another depicts three boys and one older man singing on train tracks with an inscription that reads \"En Route to New Orleans/ Kids singing.\" The last is a photograph of three boys tumbling on train tracks, with the inscription \"En route to  New Orleans/ scrambling for money.\" The photographs are black and white gelatin silver  measuring 3 x 5.5 inches\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains three photographs with captions on the verso, \"Black children and men taken in or near New Orleans.\" These images were taken \"en route\" to New Orleans, possibly from a train, in the 1930s.  One photograph shows a group of young boys on a street with an inscription on the reverse that says \"New Orleans.\"  Another depicts three boys and one older man singing on train tracks with an inscription that reads \"En Route to New Orleans/ Kids singing.\" The last is a photograph of three boys tumbling on train tracks, with the inscription \"En route to  New Orleans/ scrambling for money.\" The photographs are black and white gelatin silver  measuring 3 x 5.5 inches"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"names_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1485","ead_ssi":"viu_repositories_3_resources_1485","_root_":"viu_repositories_3_resources_1485","_nest_parent_":"viu_repositories_3_resources_1485","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1485.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/188834","title_filing_ssi":"Collection of African American Men and Boys from New Orleans","title_ssm":["Collection of photographs of African American Men and Boys from New Orleans"],"title_tesim":["Collection of photographs of African American Men and Boys from New Orleans"],"unitdate_ssm":["c.1930"],"unitdate_other_ssim":["c.1930"],"normalized_date_ssm":["1930"],"normalized_title_ssm":["Collection of photographs of African American Men and Boys from New Orleans, 1930"],"text":["Collection of photographs of African American Men and Boys from New Orleans, 1930","MSS 16760","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1485","Louisiana -- New Orleans","African American young men","African Americans","African Americans -- Photographs","The collection is open for research use.","This collection contains three photographs with captions on the verso, \"Black children and men taken in or near New Orleans.\" These images were taken \"en route\" to New Orleans, possibly from a train, in the 1930s.  One photograph shows a group of young boys on a street with an inscription on the reverse that says \"New Orleans.\"  Another depicts three boys and one older man singing on train tracks with an inscription that reads \"En Route to New Orleans/ Kids singing.\" The last is a photograph of three boys tumbling on train tracks, with the inscription \"En route to  New Orleans/ scrambling for money.\" The photographs are black and white gelatin silver  measuring 3 x 5.5 inches","Albert and Shirley Small Special Collections Library","English"],"collection_title_tesim":["Collection of photographs of African American Men and Boys from New Orleans, 1930"],"collection_ssim":["Collection of photographs of African American Men and Boys from New Orleans, 1930"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16760","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1485"],"unitid_tesim":["MSS 16760","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1485"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Louisiana -- New Orleans"],"geogname_ssim":["Louisiana -- New Orleans"],"places_ssim":["Louisiana -- New Orleans"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was purchased from Between the Covers, Rare Books., Inc. by the Small Special Collections Library at the University of Virginia Library on 10 January 2022."],"access_subjects_ssim":["African American young men","African Americans","African Americans -- Photographs"],"access_subjects_ssm":["African American young men","African Americans","African Americans -- Photographs"],"has_online_content_ssim":["false"],"extent_ssm":[".03 Cubic Feet 1 letter-sized folder"],"extent_tesim":[".03 Cubic Feet 1 letter-sized folder"],"genreform_ssim":["African Americans -- Photographs"],"date_range_isim":[1930],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"prefercite_html_tesm":["\u003cp\u003eMSS 16760, Collection of African American Men and Boys from New Orleans, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16760, Collection of African American Men and Boys from New Orleans, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains three photographs with captions on the verso, \"Black children and men taken in or near New Orleans.\" These images were taken \"en route\" to New Orleans, possibly from a train, in the 1930s.  One photograph shows a group of young boys on a street with an inscription on the reverse that says \"New Orleans.\"  Another depicts three boys and one older man singing on train tracks with an inscription that reads \"En Route to New Orleans/ Kids singing.\" The last is a photograph of three boys tumbling on train tracks, with the inscription \"En route to  New Orleans/ scrambling for money.\" The photographs are black and white gelatin silver  measuring 3 x 5.5 inches\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains three photographs with captions on the verso, \"Black children and men taken in or near New Orleans.\" These images were taken \"en route\" to New Orleans, possibly from a train, in the 1930s.  One photograph shows a group of young boys on a street with an inscription on the reverse that says \"New Orleans.\"  Another depicts three boys and one older man singing on train tracks with an inscription that reads \"En Route to New Orleans/ Kids singing.\" The last is a photograph of three boys tumbling on train tracks, with the inscription \"En route to  New Orleans/ scrambling for money.\" The photographs are black and white gelatin silver  measuring 3 x 5.5 inches"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"names_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1485"}},{"id":"viu_repositories_3_resources_1554","type":"collection","attributes":{"title":"Collection of photographs of African American Women in Chicago, 1942/1954","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1554#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1554#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1554#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1554","ead_ssi":"viu_repositories_3_resources_1554","_root_":"viu_repositories_3_resources_1554","_nest_parent_":"viu_repositories_3_resources_1554","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1554.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190889","title_filing_ssi":"African American Women in Chicago","title_ssm":["Collection of photographs of African American Women in Chicago"],"title_tesim":["Collection of photographs of African American Women in Chicago"],"unitdate_ssm":["c. 1942-1954"],"unitdate_bulk_ssim":["c. 1942-1954"],"normalized_date_ssm":["1942/1954"],"normalized_title_ssm":["Collection of photographs of African American Women in Chicago, 1942/1954"],"text":["Collection of photographs of African American Women in Chicago, 1942/1954","MSS 16797","Archival Resource Key","/repositories/3/resources/1554","Young adults","African Americans","Black-and-white photographs","Lucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city.","Sources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm","This collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.","The photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"","Some photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints.","Also included is a single page with drawings of a woman in a gown on the recto and verso with notes.","The collection is open for research use.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Collection of photographs of African American Women in Chicago, 1942/1954"],"collection_ssim":["Collection of photographs of African American Women in Chicago, 1942/1954"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554"],"unitid_tesim":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"access_terms_ssm":["The collection is open for research use."],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on 01 March 2023."],"access_subjects_ssim":["Young adults","African Americans","Black-and-white photographs"],"access_subjects_ssm":["Young adults","African Americans","Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.06 Cubic Feet Two letter-sized folders"],"extent_tesim":["0.06 Cubic Feet Two letter-sized folders"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954],"bioghist_html_tesm":["\u003cp\u003eLucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city. \u003c/p\u003e","\u003cp\u003eSources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Lucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city.","Sources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm"],"prefercite_html_tesm":["\u003cp\u003eMSS 16797, African American Women in Chicago, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16797, African American Women in Chicago, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.\u003c/p\u003e","\u003cp\u003eThe photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"\u003c/p\u003e","\u003cp\u003eSome photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints. \u003c/p\u003e","\u003cp\u003eAlso included is a single page with drawings of a woman in a gown on the recto and verso with notes. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.","The photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"","Some photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints.","Also included is a single page with drawings of a woman in a gown on the recto and verso with notes."],"userestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is open for research use."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1554","ead_ssi":"viu_repositories_3_resources_1554","_root_":"viu_repositories_3_resources_1554","_nest_parent_":"viu_repositories_3_resources_1554","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1554.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190889","title_filing_ssi":"African American Women in Chicago","title_ssm":["Collection of photographs of African American Women in Chicago"],"title_tesim":["Collection of photographs of African American Women in Chicago"],"unitdate_ssm":["c. 1942-1954"],"unitdate_bulk_ssim":["c. 1942-1954"],"normalized_date_ssm":["1942/1954"],"normalized_title_ssm":["Collection of photographs of African American Women in Chicago, 1942/1954"],"text":["Collection of photographs of African American Women in Chicago, 1942/1954","MSS 16797","Archival Resource Key","/repositories/3/resources/1554","Young adults","African Americans","Black-and-white photographs","Lucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city.","Sources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm","This collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.","The photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"","Some photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints.","Also included is a single page with drawings of a woman in a gown on the recto and verso with notes.","The collection is open for research use.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Collection of photographs of African American Women in Chicago, 1942/1954"],"collection_ssim":["Collection of photographs of African American Women in Chicago, 1942/1954"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554"],"unitid_tesim":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"access_terms_ssm":["The collection is open for research use."],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on 01 March 2023."],"access_subjects_ssim":["Young adults","African Americans","Black-and-white photographs"],"access_subjects_ssm":["Young adults","African Americans","Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.06 Cubic Feet Two letter-sized folders"],"extent_tesim":["0.06 Cubic Feet Two letter-sized folders"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954],"bioghist_html_tesm":["\u003cp\u003eLucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city. \u003c/p\u003e","\u003cp\u003eSources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Lucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city.","Sources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm"],"prefercite_html_tesm":["\u003cp\u003eMSS 16797, African American Women in Chicago, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16797, African American Women in Chicago, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.\u003c/p\u003e","\u003cp\u003eThe photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"\u003c/p\u003e","\u003cp\u003eSome photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints. \u003c/p\u003e","\u003cp\u003eAlso included is a single page with drawings of a woman in a gown on the recto and verso with notes. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.","The photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"","Some photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints.","Also included is a single page with drawings of a woman in a gown on the recto and verso with notes."],"userestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is open for research use."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1554"}},{"id":"viu_repositories_3_resources_1595","type":"collection","attributes":{"title":"Ernie McClintock papers, 1961/2006","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1595#creator","type":"document_value","attributes":{"value":"McClintock, Ernie","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1595#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like \u003cem\u003eA Raisin in the Sun\u003c/em\u003e to Tupac Shakur's \u003cem\u003eRose Grew Out of Cement\u003c/em\u003e, and new plays written by young playwrights and actors like Derome Scott Smith in \u003cem\u003eR.I.O.T.\u003c/em\u003e or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre. He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1595#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1595","ead_ssi":"viu_repositories_3_resources_1595","_root_":"viu_repositories_3_resources_1595","_nest_parent_":"viu_repositories_3_resources_1595","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1595.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/192465","title_filing_ssi":"McClintock, Ernie papers","title_ssm":["Ernie McClintock papers"],"title_tesim":["Ernie McClintock papers"],"unitdate_ssm":["1961-2006"],"unitdate_inclusive_ssm":["1961-2006"],"normalized_date_ssm":["1961/2006"],"normalized_title_ssm":["Ernie McClintock papers, 1961/2006"],"text":["Ernie McClintock papers, 1961/2006","MSS 16810","Archival Resource Key","/repositories/3/resources/1595","Black Arts movement","Theatrical producers and directors","African Americans","Fair","The collection is open for research use.","Boxes 42-45 contain audiocassettes, reel-to-reel audio tapes, and CD-R that patrons cannot handle directly. Please contact Special Collections via our online Reference Request form, https://small.library.virginia.edu/services/reference-request, to request access to these materials. Please be aware that additional actions may be required to make these items available. Items will be evaluated on a case-by-case basis before access can be made. Depending on the request size, making them available may take some time.","The collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials.","Ernie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for River Niger and Equus. He won Best Director for Equus, Moon On a Rainbow Shawl and Outstanding Musical Creation for Tabernacle. McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of Shango, Do Lord Remember Me, Dream On Monkey Mountain and Spell #7 He was also the 1997 recipient of the Living Legend Award from the National Black Theatre.","After McClintock saw his first play, A Hatful of Rain  starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions.","Around 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.","In 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre.","Through his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.","In 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.","McClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.","Source:\nMaterial in collection","Apreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students.","This material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.","Content Warning: Some notebook entries contain sexually explicit language.","Content Warning: Images contain nudity and suggestive poses.","Content Warning: Includes a depiction of Blackface.","Content Warning. Included are images of nudity and fondling.","This collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like A Raisin in the Sun to Tupac Shakur's Rose Grew Out of Cement, and new plays written by young playwrights and actors like Derome Scott Smith in R.I.O.T. or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock.","One of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.","The collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work.","McClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence.","Also included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance.","Included in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting.","The photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.","The A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)","Farmers Market and Shockoe Bottom","See also Jazz Actors Theatre-Black Theatre and National Black Theatre","Meeting minutes","Lou Gossett Acting School","Includes resume photographs for Ernie McClintock and Ronald Tyrone Walker.","These notebooks contain information about everything that Ernie cared about including theater, actors, teaching, and personal philosophy and feelings. Jazz Actors Theatre materials are included. See also Jazz Actors Theatre. There are notes, drafts, to do lists, contacts, production information, poems, stories, wishes, frustrations, and hope for a world class Black Theater.","Published scripts (with annotated notes) are being cataloged separatedly in our print collections.","Poem about Bill Cosby pudding","Included under miscellaneous is Reparations Mobilization Coalition card. It would have originally come with a reparations pin that shows \"support for Reparations for the crimes committed against African Humanity from the Racism, Slavery  the Slave Trade of yester year to the horrors of Racism  the \"Prison Slave Trade\" of today.\" (written on card) undated.","Includes Shakur Foundation for Performing Arts Camp proposal (2001)","Included are some sketches and graphics by Ronn Walker","Helen Butler, Janice Jenkins, Zaria Griffin, Levy Lee Simon, Leonard Wilson, and d. l. Hopkins","Ernie McClintock,Hazel Smith, Rose Wallace, Granddad Foster, Jessie Holmes, Robin Thorne,","Contact sheets include photographs of James Carter (Jimmy, \"J.J.\") Walker, who starred in the 1974 television show Good Times. (He became well-known for saying Dyn-O-mite on and off the show).","after Audelco Awards?","Includes Tracy Fleming, an actor who studied martial arts.","Includes J. Ron Fleming","Audelco award certificates recognizing Ernie McClintock for The River Niger, Raising in the Sun, and Equus.","Also included is the Billy Graham award for artistic excellence in 2002, and appreciation from the Richmond Parks and Recreation and the AARP Chapter 390 for McClintock's outstanding service. Ronald T. Walker and Geno Brantley are also awarded a certificate for their lighting design on the set of Equus","These plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026 Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller","The Art of Western Africa\nThe Illustrated Encyclopedia of Black Music","Albert and Shirley Small Special Collections Library","McClintock, Ernie","English"],"collection_title_tesim":["Ernie McClintock papers, 1961/2006"],"collection_ssim":["Ernie McClintock papers, 1961/2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16810","Archival Resource Key","/repositories/3/resources/1595"],"unitid_tesim":["MSS 16810","Archival Resource Key","/repositories/3/resources/1595"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["McClintock, Ernie"],"creator_ssim":["McClintock, Ernie"],"creator_persname_ssim":["McClintock, Ernie"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["McClintock, Ernie","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was purchased  from Geno Brantley and Donna Pendarvis by the Small Special Collections Library at the University of Virginia Library on 15 March 2023."],"access_subjects_ssim":["Black Arts movement","Theatrical producers and directors","African Americans"],"access_subjects_ssm":["Black Arts movement","Theatrical producers and directors","African Americans"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair"],"extent_ssm":["24.44 Cubic Feet 40 document boxes, 1 cubic of awards, and several cubics of A-V materials","0.0093 Gigabytes 1 PUB file"],"extent_tesim":["24.44 Cubic Feet 40 document boxes, 1 cubic of awards, and several cubics of A-V materials","0.0093 Gigabytes 1 PUB file"],"physfacet_tesim":["1 CDR"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  ","\u003cp\u003eBoxes 42-45 contain audiocassettes, reel-to-reel audio tapes, and CD-R that patrons cannot handle directly. Please contact Special Collections via our online Reference Request form, https://small.library.virginia.edu/services/reference-request, to request access to these materials. Please be aware that additional actions may be required to make these items available. Items will be evaluated on a case-by-case basis before access can be made. Depending on the request size, making them available may take some time.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use.","Boxes 42-45 contain audiocassettes, reel-to-reel audio tapes, and CD-R that patrons cannot handle directly. Please contact Special Collections via our online Reference Request form, https://small.library.virginia.edu/services/reference-request, to request access to these materials. Please be aware that additional actions may be required to make these items available. Items will be evaluated on a case-by-case basis before access can be made. Depending on the request size, making them available may take some time."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials."],"bioghist_html_tesm":["\u003cp\u003eErnie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for \u003cemph render=\"italic\"\u003eRiver Niger\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e. He won Best Director for \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eMoon On a Rainbow Shawl\u003c/emph\u003e and Outstanding Musical Creation for \u003cemph render=\"italic\"\u003eTabernacle.\u003c/emph\u003e McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of \u003cemph render=\"italic\"\u003eShango\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDo Lord Remember Me\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDream On Monkey Mountain\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eSpell #7\u003c/emph\u003e He was also the 1997 recipient of the Living Legend Award from the National Black Theatre. \u003c/p\u003e","\u003cp\u003eAfter McClintock saw his first play, \u003cemph render=\"italic\"\u003eA Hatful of Rain \u003c/emph\u003e starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions. \u003c/p\u003e","\u003cp\u003eAround 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.  \u003c/p\u003e","\u003cp\u003eIn 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre. \u003c/p\u003e","\u003cp\u003eThrough his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.\u003c/p\u003e","\u003cp\u003eIn 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.\u003c/p\u003e","\u003cp\u003eMcClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.\u003c/p\u003e","\u003cp\u003eSource:\nMaterial in collection\u003c/p\u003e","\u003cp\u003eApreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Ernie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for River Niger and Equus. He won Best Director for Equus, Moon On a Rainbow Shawl and Outstanding Musical Creation for Tabernacle. McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of Shango, Do Lord Remember Me, Dream On Monkey Mountain and Spell #7 He was also the 1997 recipient of the Living Legend Award from the National Black Theatre.","After McClintock saw his first play, A Hatful of Rain  starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions.","Around 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.","In 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre.","Through his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.","In 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.","McClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.","Source:\nMaterial in collection","Apreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students."],"odd_html_tesm":["\u003cp\u003eThis material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.\u003c/p\u003e  ","\u003cp\u003eContent Warning: Some notebook entries contain sexually explicit language.\u003c/p\u003e","\u003cp\u003eContent Warning: Images contain nudity and suggestive poses.\u003c/p\u003e","\u003cp\u003eContent Warning: Includes a depiction of Blackface.\u003c/p\u003e","\u003cp\u003eContent Warning. Included are images of nudity and fondling.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General"],"odd_tesim":["This material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.","Content Warning: Some notebook entries contain sexually explicit language.","Content Warning: Images contain nudity and suggestive poses.","Content Warning: Includes a depiction of Blackface.","Content Warning. Included are images of nudity and fondling."],"prefercite_html_tesm":["\u003cp\u003eMSS 16810, Ernie McClintock papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16810, Ernie McClintock papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like \u003cemph render=\"italic\"\u003eA Raisin in the Sun\u003c/emph\u003e to Tupac Shakur's \u003cemph render=\"italic\"\u003eRose Grew Out of Cement\u003c/emph\u003e, and new plays written by young playwrights and actors like Derome Scott Smith in \u003cemph render=\"italic\"\u003eR.I.O.T.\u003c/emph\u003e or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock. \u003c/p\u003e","\u003cp\u003eOne of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.\u003c/p\u003e","\u003cp\u003eThe collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work. \u003c/p\u003e","\u003cp\u003eMcClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence. \u003c/p\u003e","\u003cp\u003eAlso included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance. \u003c/p\u003e","\u003cp\u003eIncluded in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting. \u003c/p\u003e","\u003cp\u003eThe photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.\u003c/p\u003e","\u003cp\u003eThe A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)\u003c/p\u003e  ","\u003cp\u003eFarmers Market and Shockoe Bottom\u003c/p\u003e","\u003cp\u003eSee also Jazz Actors Theatre-Black Theatre and National Black Theatre\u003c/p\u003e","\u003cp\u003eMeeting minutes\u003c/p\u003e","\u003cp\u003eLou Gossett Acting School\u003c/p\u003e","\u003cp\u003eIncludes resume photographs for Ernie McClintock and Ronald Tyrone Walker.\u003c/p\u003e","\u003cp\u003eThese notebooks contain information about everything that Ernie cared about including theater, actors, teaching, and personal philosophy and feelings. Jazz Actors Theatre materials are included. See also Jazz Actors Theatre. There are notes, drafts, to do lists, contacts, production information, poems, stories, wishes, frustrations, and hope for a world class Black Theater.\u003c/p\u003e","\u003cp\u003ePublished scripts (with annotated notes) are being cataloged separatedly in our print collections.\u003c/p\u003e","\u003cp\u003ePoem about Bill Cosby pudding\u003c/p\u003e","\u003cp\u003eIncluded under miscellaneous is Reparations Mobilization Coalition card. It would have originally come with a reparations pin that shows \"support for Reparations for the crimes committed against African Humanity from the Racism, Slavery  the Slave Trade of yester year to the horrors of Racism  the \"Prison Slave Trade\" of today.\" (written on card) undated.\u003c/p\u003e","\u003cp\u003eIncludes Shakur Foundation for Performing Arts Camp proposal (2001)\u003c/p\u003e","\u003cp\u003eIncluded are some sketches and graphics by Ronn Walker\u003c/p\u003e","\u003cp\u003eHelen Butler, Janice Jenkins, Zaria Griffin, Levy Lee Simon, Leonard Wilson, and d. l. Hopkins\u003c/p\u003e","\u003cp\u003eErnie McClintock,Hazel Smith, Rose Wallace, Granddad Foster, Jessie Holmes, Robin Thorne,\u003c/p\u003e","\u003cp\u003eContact sheets include photographs of James Carter (Jimmy, \"J.J.\") Walker, who starred in the 1974 television show Good Times. (He became well-known for saying Dyn-O-mite on and off the show).\u003c/p\u003e","\u003cp\u003eafter Audelco Awards?\u003c/p\u003e","\u003cp\u003eIncludes Tracy Fleming, an actor who studied martial arts.\u003c/p\u003e","\u003cp\u003eIncludes J. Ron Fleming\u003c/p\u003e","\u003cp\u003eAudelco award certificates recognizing Ernie McClintock for \u003cemph render=\"italic\"\u003eThe River Niger,\u003c/emph\u003e \u003cemph render=\"italic\"\u003eRaising in the Sun,\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eEquus.\u003c/emph\u003e \u003c/p\u003e","\u003cp\u003eAlso included is the Billy Graham award for artistic excellence in 2002, and appreciation from the Richmond Parks and Recreation and the AARP Chapter 390 for McClintock's outstanding service. Ronald T. Walker and Geno Brantley are also awarded a certificate for their lighting design on the set of \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e\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"],"scopecontent_tesim":["This collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like A Raisin in the Sun to Tupac Shakur's Rose Grew Out of Cement, and new plays written by young playwrights and actors like Derome Scott Smith in R.I.O.T. or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock.","One of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.","The collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work.","McClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence.","Also included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance.","Included in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting.","The photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.","The A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)","Farmers Market and Shockoe Bottom","See also Jazz Actors Theatre-Black Theatre and National Black Theatre","Meeting minutes","Lou Gossett Acting School","Includes resume photographs for Ernie McClintock and Ronald Tyrone Walker.","These notebooks contain information about everything that Ernie cared about including theater, actors, teaching, and personal philosophy and feelings. Jazz Actors Theatre materials are included. See also Jazz Actors Theatre. There are notes, drafts, to do lists, contacts, production information, poems, stories, wishes, frustrations, and hope for a world class Black Theater.","Published scripts (with annotated notes) are being cataloged separatedly in our print collections.","Poem about Bill Cosby pudding","Included under miscellaneous is Reparations Mobilization Coalition card. It would have originally come with a reparations pin that shows \"support for Reparations for the crimes committed against African Humanity from the Racism, Slavery  the Slave Trade of yester year to the horrors of Racism  the \"Prison Slave Trade\" of today.\" (written on card) undated.","Includes Shakur Foundation for Performing Arts Camp proposal (2001)","Included are some sketches and graphics by Ronn Walker","Helen Butler, Janice Jenkins, Zaria Griffin, Levy Lee Simon, Leonard Wilson, and d. l. Hopkins","Ernie McClintock,Hazel Smith, Rose Wallace, Granddad Foster, Jessie Holmes, Robin Thorne,","Contact sheets include photographs of James Carter (Jimmy, \"J.J.\") Walker, who starred in the 1974 television show Good Times. (He became well-known for saying Dyn-O-mite on and off the show).","after Audelco Awards?","Includes Tracy Fleming, an actor who studied martial arts.","Includes J. Ron Fleming","Audelco award certificates recognizing Ernie McClintock for The River Niger, Raising in the Sun, and Equus.","Also included is the Billy Graham award for artistic excellence in 2002, and appreciation from the Richmond Parks and Recreation and the AARP Chapter 390 for McClintock's outstanding service. Ronald T. Walker and Geno Brantley are also awarded a certificate for their lighting design on the set of Equus"],"separatedmaterial_html_tesm":["\u003cp\u003eThese plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026amp; Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller\u003c/p\u003e","\u003cp\u003eThe Art of Western Africa\nThe Illustrated Encyclopedia of Black Music\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["These plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026 Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller","The Art of Western Africa\nThe Illustrated Encyclopedia of Black Music"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["McClintock, Ernie"],"names_coll_ssim":["McClintock, Ernie"],"names_ssim":["Albert and Shirley Small Special Collections Library","McClintock, Ernie"],"language_ssim":["English"],"total_component_count_is":659,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1595","ead_ssi":"viu_repositories_3_resources_1595","_root_":"viu_repositories_3_resources_1595","_nest_parent_":"viu_repositories_3_resources_1595","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1595.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/192465","title_filing_ssi":"McClintock, Ernie papers","title_ssm":["Ernie McClintock papers"],"title_tesim":["Ernie McClintock papers"],"unitdate_ssm":["1961-2006"],"unitdate_inclusive_ssm":["1961-2006"],"normalized_date_ssm":["1961/2006"],"normalized_title_ssm":["Ernie McClintock papers, 1961/2006"],"text":["Ernie McClintock papers, 1961/2006","MSS 16810","Archival Resource Key","/repositories/3/resources/1595","Black Arts movement","Theatrical producers and directors","African Americans","Fair","The collection is open for research use.","Boxes 42-45 contain audiocassettes, reel-to-reel audio tapes, and CD-R that patrons cannot handle directly. Please contact Special Collections via our online Reference Request form, https://small.library.virginia.edu/services/reference-request, to request access to these materials. Please be aware that additional actions may be required to make these items available. Items will be evaluated on a case-by-case basis before access can be made. Depending on the request size, making them available may take some time.","The collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials.","Ernie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for River Niger and Equus. He won Best Director for Equus, Moon On a Rainbow Shawl and Outstanding Musical Creation for Tabernacle. McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of Shango, Do Lord Remember Me, Dream On Monkey Mountain and Spell #7 He was also the 1997 recipient of the Living Legend Award from the National Black Theatre.","After McClintock saw his first play, A Hatful of Rain  starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions.","Around 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.","In 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre.","Through his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.","In 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.","McClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.","Source:\nMaterial in collection","Apreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students.","This material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.","Content Warning: Some notebook entries contain sexually explicit language.","Content Warning: Images contain nudity and suggestive poses.","Content Warning: Includes a depiction of Blackface.","Content Warning. Included are images of nudity and fondling.","This collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like A Raisin in the Sun to Tupac Shakur's Rose Grew Out of Cement, and new plays written by young playwrights and actors like Derome Scott Smith in R.I.O.T. or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock.","One of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.","The collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work.","McClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence.","Also included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance.","Included in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting.","The photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.","The A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)","Farmers Market and Shockoe Bottom","See also Jazz Actors Theatre-Black Theatre and National Black Theatre","Meeting minutes","Lou Gossett Acting School","Includes resume photographs for Ernie McClintock and Ronald Tyrone Walker.","These notebooks contain information about everything that Ernie cared about including theater, actors, teaching, and personal philosophy and feelings. Jazz Actors Theatre materials are included. See also Jazz Actors Theatre. There are notes, drafts, to do lists, contacts, production information, poems, stories, wishes, frustrations, and hope for a world class Black Theater.","Published scripts (with annotated notes) are being cataloged separatedly in our print collections.","Poem about Bill Cosby pudding","Included under miscellaneous is Reparations Mobilization Coalition card. It would have originally come with a reparations pin that shows \"support for Reparations for the crimes committed against African Humanity from the Racism, Slavery  the Slave Trade of yester year to the horrors of Racism  the \"Prison Slave Trade\" of today.\" (written on card) undated.","Includes Shakur Foundation for Performing Arts Camp proposal (2001)","Included are some sketches and graphics by Ronn Walker","Helen Butler, Janice Jenkins, Zaria Griffin, Levy Lee Simon, Leonard Wilson, and d. l. Hopkins","Ernie McClintock,Hazel Smith, Rose Wallace, Granddad Foster, Jessie Holmes, Robin Thorne,","Contact sheets include photographs of James Carter (Jimmy, \"J.J.\") Walker, who starred in the 1974 television show Good Times. (He became well-known for saying Dyn-O-mite on and off the show).","after Audelco Awards?","Includes Tracy Fleming, an actor who studied martial arts.","Includes J. Ron Fleming","Audelco award certificates recognizing Ernie McClintock for The River Niger, Raising in the Sun, and Equus.","Also included is the Billy Graham award for artistic excellence in 2002, and appreciation from the Richmond Parks and Recreation and the AARP Chapter 390 for McClintock's outstanding service. Ronald T. Walker and Geno Brantley are also awarded a certificate for their lighting design on the set of Equus","These plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026 Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller","The Art of Western Africa\nThe Illustrated Encyclopedia of Black Music","Albert and Shirley Small Special Collections Library","McClintock, Ernie","English"],"collection_title_tesim":["Ernie McClintock papers, 1961/2006"],"collection_ssim":["Ernie McClintock papers, 1961/2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16810","Archival Resource Key","/repositories/3/resources/1595"],"unitid_tesim":["MSS 16810","Archival Resource Key","/repositories/3/resources/1595"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["McClintock, Ernie"],"creator_ssim":["McClintock, Ernie"],"creator_persname_ssim":["McClintock, Ernie"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["McClintock, Ernie","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was purchased  from Geno Brantley and Donna Pendarvis by the Small Special Collections Library at the University of Virginia Library on 15 March 2023."],"access_subjects_ssim":["Black Arts movement","Theatrical producers and directors","African Americans"],"access_subjects_ssm":["Black Arts movement","Theatrical producers and directors","African Americans"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair"],"extent_ssm":["24.44 Cubic Feet 40 document boxes, 1 cubic of awards, and several cubics of A-V materials","0.0093 Gigabytes 1 PUB file"],"extent_tesim":["24.44 Cubic Feet 40 document boxes, 1 cubic of awards, and several cubics of A-V materials","0.0093 Gigabytes 1 PUB file"],"physfacet_tesim":["1 CDR"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  ","\u003cp\u003eBoxes 42-45 contain audiocassettes, reel-to-reel audio tapes, and CD-R that patrons cannot handle directly. Please contact Special Collections via our online Reference Request form, https://small.library.virginia.edu/services/reference-request, to request access to these materials. Please be aware that additional actions may be required to make these items available. Items will be evaluated on a case-by-case basis before access can be made. Depending on the request size, making them available may take some time.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use.","Boxes 42-45 contain audiocassettes, reel-to-reel audio tapes, and CD-R that patrons cannot handle directly. Please contact Special Collections via our online Reference Request form, https://small.library.virginia.edu/services/reference-request, to request access to these materials. Please be aware that additional actions may be required to make these items available. Items will be evaluated on a case-by-case basis before access can be made. Depending on the request size, making them available may take some time."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials."],"bioghist_html_tesm":["\u003cp\u003eErnie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for \u003cemph render=\"italic\"\u003eRiver Niger\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e. He won Best Director for \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eMoon On a Rainbow Shawl\u003c/emph\u003e and Outstanding Musical Creation for \u003cemph render=\"italic\"\u003eTabernacle.\u003c/emph\u003e McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of \u003cemph render=\"italic\"\u003eShango\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDo Lord Remember Me\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDream On Monkey Mountain\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eSpell #7\u003c/emph\u003e He was also the 1997 recipient of the Living Legend Award from the National Black Theatre. \u003c/p\u003e","\u003cp\u003eAfter McClintock saw his first play, \u003cemph render=\"italic\"\u003eA Hatful of Rain \u003c/emph\u003e starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions. \u003c/p\u003e","\u003cp\u003eAround 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.  \u003c/p\u003e","\u003cp\u003eIn 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre. \u003c/p\u003e","\u003cp\u003eThrough his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.\u003c/p\u003e","\u003cp\u003eIn 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.\u003c/p\u003e","\u003cp\u003eMcClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.\u003c/p\u003e","\u003cp\u003eSource:\nMaterial in collection\u003c/p\u003e","\u003cp\u003eApreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Ernie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for River Niger and Equus. He won Best Director for Equus, Moon On a Rainbow Shawl and Outstanding Musical Creation for Tabernacle. McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of Shango, Do Lord Remember Me, Dream On Monkey Mountain and Spell #7 He was also the 1997 recipient of the Living Legend Award from the National Black Theatre.","After McClintock saw his first play, A Hatful of Rain  starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions.","Around 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.","In 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre.","Through his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.","In 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.","McClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.","Source:\nMaterial in collection","Apreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students."],"odd_html_tesm":["\u003cp\u003eThis material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.\u003c/p\u003e  ","\u003cp\u003eContent Warning: Some notebook entries contain sexually explicit language.\u003c/p\u003e","\u003cp\u003eContent Warning: Images contain nudity and suggestive poses.\u003c/p\u003e","\u003cp\u003eContent Warning: Includes a depiction of Blackface.\u003c/p\u003e","\u003cp\u003eContent Warning. Included are images of nudity and fondling.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General"],"odd_tesim":["This material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.","Content Warning: Some notebook entries contain sexually explicit language.","Content Warning: Images contain nudity and suggestive poses.","Content Warning: Includes a depiction of Blackface.","Content Warning. Included are images of nudity and fondling."],"prefercite_html_tesm":["\u003cp\u003eMSS 16810, Ernie McClintock papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16810, Ernie McClintock papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like \u003cemph render=\"italic\"\u003eA Raisin in the Sun\u003c/emph\u003e to Tupac Shakur's \u003cemph render=\"italic\"\u003eRose Grew Out of Cement\u003c/emph\u003e, and new plays written by young playwrights and actors like Derome Scott Smith in \u003cemph render=\"italic\"\u003eR.I.O.T.\u003c/emph\u003e or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock. \u003c/p\u003e","\u003cp\u003eOne of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.\u003c/p\u003e","\u003cp\u003eThe collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work. \u003c/p\u003e","\u003cp\u003eMcClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence. \u003c/p\u003e","\u003cp\u003eAlso included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance. \u003c/p\u003e","\u003cp\u003eIncluded in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting. \u003c/p\u003e","\u003cp\u003eThe photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.\u003c/p\u003e","\u003cp\u003eThe A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)\u003c/p\u003e  ","\u003cp\u003eFarmers Market and Shockoe Bottom\u003c/p\u003e","\u003cp\u003eSee also Jazz Actors Theatre-Black Theatre and National Black Theatre\u003c/p\u003e","\u003cp\u003eMeeting minutes\u003c/p\u003e","\u003cp\u003eLou Gossett Acting School\u003c/p\u003e","\u003cp\u003eIncludes resume photographs for Ernie McClintock and Ronald Tyrone Walker.\u003c/p\u003e","\u003cp\u003eThese notebooks contain information about everything that Ernie cared about including theater, actors, teaching, and personal philosophy and feelings. Jazz Actors Theatre materials are included. See also Jazz Actors Theatre. There are notes, drafts, to do lists, contacts, production information, poems, stories, wishes, frustrations, and hope for a world class Black Theater.\u003c/p\u003e","\u003cp\u003ePublished scripts (with annotated notes) are being cataloged separatedly in our print collections.\u003c/p\u003e","\u003cp\u003ePoem about Bill Cosby pudding\u003c/p\u003e","\u003cp\u003eIncluded under miscellaneous is Reparations Mobilization Coalition card. It would have originally come with a reparations pin that shows \"support for Reparations for the crimes committed against African Humanity from the Racism, Slavery  the Slave Trade of yester year to the horrors of Racism  the \"Prison Slave Trade\" of today.\" (written on card) undated.\u003c/p\u003e","\u003cp\u003eIncludes Shakur Foundation for Performing Arts Camp proposal (2001)\u003c/p\u003e","\u003cp\u003eIncluded are some sketches and graphics by Ronn Walker\u003c/p\u003e","\u003cp\u003eHelen Butler, Janice Jenkins, Zaria Griffin, Levy Lee Simon, Leonard Wilson, and d. l. Hopkins\u003c/p\u003e","\u003cp\u003eErnie McClintock,Hazel Smith, Rose Wallace, Granddad Foster, Jessie Holmes, Robin Thorne,\u003c/p\u003e","\u003cp\u003eContact sheets include photographs of James Carter (Jimmy, \"J.J.\") Walker, who starred in the 1974 television show Good Times. (He became well-known for saying Dyn-O-mite on and off the show).\u003c/p\u003e","\u003cp\u003eafter Audelco Awards?\u003c/p\u003e","\u003cp\u003eIncludes Tracy Fleming, an actor who studied martial arts.\u003c/p\u003e","\u003cp\u003eIncludes J. Ron Fleming\u003c/p\u003e","\u003cp\u003eAudelco award certificates recognizing Ernie McClintock for \u003cemph render=\"italic\"\u003eThe River Niger,\u003c/emph\u003e \u003cemph render=\"italic\"\u003eRaising in the Sun,\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eEquus.\u003c/emph\u003e \u003c/p\u003e","\u003cp\u003eAlso included is the Billy Graham award for artistic excellence in 2002, and appreciation from the Richmond Parks and Recreation and the AARP Chapter 390 for McClintock's outstanding service. Ronald T. Walker and Geno Brantley are also awarded a certificate for their lighting design on the set of \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e\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"],"scopecontent_tesim":["This collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like A Raisin in the Sun to Tupac Shakur's Rose Grew Out of Cement, and new plays written by young playwrights and actors like Derome Scott Smith in R.I.O.T. or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock.","One of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.","The collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work.","McClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence.","Also included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance.","Included in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting.","The photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.","The A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)","Farmers Market and Shockoe Bottom","See also Jazz Actors Theatre-Black Theatre and National Black Theatre","Meeting minutes","Lou Gossett Acting School","Includes resume photographs for Ernie McClintock and Ronald Tyrone Walker.","These notebooks contain information about everything that Ernie cared about including theater, actors, teaching, and personal philosophy and feelings. Jazz Actors Theatre materials are included. See also Jazz Actors Theatre. There are notes, drafts, to do lists, contacts, production information, poems, stories, wishes, frustrations, and hope for a world class Black Theater.","Published scripts (with annotated notes) are being cataloged separatedly in our print collections.","Poem about Bill Cosby pudding","Included under miscellaneous is Reparations Mobilization Coalition card. It would have originally come with a reparations pin that shows \"support for Reparations for the crimes committed against African Humanity from the Racism, Slavery  the Slave Trade of yester year to the horrors of Racism  the \"Prison Slave Trade\" of today.\" (written on card) undated.","Includes Shakur Foundation for Performing Arts Camp proposal (2001)","Included are some sketches and graphics by Ronn Walker","Helen Butler, Janice Jenkins, Zaria Griffin, Levy Lee Simon, Leonard Wilson, and d. l. Hopkins","Ernie McClintock,Hazel Smith, Rose Wallace, Granddad Foster, Jessie Holmes, Robin Thorne,","Contact sheets include photographs of James Carter (Jimmy, \"J.J.\") Walker, who starred in the 1974 television show Good Times. (He became well-known for saying Dyn-O-mite on and off the show).","after Audelco Awards?","Includes Tracy Fleming, an actor who studied martial arts.","Includes J. Ron Fleming","Audelco award certificates recognizing Ernie McClintock for The River Niger, Raising in the Sun, and Equus.","Also included is the Billy Graham award for artistic excellence in 2002, and appreciation from the Richmond Parks and Recreation and the AARP Chapter 390 for McClintock's outstanding service. Ronald T. Walker and Geno Brantley are also awarded a certificate for their lighting design on the set of Equus"],"separatedmaterial_html_tesm":["\u003cp\u003eThese plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026amp; Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller\u003c/p\u003e","\u003cp\u003eThe Art of Western Africa\nThe Illustrated Encyclopedia of Black Music\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["These plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026 Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller","The Art of Western Africa\nThe Illustrated Encyclopedia of Black Music"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["McClintock, Ernie"],"names_coll_ssim":["McClintock, Ernie"],"names_ssim":["Albert and Shirley Small Special Collections Library","McClintock, Ernie"],"language_ssim":["English"],"total_component_count_is":659,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1595"}},{"id":"viu_repositories_3_resources_1372","type":"collection","attributes":{"title":"Explorations in Black Leadership project papers, 1998/2015","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1372#creator","type":"document_value","attributes":{"value":"Bond, Julian, 1940-2015","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1372#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains briefings with preparatory materials, questions and notes for oral histories conducted as part of the Explorations in Black Leadership project. The briefings were often compiled by interns with the Institute for Public History and included interview questions, possible answers prepared for Julian Bond (the primary interviewer), biographical information, handwritten notes, and correspondence. The collection also includes audio and video cassettes, CDs, and DVDs of interviews and other project related materials.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1372#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1372","ead_ssi":"viu_repositories_3_resources_1372","_root_":"viu_repositories_3_resources_1372","_nest_parent_":"viu_repositories_3_resources_1372","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1372.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/146283","title_filing_ssi":"Explorations in Black Leadership project papers","title_ssm":["Explorations in Black Leadership project papers"],"title_tesim":["Explorations in Black Leadership project papers"],"unitdate_ssm":["1998 - 2015"],"unitdate_inclusive_ssm":["1998 - 2015"],"normalized_date_ssm":["1998/2015"],"normalized_title_ssm":["Explorations in Black Leadership project papers, 1998/2015"],"text":["Explorations in Black Leadership project papers, 1998/2015","MSS 16674","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1372","African Americans","African Americans -- Civil rights","Leadership","Interviews","Fair","The collection is open for research use.","Original digital media (floppy disks, zip disks, thumb drives, born-digital files, etc.) and other media formats such as LPs, audiocassettes, videotapes, films, CDs, and DVDs cannot be handled directly by patrons. Appointments must be made in advance to request these items held by Special Collections. Please use our online reference request form (https://small.library.virginia.edu/services/reference-request) to request access to these materials, or to ask for further information.","Phyllis Leffler is a professor emerita at the University of Virginia with a focus on oral history, public history, and the history of the University of Virginia. Julian Bond was a prominent figure in the civil rights movement, helping to found the Southern Poverty Law Center in 1971. Bond also served in the Georgia House of Representatives, was the chairman of the NAACP from 1998 to 2010, and was a professor at the University of Virginia. \nExplorations in Black Leadership was a joint project co-directed by Leffler and Bond within the School of Arts and Sciences, conducted between 200 and 2015. The project consisted of oral histories of leaders from the Black community, from all areas including law, education, religion, public service, the arts, and business. It examined how leaders are nurtured and how historical circumstances shape them.","https://blackleadership.virginia.edu/","This collection contains briefings with preparatory materials, questions and notes for oral histories conducted as part of the Explorations in Black Leadership project. The briefings were often compiled by interns with the Institute for Public History and included interview questions, possible answers prepared for Julian Bond (the primary interviewer), biographical information, handwritten notes, and correspondence. The collection also includes audio and video cassettes, CDs, and DVDs of interviews and other project related materials.","This series contains the briefing books for each subject of the Explorations in Black Leadership project. This includes articles on the person, the writing of that person, and correspondence between that person or their representatives, and Phyllis Leffler and Julian Bond.","Master and copy files of all oral history interviews conducted as part of the Explorations in Black Leadership project.","Book drawing on the interviews conducted by Julian Bond and Phyllis Leffler.","This collection is protected by copyright and/or related rights. You are free to use materials in the collection in any way that is permitted by the copyright and related\nrights legislation that applies to your use.","Albert and Shirley Small Special Collections Library","Bond, Julian, 1940-2015","English"],"collection_title_tesim":["Explorations in Black Leadership project papers, 1998/2015"],"collection_ssim":["Explorations in Black Leadership project papers, 1998/2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16674","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1372"],"unitid_tesim":["MSS 16674","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1372"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Bond, Julian, 1940-2015"],"creator_ssim":["Bond, Julian, 1940-2015"],"creator_persname_ssim":["Bond, Julian, 1940-2015"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Bond, Julian, 1940-2015","Albert and Shirley Small Special Collections Library"],"access_terms_ssm":["This collection is protected by copyright and/or related rights. You are free to use materials in the collection in any way that is permitted by the copyright and related\nrights legislation that applies to your use."],"access_subjects_ssim":["African Americans","African Americans -- Civil rights","Leadership","Interviews"],"access_subjects_ssm":["African Americans","African Americans -- Civil rights","Leadership","Interviews"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair"],"extent_ssm":["9.0 Cubic Feet Nine boxes","120 items 29 VHS, 52 DVCAMs, 29 optical disks, 2 DVs, 8 Betacam SPs"],"extent_tesim":["9.0 Cubic Feet Nine boxes","120 items 29 VHS, 52 DVCAMs, 29 optical disks, 2 DVs, 8 Betacam SPs"],"date_range_isim":[1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  ","\u003cp\u003eOriginal digital media (floppy disks, zip disks, thumb drives, born-digital files, etc.) and other media formats such as LPs, audiocassettes, videotapes, films, CDs, and DVDs cannot be handled directly by patrons. Appointments must be made in advance to request these items held by Special Collections. Please use our online reference request form (https://small.library.virginia.edu/services/reference-request) to request access to these materials, or to ask for further information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use.","Original digital media (floppy disks, zip disks, thumb drives, born-digital files, etc.) and other media formats such as LPs, audiocassettes, videotapes, films, CDs, and DVDs cannot be handled directly by patrons. Appointments must be made in advance to request these items held by Special Collections. Please use our online reference request form (https://small.library.virginia.edu/services/reference-request) to request access to these materials, or to ask for further information."],"bioghist_html_tesm":["\u003cp\u003ePhyllis Leffler is a professor emerita at the University of Virginia with a focus on oral history, public history, and the history of the University of Virginia. Julian Bond was a prominent figure in the civil rights movement, helping to found the Southern Poverty Law Center in 1971. Bond also served in the Georgia House of Representatives, was the chairman of the NAACP from 1998 to 2010, and was a professor at the University of Virginia. \nExplorations in Black Leadership was a joint project co-directed by Leffler and Bond within the School of Arts and Sciences, conducted between 200 and 2015. The project consisted of oral histories of leaders from the Black community, from all areas including law, education, religion, public service, the arts, and business. 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It examined how leaders are nurtured and how historical circumstances shape them."],"prefercite_html_tesm":["\u003cp\u003eMSS 16674 Explorations in Black Leadership project papers, box number, folder number, Albert and Shirley\nSmall Special Collections Library, University of Virginia.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16674 Explorations in Black Leadership project papers, box number, folder number, Albert and Shirley\nSmall Special Collections Library, University of Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003ehttps://blackleadership.virginia.edu/\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["https://blackleadership.virginia.edu/"],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains briefings with preparatory materials, questions and notes for oral histories conducted as part of the Explorations in Black Leadership project. 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You are free to use materials in the collection in any way that is permitted by the copyright and related\nrights legislation that applies to your use.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is protected by copyright and/or related rights. You are free to use materials in the collection in any way that is permitted by the copyright and related\nrights legislation that applies to your use."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Bond, Julian, 1940-2015"],"names_ssim":["Albert and Shirley Small Special Collections Library","Bond, Julian, 1940-2015"],"language_ssim":["English"],"total_component_count_is":58,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:13.060Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1372","ead_ssi":"viu_repositories_3_resources_1372","_root_":"viu_repositories_3_resources_1372","_nest_parent_":"viu_repositories_3_resources_1372","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1372.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/146283","title_filing_ssi":"Explorations in Black Leadership project papers","title_ssm":["Explorations in Black Leadership project papers"],"title_tesim":["Explorations in Black Leadership project papers"],"unitdate_ssm":["1998 - 2015"],"unitdate_inclusive_ssm":["1998 - 2015"],"normalized_date_ssm":["1998/2015"],"normalized_title_ssm":["Explorations in Black Leadership project papers, 1998/2015"],"text":["Explorations in Black Leadership project papers, 1998/2015","MSS 16674","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1372","African Americans","African Americans -- Civil rights","Leadership","Interviews","Fair","The collection is open for research use.","Original digital media (floppy disks, zip disks, thumb drives, born-digital files, etc.) and other media formats such as LPs, audiocassettes, videotapes, films, CDs, and DVDs cannot be handled directly by patrons. Appointments must be made in advance to request these items held by Special Collections. Please use our online reference request form (https://small.library.virginia.edu/services/reference-request) to request access to these materials, or to ask for further information.","Phyllis Leffler is a professor emerita at the University of Virginia with a focus on oral history, public history, and the history of the University of Virginia. Julian Bond was a prominent figure in the civil rights movement, helping to found the Southern Poverty Law Center in 1971. Bond also served in the Georgia House of Representatives, was the chairman of the NAACP from 1998 to 2010, and was a professor at the University of Virginia. \nExplorations in Black Leadership was a joint project co-directed by Leffler and Bond within the School of Arts and Sciences, conducted between 200 and 2015. The project consisted of oral histories of leaders from the Black community, from all areas including law, education, religion, public service, the arts, and business. It examined how leaders are nurtured and how historical circumstances shape them.","https://blackleadership.virginia.edu/","This collection contains briefings with preparatory materials, questions and notes for oral histories conducted as part of the Explorations in Black Leadership project. The briefings were often compiled by interns with the Institute for Public History and included interview questions, possible answers prepared for Julian Bond (the primary interviewer), biographical information, handwritten notes, and correspondence. The collection also includes audio and video cassettes, CDs, and DVDs of interviews and other project related materials.","This series contains the briefing books for each subject of the Explorations in Black Leadership project. This includes articles on the person, the writing of that person, and correspondence between that person or their representatives, and Phyllis Leffler and Julian Bond.","Master and copy files of all oral history interviews conducted as part of the Explorations in Black Leadership project.","Book drawing on the interviews conducted by Julian Bond and Phyllis Leffler.","This collection is protected by copyright and/or related rights. You are free to use materials in the collection in any way that is permitted by the copyright and related\nrights legislation that applies to your use.","Albert and Shirley Small Special Collections Library","Bond, Julian, 1940-2015","English"],"collection_title_tesim":["Explorations in Black Leadership project papers, 1998/2015"],"collection_ssim":["Explorations in Black Leadership project papers, 1998/2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16674","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1372"],"unitid_tesim":["MSS 16674","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1372"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Bond, Julian, 1940-2015"],"creator_ssim":["Bond, Julian, 1940-2015"],"creator_persname_ssim":["Bond, Julian, 1940-2015"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Bond, Julian, 1940-2015","Albert and Shirley Small Special Collections Library"],"access_terms_ssm":["This collection is protected by copyright and/or related rights. You are free to use materials in the collection in any way that is permitted by the copyright and related\nrights legislation that applies to your use."],"access_subjects_ssim":["African Americans","African Americans -- Civil rights","Leadership","Interviews"],"access_subjects_ssm":["African Americans","African Americans -- Civil rights","Leadership","Interviews"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair"],"extent_ssm":["9.0 Cubic Feet Nine boxes","120 items 29 VHS, 52 DVCAMs, 29 optical disks, 2 DVs, 8 Betacam SPs"],"extent_tesim":["9.0 Cubic Feet Nine boxes","120 items 29 VHS, 52 DVCAMs, 29 optical disks, 2 DVs, 8 Betacam SPs"],"date_range_isim":[1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  ","\u003cp\u003eOriginal digital media (floppy disks, zip disks, thumb drives, born-digital files, etc.) and other media formats such as LPs, audiocassettes, videotapes, films, CDs, and DVDs cannot be handled directly by patrons. Appointments must be made in advance to request these items held by Special Collections. Please use our online reference request form (https://small.library.virginia.edu/services/reference-request) to request access to these materials, or to ask for further information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use.","Original digital media (floppy disks, zip disks, thumb drives, born-digital files, etc.) and other media formats such as LPs, audiocassettes, videotapes, films, CDs, and DVDs cannot be handled directly by patrons. Appointments must be made in advance to request these items held by Special Collections. Please use our online reference request form (https://small.library.virginia.edu/services/reference-request) to request access to these materials, or to ask for further information."],"bioghist_html_tesm":["\u003cp\u003ePhyllis Leffler is a professor emerita at the University of Virginia with a focus on oral history, public history, and the history of the University of Virginia. Julian Bond was a prominent figure in the civil rights movement, helping to found the Southern Poverty Law Center in 1971. Bond also served in the Georgia House of Representatives, was the chairman of the NAACP from 1998 to 2010, and was a professor at the University of Virginia. \nExplorations in Black Leadership was a joint project co-directed by Leffler and Bond within the School of Arts and Sciences, conducted between 200 and 2015. The project consisted of oral histories of leaders from the Black community, from all areas including law, education, religion, public service, the arts, and business. 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It examined how leaders are nurtured and how historical circumstances shape them."],"prefercite_html_tesm":["\u003cp\u003eMSS 16674 Explorations in Black Leadership project papers, box number, folder number, Albert and Shirley\nSmall Special Collections Library, University of Virginia.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16674 Explorations in Black Leadership project papers, box number, folder number, Albert and Shirley\nSmall Special Collections Library, University of Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003ehttps://blackleadership.virginia.edu/\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["https://blackleadership.virginia.edu/"],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains briefings with preparatory materials, questions and notes for oral histories conducted as part of the Explorations in Black Leadership project. The briefings were often compiled by interns with the Institute for Public History and included interview questions, possible answers prepared for Julian Bond (the primary interviewer), biographical information, handwritten notes, and correspondence. The collection also includes audio and video cassettes, CDs, and DVDs of interviews and other project related materials.\u003c/p\u003e  ","\u003cp\u003eThis series contains the briefing books for each subject of the Explorations in Black Leadership project. 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The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1645#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1645","ead_ssi":"viu_repositories_3_resources_1645","_root_":"viu_repositories_3_resources_1645","_nest_parent_":"viu_repositories_3_resources_1645","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1645.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/196328","title_filing_ssi":"Schroeder, Jean, papers","title_ssm":["Jean Schroeder papers"],"title_tesim":["Jean Schroeder papers"],"unitdate_ssm":["ca. 1939-1951"],"unitdate_bulk_ssim":["ca. 1939-1951"],"normalized_date_ssm":["1939/1951"],"normalized_title_ssm":["Jean Schroeder papers, 1939/1951"],"text":["Jean Schroeder papers, 1939/1951","MSS 16836","Archival Resource Key","/repositories/3/resources/1645","Interracial marriage","Interracial marriage -- United States","History of Childhood, Parenting and Family Building (UVA)","African Americans","The collection is open for research use.","Jeanie Schroeder (Married names:Boston, [McCoy], [Shearer??] was born in 1921  to Theophil R. Schroeder (1898-1973) and Goldie Margaret Halliday Schroeder (1893-1959) and graduated from NorthWestern University. She also worked as a personnel manager for the Billy Wright Orchestra (known as a pre-cursor to the famous musician Little Richard-- William Wright (1918-1991) was an African American singer who was openly Gay. He is considered one of Little Richard's greatest influences in his formative years.) Jeanie's boyfriend  and secret husband was a musician named Kenny Leighton. She had many friends who were musicians in Chicago and in the United States Navy Band. When she became pregnant, her mother wanted her to marry someone (not Kenny Leighton) just to obtain what Mrs. Schroeder considered acceptable married status. Mrs. Schroeder wanted to take care of her daughter and Miss Schroeder showed much courage in exploring an interacial marriage with Kenny \"Tiny\" Leighton and raising her son on her own while trying to earn money and attend college. Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis).","Related to the UVA Collection of the History of Parenting, Childhood, and Family Building.","This collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.","It contains 130 handwritten letters, thirty typed letters, and 115 pieces of paper ephemera, including identification cards, handwritten poetry, and illustrations by Blair,  their child, drawn for his mother.","The archive includes letters from Jeannie's father, Theophile R. Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Jean Schroeder papers, 1939/1951"],"collection_ssim":["Jean Schroeder papers, 1939/1951"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 16836","Archival Resource Key","/repositories/3/resources/1645"],"unitid_tesim":["MSS 16836","Archival Resource Key","/repositories/3/resources/1645"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod by the Small Special Collections Library at the University of Virginia Library on 6 September 2023"],"access_subjects_ssim":["Interracial marriage","Interracial marriage -- United States","History of Childhood, Parenting and Family Building (UVA)","African Americans"],"access_subjects_ssm":["Interracial marriage","Interracial marriage -- United States","History of Childhood, Parenting and Family Building (UVA)","African Americans"],"has_online_content_ssim":["false"],"extent_ssm":[".6 Cubic Feet"],"extent_tesim":[".6 Cubic Feet"],"physfacet_tesim":["2 document boxes (1 legal, 1 half-legal)"],"date_range_isim":[1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eJeanie Schroeder (Married names:Boston, [McCoy], [Shearer??] was born in 1921  to Theophil R. Schroeder (1898-1973) and Goldie Margaret Halliday Schroeder (1893-1959) and graduated from NorthWestern University. She also worked as a personnel manager for the Billy Wright Orchestra (known as a pre-cursor to the famous musician Little Richard-- William Wright (1918-1991) was an African American singer who was openly Gay. He is considered one of Little Richard's greatest influences in his formative years.) Jeanie's boyfriend  and secret husband was a musician named Kenny Leighton. She had many friends who were musicians in Chicago and in the United States Navy Band. When she became pregnant, her mother wanted her to marry someone (not Kenny Leighton) just to obtain what Mrs. Schroeder considered acceptable married status. Mrs. Schroeder wanted to take care of her daughter and Miss Schroeder showed much courage in exploring an interacial marriage with Kenny \"Tiny\" Leighton and raising her son on her own while trying to earn money and attend college. Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis).\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jeanie Schroeder (Married names:Boston, [McCoy], [Shearer??] was born in 1921  to Theophil R. Schroeder (1898-1973) and Goldie Margaret Halliday Schroeder (1893-1959) and graduated from NorthWestern University. She also worked as a personnel manager for the Billy Wright Orchestra (known as a pre-cursor to the famous musician Little Richard-- William Wright (1918-1991) was an African American singer who was openly Gay. He is considered one of Little Richard's greatest influences in his formative years.) Jeanie's boyfriend  and secret husband was a musician named Kenny Leighton. She had many friends who were musicians in Chicago and in the United States Navy Band. When she became pregnant, her mother wanted her to marry someone (not Kenny Leighton) just to obtain what Mrs. Schroeder considered acceptable married status. Mrs. Schroeder wanted to take care of her daughter and Miss Schroeder showed much courage in exploring an interacial marriage with Kenny \"Tiny\" Leighton and raising her son on her own while trying to earn money and attend college. Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis)."],"prefercite_html_tesm":["\u003cp\u003eMSS 16836, Jean Schroeder papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16836, Jean Schroeder papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"relatedmaterial_html_tesm":["\u003cp\u003eRelated to the UVA Collection of the History of Parenting, Childhood, and Family Building.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Related to the UVA Collection of the History of Parenting, Childhood, and Family Building."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.\u003c/p\u003e","\u003cp\u003eIt contains 130 handwritten letters, thirty typed letters, and 115 pieces of paper ephemera, including identification cards, handwritten poetry, and illustrations by Blair,  their child, drawn for his mother. \u003c/p\u003e","\u003cp\u003eThe archive includes letters from Jeannie's father, Theophile R. 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The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.","It contains 130 handwritten letters, thirty typed letters, and 115 pieces of paper ephemera, including identification cards, handwritten poetry, and illustrations by Blair,  their child, drawn for his mother.","The archive includes letters from Jeannie's father, Theophile R. Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":20,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1645","ead_ssi":"viu_repositories_3_resources_1645","_root_":"viu_repositories_3_resources_1645","_nest_parent_":"viu_repositories_3_resources_1645","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1645.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/196328","title_filing_ssi":"Schroeder, Jean, papers","title_ssm":["Jean Schroeder papers"],"title_tesim":["Jean Schroeder papers"],"unitdate_ssm":["ca. 1939-1951"],"unitdate_bulk_ssim":["ca. 1939-1951"],"normalized_date_ssm":["1939/1951"],"normalized_title_ssm":["Jean Schroeder papers, 1939/1951"],"text":["Jean Schroeder papers, 1939/1951","MSS 16836","Archival Resource Key","/repositories/3/resources/1645","Interracial marriage","Interracial marriage -- United States","History of Childhood, Parenting and Family Building (UVA)","African Americans","The collection is open for research use.","Jeanie Schroeder (Married names:Boston, [McCoy], [Shearer??] was born in 1921  to Theophil R. Schroeder (1898-1973) and Goldie Margaret Halliday Schroeder (1893-1959) and graduated from NorthWestern University. She also worked as a personnel manager for the Billy Wright Orchestra (known as a pre-cursor to the famous musician Little Richard-- William Wright (1918-1991) was an African American singer who was openly Gay. He is considered one of Little Richard's greatest influences in his formative years.) Jeanie's boyfriend  and secret husband was a musician named Kenny Leighton. She had many friends who were musicians in Chicago and in the United States Navy Band. When she became pregnant, her mother wanted her to marry someone (not Kenny Leighton) just to obtain what Mrs. Schroeder considered acceptable married status. Mrs. Schroeder wanted to take care of her daughter and Miss Schroeder showed much courage in exploring an interacial marriage with Kenny \"Tiny\" Leighton and raising her son on her own while trying to earn money and attend college. Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis).","Related to the UVA Collection of the History of Parenting, Childhood, and Family Building.","This collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.","It contains 130 handwritten letters, thirty typed letters, and 115 pieces of paper ephemera, including identification cards, handwritten poetry, and illustrations by Blair,  their child, drawn for his mother.","The archive includes letters from Jeannie's father, Theophile R. Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Jean Schroeder papers, 1939/1951"],"collection_ssim":["Jean Schroeder papers, 1939/1951"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 16836","Archival Resource Key","/repositories/3/resources/1645"],"unitid_tesim":["MSS 16836","Archival Resource Key","/repositories/3/resources/1645"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod by the Small Special Collections Library at the University of Virginia Library on 6 September 2023"],"access_subjects_ssim":["Interracial marriage","Interracial marriage -- United States","History of Childhood, Parenting and Family Building (UVA)","African Americans"],"access_subjects_ssm":["Interracial marriage","Interracial marriage -- United States","History of Childhood, Parenting and Family Building (UVA)","African Americans"],"has_online_content_ssim":["false"],"extent_ssm":[".6 Cubic Feet"],"extent_tesim":[".6 Cubic Feet"],"physfacet_tesim":["2 document boxes (1 legal, 1 half-legal)"],"date_range_isim":[1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eJeanie Schroeder (Married names:Boston, [McCoy], [Shearer??] was born in 1921  to Theophil R. Schroeder (1898-1973) and Goldie Margaret Halliday Schroeder (1893-1959) and graduated from NorthWestern University. She also worked as a personnel manager for the Billy Wright Orchestra (known as a pre-cursor to the famous musician Little Richard-- William Wright (1918-1991) was an African American singer who was openly Gay. He is considered one of Little Richard's greatest influences in his formative years.) Jeanie's boyfriend  and secret husband was a musician named Kenny Leighton. She had many friends who were musicians in Chicago and in the United States Navy Band. When she became pregnant, her mother wanted her to marry someone (not Kenny Leighton) just to obtain what Mrs. Schroeder considered acceptable married status. Mrs. Schroeder wanted to take care of her daughter and Miss Schroeder showed much courage in exploring an interacial marriage with Kenny \"Tiny\" Leighton and raising her son on her own while trying to earn money and attend college. Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis).\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jeanie Schroeder (Married names:Boston, [McCoy], [Shearer??] was born in 1921  to Theophil R. Schroeder (1898-1973) and Goldie Margaret Halliday Schroeder (1893-1959) and graduated from NorthWestern University. She also worked as a personnel manager for the Billy Wright Orchestra (known as a pre-cursor to the famous musician Little Richard-- William Wright (1918-1991) was an African American singer who was openly Gay. He is considered one of Little Richard's greatest influences in his formative years.) Jeanie's boyfriend  and secret husband was a musician named Kenny Leighton. She had many friends who were musicians in Chicago and in the United States Navy Band. When she became pregnant, her mother wanted her to marry someone (not Kenny Leighton) just to obtain what Mrs. Schroeder considered acceptable married status. Mrs. Schroeder wanted to take care of her daughter and Miss Schroeder showed much courage in exploring an interacial marriage with Kenny \"Tiny\" Leighton and raising her son on her own while trying to earn money and attend college. Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis)."],"prefercite_html_tesm":["\u003cp\u003eMSS 16836, Jean Schroeder papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16836, Jean Schroeder papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"relatedmaterial_html_tesm":["\u003cp\u003eRelated to the UVA Collection of the History of Parenting, Childhood, and Family Building.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Related to the UVA Collection of the History of Parenting, Childhood, and Family Building."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.\u003c/p\u003e","\u003cp\u003eIt contains 130 handwritten letters, thirty typed letters, and 115 pieces of paper ephemera, including identification cards, handwritten poetry, and illustrations by Blair,  their child, drawn for his mother. \u003c/p\u003e","\u003cp\u003eThe archive includes letters from Jeannie's father, Theophile R. Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.","It contains 130 handwritten letters, thirty typed letters, and 115 pieces of paper ephemera, including identification cards, handwritten poetry, and illustrations by Blair,  their child, drawn for his mother.","The archive includes letters from Jeannie's father, Theophile R. Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":20,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1645"}},{"id":"viu_repositories_3_resources_998","type":"collection","attributes":{"title":"Nydrie and Algoma related papers, 1890/1989","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_998#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\" \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_998#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_998","ead_ssi":"viu_repositories_3_resources_998","_root_":"viu_repositories_3_resources_998","_nest_parent_":"viu_repositories_3_resources_998","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_998.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120861","title_filing_ssi":"Nydrie and Algoma related papers","title_ssm":["Nydrie and Algoma related papers"],"title_tesim":["Nydrie and Algoma related papers"],"unitdate_ssm":["circa 1862-2003"],"unitdate_inclusive_ssm":["circa 1862-2003"],"normalized_date_ssm":["1890/1989"],"normalized_title_ssm":["Nydrie and Algoma related papers, 1890/1989"],"text":["Nydrie and Algoma related papers, 1890/1989","MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998","Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876","African Americans","Scrapbooks","Black-and-white photographs","Fair to good.","This collection is open for research use.","This collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia.","\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members.","The Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.","The \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\"","There is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.","The link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is:","https://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing","This folder contains images of Axtell Academy, which was a school for women, built in Buckingham County in 1892. General Logan wanted this school built for his daughters, so they would have a good education. His daughter, Meta Forsyth Cabell, eventually raning the school. One of the teachers at this school was Professor Irving Sale who was a University of Virginia graduate. The library of this school was incredibly advanced for its time with over 3,000 books.","This collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\"","The papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.","Also present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club .","Christmas cards to one of the families, containing images of \"Guthrie Hall,\" an historic mansion located in Esmont, Virginia, and a photograph of the Cliveden Astors.","This folder contains newspaper clippings about Thomas Muldrup Logan, including a newspaper clipping about Lena Logan Forsyth accepting honors for her father at the unveiling of the Washington Light Infantry Monument in Charleston, SC in 1891. There is also an article of Elizabeth Drake Morrill Holladay, a female pilot who ferried planes during WWII. This was a part of a female group of pilots called the 'Ninety-Nines.' Her second husband, Richard Fairfield Holladay, helped build the Albemarle Airport.","This folder contains photographs of the inside and outside of the Algoma house, dating from around 1890 until around 1980.  There is information about the farm with a diagram of how the farm was divided up and information about who had different areas of the farm. There is also an image of \"Dungannon,\" the house on the Algoma farm owned by Katy Logan Bruns, one of the daughters of Thomas M. Logan.","This folder contains various images of the inside and outside of Nydrie, including an article about Nydrie having fallen into disrepair and There is also a hand drawn image of Nydrie used on a flier attempting to sell materials from Nydrie.","\"Enniscorthy\" was a large plantation in Albemarle County originally owned by the Coles family who had business connections with Thomas Jefferson. Mr. and Ms. Morrill obtained the house in 1926. Lily Morrill completely restructured the garden, and it became well known in the area for its beauty.","This folder contains various images of the Forsyth and Logan family. There are various images of Sarah Johnson (Forsyth) Randolph getting married in 1937 at Christ Episcopal Church, Glendower, Albemarle County, Virginia. This church is one of the oldest Episcopal churches in St. Anne's Parish, Albemarle Virginia, and is recognized in the National Record of Historic Places. There are also various images of Sarah Rice Johnson Forsyth, Bucky Forsyth, Lily Logan Morrill, Albert Henry Morrill, T.M. Logan's daughters, and various other members of the family.","One thing to note is there is a photograph showing an African American woman holding the twins Sarah Forsyth Randolph and Bucky Forsyth. Her name is Rebecca Ward Jordan.","Page 1 and 2 of this scrapbook contain images of \"Clover Hill,\" and its cemetery, Chesterfield, Virginia, a famous plantation before the Civil War. An enslaved man found coal on the land which led to several mines opening on the plantation. These mines became known as the \"Clover Hill Pits.\" Robert E. Lee also briefly visited this house for dinner. This plantation was the childhood home of Kate Virginia Cox, the wife of Thomas Muldrup Logan.","Pages 4 and 5 of the scrapbook contain photographs of General Thomas Muldrup Logan in uniform and in civilian clothes after the Civil War.","Page 9 contains images of African Americans. The African American woman shown is named Ellen Jasper (died 1904).","Page 17 contains two images of an African American man listed only as \"Uncle David (Algoma).\" He served previously as an enslaved laborer for one of the Rives family in the Confederate Army.","Page 18 has another image of \"Uncle David.\" It also shows an image of someone plowing, who may also be an African American man.","Page 19 shows Lena Logan dressed up for Mardi Gras. The Logan families' non-summer home was located in Louisiana.","Page 23 has another photograph of Ellen Jasper and page 25 shows an African American man working as a carriage driver.","Pages 1 and 2 of Scrapbook B contains images of Thomas M. Logan, both as a young man and as an older man.","On page 15, the top left photograph may possibly be of an African American farmhand. This scrapbook is filled with excellent images of the Algoma house, both inside and outside.","Page 10 of Scrapbook C shows an image of an unnamed African American man in the uniform of a carriage driver, standing beside two horses and carriage.","There is a typed list of identifications with this scrapbook provided by the donors.\nPage 3 of Scrapbook D shows people taking a carriage ride. Page 4a and b possibly contain images of African American men.","Page 6a contains images of African American men. 6b and 7a shows women raking hay but possibly a posed photograph since they appear to be wearing nice dresses. One of the women in 6a is Lena Logan, Lily Logan is in 7b. 8b also shows a woman \"at work\" and may be. This woman is probably Lena Logan.","Pages 1-37 of this Scrapbook contain writing by Lily Logan Morrill. She was a writer and editor of the \"Home and Garden Review.\" Some of the magazines in which she published include \"Girlhood Days,\" \"Junior Life,\" and \"Homes and Gardens of Tomorrow.\"","Page 37 of this Scrapbook contains an article by Lily Logan Morrill about Morven Garden. This garden is still used today for students at the University of Virginia to learn more about sustainability and the crops grown from this garden are used to partially supply University of Virginia dining.","Page 101 has an image of \"Union Hall\" and an African American woman, whose name appears to be Mary Minor Bush. Page 103 has a photograph of Dr. Sam Logan","Page 104 contains an image of Elizabeth Morrill working on her plane.","Page 106 has an image of Axtell Academy and a photograph of African American girls who were the ribbon bearers at the wedding of Elizabeth Morrill and Theodore Phillips, her first husband.","Albert and Shirley Small Special Collections Library","Morrill, Lily Logan, 1877-1944","English"],"collection_title_tesim":["Nydrie and Algoma related papers, 1890/1989"],"collection_ssim":["Nydrie and Algoma related papers, 1890/1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998"],"unitid_tesim":["MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"geogname_ssim":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"places_ssim":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"creator_persname_ssim":["Morrill, Lily Logan, 1877-1944"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Morrill, Lily Logan, 1877-1944","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was given to the University of Virginia Special Collections Library on February 26, 2010, by Sarah Donnelly."],"access_subjects_ssim":["African Americans","Scrapbooks","Black-and-white photographs"],"access_subjects_ssm":["African Americans","Scrapbooks","Black-and-white photographs"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair to good."],"extent_ssm":["1 Cubic Feet 1 legal document box and 1 over size small flat box"],"extent_tesim":["1 Cubic Feet 1 legal document box and 1 over size small flat box"],"genreform_ssim":["Scrapbooks","Black-and-white photographs"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eThis collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia. \u003c/p\u003e","\u003cp\u003e\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members. \u003c/p\u003e","\u003cp\u003eThe Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.\u003c/p\u003e","\u003cp\u003eThe \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\" \u003c/p\u003e","\u003cp\u003eThere is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.\u003c/p\u003e","\u003cp\u003eThe link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is: \u003c/p\u003e","\u003cp\u003ehttps://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing\u003c/p\u003e  ","\u003cp\u003eThis folder contains images of Axtell Academy, which was a school for women, built in Buckingham County in 1892. General Logan wanted this school built for his daughters, so they would have a good education. His daughter, Meta Forsyth Cabell, eventually raning the school. One of the teachers at this school was Professor Irving Sale who was a University of Virginia graduate. The library of this school was incredibly advanced for its time with over 3,000 books.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical","Biographical / Historical"],"bioghist_tesim":["This collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia.","\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members.","The Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.","The \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\"","There is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.","The link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is:","https://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing","This folder contains images of Axtell Academy, which was a school for women, built in Buckingham County in 1892. General Logan wanted this school built for his daughters, so they would have a good education. His daughter, Meta Forsyth Cabell, eventually raning the school. One of the teachers at this school was Professor Irving Sale who was a University of Virginia graduate. The library of this school was incredibly advanced for its time with over 3,000 books."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\" \u003c/p\u003e","\u003cp\u003eThe papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.\u003c/p\u003e","\u003cp\u003eAlso present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club . \u003c/p\u003e  ","\u003cp\u003eChristmas cards to one of the families, containing images of \"Guthrie Hall,\" an historic mansion located in Esmont, Virginia, and a photograph of the Cliveden Astors.\u003c/p\u003e","\u003cp\u003eThis folder contains newspaper clippings about Thomas Muldrup Logan, including a newspaper clipping about Lena Logan Forsyth accepting honors for her father at the unveiling of the Washington Light Infantry Monument in Charleston, SC in 1891. There is also an article of Elizabeth Drake Morrill Holladay, a female pilot who ferried planes during WWII. This was a part of a female group of pilots called the 'Ninety-Nines.' Her second husband, Richard Fairfield Holladay, helped build the Albemarle Airport.\u003c/p\u003e","\u003cp\u003eThis folder contains photographs of the inside and outside of the Algoma house, dating from around 1890 until around 1980.  There is information about the farm with a diagram of how the farm was divided up and information about who had different areas of the farm. There is also an image of \"Dungannon,\" the house on the Algoma farm owned by Katy Logan Bruns, one of the daughters of Thomas M. Logan.\u003c/p\u003e","\u003cp\u003eThis folder contains various images of the inside and outside of Nydrie, including an article about Nydrie having fallen into disrepair and There is also a hand drawn image of Nydrie used on a flier attempting to sell materials from Nydrie.\u003c/p\u003e","\u003cp\u003e\"Enniscorthy\" was a large plantation in Albemarle County originally owned by the Coles family who had business connections with Thomas Jefferson. Mr. and Ms. Morrill obtained the house in 1926. Lily Morrill completely restructured the garden, and it became well known in the area for its beauty.\u003c/p\u003e","\u003cp\u003eThis folder contains various images of the Forsyth and Logan family. There are various images of Sarah Johnson (Forsyth) Randolph getting married in 1937 at Christ Episcopal Church, Glendower, Albemarle County, Virginia. This church is one of the oldest Episcopal churches in St. Anne's Parish, Albemarle Virginia, and is recognized in the National Record of Historic Places. There are also various images of Sarah Rice Johnson Forsyth, Bucky Forsyth, Lily Logan Morrill, Albert Henry Morrill, T.M. Logan's daughters, and various other members of the family.\u003c/p\u003e","\u003cp\u003eOne thing to note is there is a photograph showing an African American woman holding the twins Sarah Forsyth Randolph and Bucky Forsyth. Her name is Rebecca Ward Jordan.\u003c/p\u003e","\u003cp\u003ePage 1 and 2 of this scrapbook contain images of \"Clover Hill,\" and its cemetery, Chesterfield, Virginia, a famous plantation before the Civil War. An enslaved man found coal on the land which led to several mines opening on the plantation. These mines became known as the \"Clover Hill Pits.\" Robert E. Lee also briefly visited this house for dinner. This plantation was the childhood home of Kate Virginia Cox, the wife of Thomas Muldrup Logan. \u003c/p\u003e","\u003cp\u003ePages 4 and 5 of the scrapbook contain photographs of General Thomas Muldrup Logan in uniform and in civilian clothes after the Civil War. \u003c/p\u003e","\u003cp\u003ePage 9 contains images of African Americans. The African American woman shown is named Ellen Jasper (died 1904). \u003c/p\u003e","\u003cp\u003ePage 17 contains two images of an African American man listed only as \"Uncle David (Algoma).\" He served previously as an enslaved laborer for one of the Rives family in the Confederate Army. \u003c/p\u003e","\u003cp\u003ePage 18 has another image of \"Uncle David.\" It also shows an image of someone plowing, who may also be an African American man.\u003c/p\u003e","\u003cp\u003ePage 19 shows Lena Logan dressed up for Mardi Gras. The Logan families' non-summer home was located in Louisiana. \u003c/p\u003e","\u003cp\u003ePage 23 has another photograph of Ellen Jasper and page 25 shows an African American man working as a carriage driver.\u003c/p\u003e","\u003cp\u003ePages 1 and 2 of Scrapbook B contains images of Thomas M. Logan, both as a young man and as an older man.\u003c/p\u003e","\u003cp\u003eOn page 15, the top left photograph may possibly be of an African American farmhand. This scrapbook is filled with excellent images of the Algoma house, both inside and outside.\u003c/p\u003e","\u003cp\u003ePage 10 of Scrapbook C shows an image of an unnamed African American man in the uniform of a carriage driver, standing beside two horses and carriage.\u003c/p\u003e","\u003cp\u003eThere is a typed list of identifications with this scrapbook provided by the donors.\nPage 3 of Scrapbook D shows people taking a carriage ride. Page 4a and b possibly contain images of African American men.\u003c/p\u003e","\u003cp\u003ePage 6a contains images of African American men. 6b and 7a shows women raking hay but possibly a posed photograph since they appear to be wearing nice dresses. One of the women in 6a is Lena Logan, Lily Logan is in 7b. 8b also shows a woman \"at work\" and may be. This woman is probably Lena Logan.\u003c/p\u003e","\u003cp\u003ePages 1-37 of this Scrapbook contain writing by Lily Logan Morrill. She was a writer and editor of the \"Home and Garden Review.\" Some of the magazines in which she published include \"Girlhood Days,\" \"Junior Life,\" and \"Homes and Gardens of Tomorrow.\"\u003c/p\u003e","\u003cp\u003ePage 37 of this Scrapbook contains an article by Lily Logan Morrill about Morven Garden. This garden is still used today for students at the University of Virginia to learn more about sustainability and the crops grown from this garden are used to partially supply University of Virginia dining. \u003c/p\u003e","\u003cp\u003ePage 101 has an image of \"Union Hall\" and an African American woman, whose name appears to be Mary Minor Bush. Page 103 has a photograph of Dr. Sam Logan\u003c/p\u003e","\u003cp\u003ePage 104 contains an image of Elizabeth Morrill working on her plane.\u003c/p\u003e","\u003cp\u003ePage 106 has an image of Axtell Academy and a photograph of African American girls who were the ribbon bearers at the wedding of Elizabeth Morrill and Theodore Phillips, her first husband.\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":["This collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\"","The papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.","Also present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club .","Christmas cards to one of the families, containing images of \"Guthrie Hall,\" an historic mansion located in Esmont, Virginia, and a photograph of the Cliveden Astors.","This folder contains newspaper clippings about Thomas Muldrup Logan, including a newspaper clipping about Lena Logan Forsyth accepting honors for her father at the unveiling of the Washington Light Infantry Monument in Charleston, SC in 1891. There is also an article of Elizabeth Drake Morrill Holladay, a female pilot who ferried planes during WWII. This was a part of a female group of pilots called the 'Ninety-Nines.' Her second husband, Richard Fairfield Holladay, helped build the Albemarle Airport.","This folder contains photographs of the inside and outside of the Algoma house, dating from around 1890 until around 1980.  There is information about the farm with a diagram of how the farm was divided up and information about who had different areas of the farm. There is also an image of \"Dungannon,\" the house on the Algoma farm owned by Katy Logan Bruns, one of the daughters of Thomas M. Logan.","This folder contains various images of the inside and outside of Nydrie, including an article about Nydrie having fallen into disrepair and There is also a hand drawn image of Nydrie used on a flier attempting to sell materials from Nydrie.","\"Enniscorthy\" was a large plantation in Albemarle County originally owned by the Coles family who had business connections with Thomas Jefferson. Mr. and Ms. Morrill obtained the house in 1926. Lily Morrill completely restructured the garden, and it became well known in the area for its beauty.","This folder contains various images of the Forsyth and Logan family. There are various images of Sarah Johnson (Forsyth) Randolph getting married in 1937 at Christ Episcopal Church, Glendower, Albemarle County, Virginia. This church is one of the oldest Episcopal churches in St. Anne's Parish, Albemarle Virginia, and is recognized in the National Record of Historic Places. There are also various images of Sarah Rice Johnson Forsyth, Bucky Forsyth, Lily Logan Morrill, Albert Henry Morrill, T.M. Logan's daughters, and various other members of the family.","One thing to note is there is a photograph showing an African American woman holding the twins Sarah Forsyth Randolph and Bucky Forsyth. Her name is Rebecca Ward Jordan.","Page 1 and 2 of this scrapbook contain images of \"Clover Hill,\" and its cemetery, Chesterfield, Virginia, a famous plantation before the Civil War. An enslaved man found coal on the land which led to several mines opening on the plantation. These mines became known as the \"Clover Hill Pits.\" Robert E. Lee also briefly visited this house for dinner. This plantation was the childhood home of Kate Virginia Cox, the wife of Thomas Muldrup Logan.","Pages 4 and 5 of the scrapbook contain photographs of General Thomas Muldrup Logan in uniform and in civilian clothes after the Civil War.","Page 9 contains images of African Americans. The African American woman shown is named Ellen Jasper (died 1904).","Page 17 contains two images of an African American man listed only as \"Uncle David (Algoma).\" He served previously as an enslaved laborer for one of the Rives family in the Confederate Army.","Page 18 has another image of \"Uncle David.\" It also shows an image of someone plowing, who may also be an African American man.","Page 19 shows Lena Logan dressed up for Mardi Gras. The Logan families' non-summer home was located in Louisiana.","Page 23 has another photograph of Ellen Jasper and page 25 shows an African American man working as a carriage driver.","Pages 1 and 2 of Scrapbook B contains images of Thomas M. Logan, both as a young man and as an older man.","On page 15, the top left photograph may possibly be of an African American farmhand. This scrapbook is filled with excellent images of the Algoma house, both inside and outside.","Page 10 of Scrapbook C shows an image of an unnamed African American man in the uniform of a carriage driver, standing beside two horses and carriage.","There is a typed list of identifications with this scrapbook provided by the donors.\nPage 3 of Scrapbook D shows people taking a carriage ride. Page 4a and b possibly contain images of African American men.","Page 6a contains images of African American men. 6b and 7a shows women raking hay but possibly a posed photograph since they appear to be wearing nice dresses. One of the women in 6a is Lena Logan, Lily Logan is in 7b. 8b also shows a woman \"at work\" and may be. This woman is probably Lena Logan.","Pages 1-37 of this Scrapbook contain writing by Lily Logan Morrill. She was a writer and editor of the \"Home and Garden Review.\" Some of the magazines in which she published include \"Girlhood Days,\" \"Junior Life,\" and \"Homes and Gardens of Tomorrow.\"","Page 37 of this Scrapbook contains an article by Lily Logan Morrill about Morven Garden. This garden is still used today for students at the University of Virginia to learn more about sustainability and the crops grown from this garden are used to partially supply University of Virginia dining.","Page 101 has an image of \"Union Hall\" and an African American woman, whose name appears to be Mary Minor Bush. Page 103 has a photograph of Dr. Sam Logan","Page 104 contains an image of Elizabeth Morrill working on her plane.","Page 106 has an image of Axtell Academy and a photograph of African American girls who were the ribbon bearers at the wedding of Elizabeth Morrill and Theodore Phillips, her first husband."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Morrill, Lily Logan, 1877-1944"],"names_coll_ssim":["Morrill, Lily Logan, 1877-1944"],"names_ssim":["Albert and Shirley Small Special Collections Library","Morrill, Lily Logan, 1877-1944"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":15,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:30:00.774Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_998","ead_ssi":"viu_repositories_3_resources_998","_root_":"viu_repositories_3_resources_998","_nest_parent_":"viu_repositories_3_resources_998","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_998.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120861","title_filing_ssi":"Nydrie and Algoma related papers","title_ssm":["Nydrie and Algoma related papers"],"title_tesim":["Nydrie and Algoma related papers"],"unitdate_ssm":["circa 1862-2003"],"unitdate_inclusive_ssm":["circa 1862-2003"],"normalized_date_ssm":["1890/1989"],"normalized_title_ssm":["Nydrie and Algoma related papers, 1890/1989"],"text":["Nydrie and Algoma related papers, 1890/1989","MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998","Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876","African Americans","Scrapbooks","Black-and-white photographs","Fair to good.","This collection is open for research use.","This collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia.","\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members.","The Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.","The \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\"","There is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.","The link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is:","https://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing","This folder contains images of Axtell Academy, which was a school for women, built in Buckingham County in 1892. General Logan wanted this school built for his daughters, so they would have a good education. His daughter, Meta Forsyth Cabell, eventually raning the school. One of the teachers at this school was Professor Irving Sale who was a University of Virginia graduate. The library of this school was incredibly advanced for its time with over 3,000 books.","This collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\"","The papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.","Also present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club .","Christmas cards to one of the families, containing images of \"Guthrie Hall,\" an historic mansion located in Esmont, Virginia, and a photograph of the Cliveden Astors.","This folder contains newspaper clippings about Thomas Muldrup Logan, including a newspaper clipping about Lena Logan Forsyth accepting honors for her father at the unveiling of the Washington Light Infantry Monument in Charleston, SC in 1891. There is also an article of Elizabeth Drake Morrill Holladay, a female pilot who ferried planes during WWII. This was a part of a female group of pilots called the 'Ninety-Nines.' Her second husband, Richard Fairfield Holladay, helped build the Albemarle Airport.","This folder contains photographs of the inside and outside of the Algoma house, dating from around 1890 until around 1980.  There is information about the farm with a diagram of how the farm was divided up and information about who had different areas of the farm. There is also an image of \"Dungannon,\" the house on the Algoma farm owned by Katy Logan Bruns, one of the daughters of Thomas M. Logan.","This folder contains various images of the inside and outside of Nydrie, including an article about Nydrie having fallen into disrepair and There is also a hand drawn image of Nydrie used on a flier attempting to sell materials from Nydrie.","\"Enniscorthy\" was a large plantation in Albemarle County originally owned by the Coles family who had business connections with Thomas Jefferson. Mr. and Ms. Morrill obtained the house in 1926. Lily Morrill completely restructured the garden, and it became well known in the area for its beauty.","This folder contains various images of the Forsyth and Logan family. There are various images of Sarah Johnson (Forsyth) Randolph getting married in 1937 at Christ Episcopal Church, Glendower, Albemarle County, Virginia. This church is one of the oldest Episcopal churches in St. Anne's Parish, Albemarle Virginia, and is recognized in the National Record of Historic Places. There are also various images of Sarah Rice Johnson Forsyth, Bucky Forsyth, Lily Logan Morrill, Albert Henry Morrill, T.M. Logan's daughters, and various other members of the family.","One thing to note is there is a photograph showing an African American woman holding the twins Sarah Forsyth Randolph and Bucky Forsyth. Her name is Rebecca Ward Jordan.","Page 1 and 2 of this scrapbook contain images of \"Clover Hill,\" and its cemetery, Chesterfield, Virginia, a famous plantation before the Civil War. An enslaved man found coal on the land which led to several mines opening on the plantation. These mines became known as the \"Clover Hill Pits.\" Robert E. Lee also briefly visited this house for dinner. This plantation was the childhood home of Kate Virginia Cox, the wife of Thomas Muldrup Logan.","Pages 4 and 5 of the scrapbook contain photographs of General Thomas Muldrup Logan in uniform and in civilian clothes after the Civil War.","Page 9 contains images of African Americans. The African American woman shown is named Ellen Jasper (died 1904).","Page 17 contains two images of an African American man listed only as \"Uncle David (Algoma).\" He served previously as an enslaved laborer for one of the Rives family in the Confederate Army.","Page 18 has another image of \"Uncle David.\" It also shows an image of someone plowing, who may also be an African American man.","Page 19 shows Lena Logan dressed up for Mardi Gras. The Logan families' non-summer home was located in Louisiana.","Page 23 has another photograph of Ellen Jasper and page 25 shows an African American man working as a carriage driver.","Pages 1 and 2 of Scrapbook B contains images of Thomas M. Logan, both as a young man and as an older man.","On page 15, the top left photograph may possibly be of an African American farmhand. This scrapbook is filled with excellent images of the Algoma house, both inside and outside.","Page 10 of Scrapbook C shows an image of an unnamed African American man in the uniform of a carriage driver, standing beside two horses and carriage.","There is a typed list of identifications with this scrapbook provided by the donors.\nPage 3 of Scrapbook D shows people taking a carriage ride. Page 4a and b possibly contain images of African American men.","Page 6a contains images of African American men. 6b and 7a shows women raking hay but possibly a posed photograph since they appear to be wearing nice dresses. One of the women in 6a is Lena Logan, Lily Logan is in 7b. 8b also shows a woman \"at work\" and may be. This woman is probably Lena Logan.","Pages 1-37 of this Scrapbook contain writing by Lily Logan Morrill. She was a writer and editor of the \"Home and Garden Review.\" Some of the magazines in which she published include \"Girlhood Days,\" \"Junior Life,\" and \"Homes and Gardens of Tomorrow.\"","Page 37 of this Scrapbook contains an article by Lily Logan Morrill about Morven Garden. This garden is still used today for students at the University of Virginia to learn more about sustainability and the crops grown from this garden are used to partially supply University of Virginia dining.","Page 101 has an image of \"Union Hall\" and an African American woman, whose name appears to be Mary Minor Bush. Page 103 has a photograph of Dr. Sam Logan","Page 104 contains an image of Elizabeth Morrill working on her plane.","Page 106 has an image of Axtell Academy and a photograph of African American girls who were the ribbon bearers at the wedding of Elizabeth Morrill and Theodore Phillips, her first husband.","Albert and Shirley Small Special Collections Library","Morrill, Lily Logan, 1877-1944","English"],"collection_title_tesim":["Nydrie and Algoma related papers, 1890/1989"],"collection_ssim":["Nydrie and Algoma related papers, 1890/1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998"],"unitid_tesim":["MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"geogname_ssim":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"places_ssim":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"creator_persname_ssim":["Morrill, Lily Logan, 1877-1944"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Morrill, Lily Logan, 1877-1944","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was given to the University of Virginia Special Collections Library on February 26, 2010, by Sarah Donnelly."],"access_subjects_ssim":["African Americans","Scrapbooks","Black-and-white photographs"],"access_subjects_ssm":["African Americans","Scrapbooks","Black-and-white photographs"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair to good."],"extent_ssm":["1 Cubic Feet 1 legal document box and 1 over size small flat box"],"extent_tesim":["1 Cubic Feet 1 legal document box and 1 over size small flat box"],"genreform_ssim":["Scrapbooks","Black-and-white photographs"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eThis collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia. \u003c/p\u003e","\u003cp\u003e\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members. \u003c/p\u003e","\u003cp\u003eThe Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.\u003c/p\u003e","\u003cp\u003eThe \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\" \u003c/p\u003e","\u003cp\u003eThere is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.\u003c/p\u003e","\u003cp\u003eThe link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is: \u003c/p\u003e","\u003cp\u003ehttps://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing\u003c/p\u003e  ","\u003cp\u003eThis folder contains images of Axtell Academy, which was a school for women, built in Buckingham County in 1892. General Logan wanted this school built for his daughters, so they would have a good education. His daughter, Meta Forsyth Cabell, eventually raning the school. One of the teachers at this school was Professor Irving Sale who was a University of Virginia graduate. The library of this school was incredibly advanced for its time with over 3,000 books.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical","Biographical / Historical"],"bioghist_tesim":["This collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia.","\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members.","The Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.","The \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\"","There is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.","The link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is:","https://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing","This folder contains images of Axtell Academy, which was a school for women, built in Buckingham County in 1892. General Logan wanted this school built for his daughters, so they would have a good education. His daughter, Meta Forsyth Cabell, eventually raning the school. One of the teachers at this school was Professor Irving Sale who was a University of Virginia graduate. The library of this school was incredibly advanced for its time with over 3,000 books."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\" \u003c/p\u003e","\u003cp\u003eThe papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.\u003c/p\u003e","\u003cp\u003eAlso present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club . \u003c/p\u003e  ","\u003cp\u003eChristmas cards to one of the families, containing images of \"Guthrie Hall,\" an historic mansion located in Esmont, Virginia, and a photograph of the Cliveden Astors.\u003c/p\u003e","\u003cp\u003eThis folder contains newspaper clippings about Thomas Muldrup Logan, including a newspaper clipping about Lena Logan Forsyth accepting honors for her father at the unveiling of the Washington Light Infantry Monument in Charleston, SC in 1891. There is also an article of Elizabeth Drake Morrill Holladay, a female pilot who ferried planes during WWII. This was a part of a female group of pilots called the 'Ninety-Nines.' Her second husband, Richard Fairfield Holladay, helped build the Albemarle Airport.\u003c/p\u003e","\u003cp\u003eThis folder contains photographs of the inside and outside of the Algoma house, dating from around 1890 until around 1980.  There is information about the farm with a diagram of how the farm was divided up and information about who had different areas of the farm. There is also an image of \"Dungannon,\" the house on the Algoma farm owned by Katy Logan Bruns, one of the daughters of Thomas M. Logan.\u003c/p\u003e","\u003cp\u003eThis folder contains various images of the inside and outside of Nydrie, including an article about Nydrie having fallen into disrepair and There is also a hand drawn image of Nydrie used on a flier attempting to sell materials from Nydrie.\u003c/p\u003e","\u003cp\u003e\"Enniscorthy\" was a large plantation in Albemarle County originally owned by the Coles family who had business connections with Thomas Jefferson. Mr. and Ms. Morrill obtained the house in 1926. Lily Morrill completely restructured the garden, and it became well known in the area for its beauty.\u003c/p\u003e","\u003cp\u003eThis folder contains various images of the Forsyth and Logan family. There are various images of Sarah Johnson (Forsyth) Randolph getting married in 1937 at Christ Episcopal Church, Glendower, Albemarle County, Virginia. This church is one of the oldest Episcopal churches in St. Anne's Parish, Albemarle Virginia, and is recognized in the National Record of Historic Places. There are also various images of Sarah Rice Johnson Forsyth, Bucky Forsyth, Lily Logan Morrill, Albert Henry Morrill, T.M. Logan's daughters, and various other members of the family.\u003c/p\u003e","\u003cp\u003eOne thing to note is there is a photograph showing an African American woman holding the twins Sarah Forsyth Randolph and Bucky Forsyth. Her name is Rebecca Ward Jordan.\u003c/p\u003e","\u003cp\u003ePage 1 and 2 of this scrapbook contain images of \"Clover Hill,\" and its cemetery, Chesterfield, Virginia, a famous plantation before the Civil War. An enslaved man found coal on the land which led to several mines opening on the plantation. These mines became known as the \"Clover Hill Pits.\" Robert E. Lee also briefly visited this house for dinner. This plantation was the childhood home of Kate Virginia Cox, the wife of Thomas Muldrup Logan. \u003c/p\u003e","\u003cp\u003ePages 4 and 5 of the scrapbook contain photographs of General Thomas Muldrup Logan in uniform and in civilian clothes after the Civil War. \u003c/p\u003e","\u003cp\u003ePage 9 contains images of African Americans. The African American woman shown is named Ellen Jasper (died 1904). \u003c/p\u003e","\u003cp\u003ePage 17 contains two images of an African American man listed only as \"Uncle David (Algoma).\" He served previously as an enslaved laborer for one of the Rives family in the Confederate Army. \u003c/p\u003e","\u003cp\u003ePage 18 has another image of \"Uncle David.\" It also shows an image of someone plowing, who may also be an African American man.\u003c/p\u003e","\u003cp\u003ePage 19 shows Lena Logan dressed up for Mardi Gras. The Logan families' non-summer home was located in Louisiana. \u003c/p\u003e","\u003cp\u003ePage 23 has another photograph of Ellen Jasper and page 25 shows an African American man working as a carriage driver.\u003c/p\u003e","\u003cp\u003ePages 1 and 2 of Scrapbook B contains images of Thomas M. Logan, both as a young man and as an older man.\u003c/p\u003e","\u003cp\u003eOn page 15, the top left photograph may possibly be of an African American farmhand. This scrapbook is filled with excellent images of the Algoma house, both inside and outside.\u003c/p\u003e","\u003cp\u003ePage 10 of Scrapbook C shows an image of an unnamed African American man in the uniform of a carriage driver, standing beside two horses and carriage.\u003c/p\u003e","\u003cp\u003eThere is a typed list of identifications with this scrapbook provided by the donors.\nPage 3 of Scrapbook D shows people taking a carriage ride. Page 4a and b possibly contain images of African American men.\u003c/p\u003e","\u003cp\u003ePage 6a contains images of African American men. 6b and 7a shows women raking hay but possibly a posed photograph since they appear to be wearing nice dresses. One of the women in 6a is Lena Logan, Lily Logan is in 7b. 8b also shows a woman \"at work\" and may be. This woman is probably Lena Logan.\u003c/p\u003e","\u003cp\u003ePages 1-37 of this Scrapbook contain writing by Lily Logan Morrill. She was a writer and editor of the \"Home and Garden Review.\" Some of the magazines in which she published include \"Girlhood Days,\" \"Junior Life,\" and \"Homes and Gardens of Tomorrow.\"\u003c/p\u003e","\u003cp\u003ePage 37 of this Scrapbook contains an article by Lily Logan Morrill about Morven Garden. This garden is still used today for students at the University of Virginia to learn more about sustainability and the crops grown from this garden are used to partially supply University of Virginia dining. \u003c/p\u003e","\u003cp\u003ePage 101 has an image of \"Union Hall\" and an African American woman, whose name appears to be Mary Minor Bush. Page 103 has a photograph of Dr. Sam Logan\u003c/p\u003e","\u003cp\u003ePage 104 contains an image of Elizabeth Morrill working on her plane.\u003c/p\u003e","\u003cp\u003ePage 106 has an image of Axtell Academy and a photograph of African American girls who were the ribbon bearers at the wedding of Elizabeth Morrill and Theodore Phillips, her first husband.\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":["This collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\"","The papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.","Also present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club .","Christmas cards to one of the families, containing images of \"Guthrie Hall,\" an historic mansion located in Esmont, Virginia, and a photograph of the Cliveden Astors.","This folder contains newspaper clippings about Thomas Muldrup Logan, including a newspaper clipping about Lena Logan Forsyth accepting honors for her father at the unveiling of the Washington Light Infantry Monument in Charleston, SC in 1891. There is also an article of Elizabeth Drake Morrill Holladay, a female pilot who ferried planes during WWII. This was a part of a female group of pilots called the 'Ninety-Nines.' Her second husband, Richard Fairfield Holladay, helped build the Albemarle Airport.","This folder contains photographs of the inside and outside of the Algoma house, dating from around 1890 until around 1980.  There is information about the farm with a diagram of how the farm was divided up and information about who had different areas of the farm. There is also an image of \"Dungannon,\" the house on the Algoma farm owned by Katy Logan Bruns, one of the daughters of Thomas M. Logan.","This folder contains various images of the inside and outside of Nydrie, including an article about Nydrie having fallen into disrepair and There is also a hand drawn image of Nydrie used on a flier attempting to sell materials from Nydrie.","\"Enniscorthy\" was a large plantation in Albemarle County originally owned by the Coles family who had business connections with Thomas Jefferson. Mr. and Ms. Morrill obtained the house in 1926. Lily Morrill completely restructured the garden, and it became well known in the area for its beauty.","This folder contains various images of the Forsyth and Logan family. There are various images of Sarah Johnson (Forsyth) Randolph getting married in 1937 at Christ Episcopal Church, Glendower, Albemarle County, Virginia. This church is one of the oldest Episcopal churches in St. Anne's Parish, Albemarle Virginia, and is recognized in the National Record of Historic Places. There are also various images of Sarah Rice Johnson Forsyth, Bucky Forsyth, Lily Logan Morrill, Albert Henry Morrill, T.M. Logan's daughters, and various other members of the family.","One thing to note is there is a photograph showing an African American woman holding the twins Sarah Forsyth Randolph and Bucky Forsyth. Her name is Rebecca Ward Jordan.","Page 1 and 2 of this scrapbook contain images of \"Clover Hill,\" and its cemetery, Chesterfield, Virginia, a famous plantation before the Civil War. An enslaved man found coal on the land which led to several mines opening on the plantation. These mines became known as the \"Clover Hill Pits.\" Robert E. Lee also briefly visited this house for dinner. This plantation was the childhood home of Kate Virginia Cox, the wife of Thomas Muldrup Logan.","Pages 4 and 5 of the scrapbook contain photographs of General Thomas Muldrup Logan in uniform and in civilian clothes after the Civil War.","Page 9 contains images of African Americans. The African American woman shown is named Ellen Jasper (died 1904).","Page 17 contains two images of an African American man listed only as \"Uncle David (Algoma).\" He served previously as an enslaved laborer for one of the Rives family in the Confederate Army.","Page 18 has another image of \"Uncle David.\" It also shows an image of someone plowing, who may also be an African American man.","Page 19 shows Lena Logan dressed up for Mardi Gras. The Logan families' non-summer home was located in Louisiana.","Page 23 has another photograph of Ellen Jasper and page 25 shows an African American man working as a carriage driver.","Pages 1 and 2 of Scrapbook B contains images of Thomas M. Logan, both as a young man and as an older man.","On page 15, the top left photograph may possibly be of an African American farmhand. This scrapbook is filled with excellent images of the Algoma house, both inside and outside.","Page 10 of Scrapbook C shows an image of an unnamed African American man in the uniform of a carriage driver, standing beside two horses and carriage.","There is a typed list of identifications with this scrapbook provided by the donors.\nPage 3 of Scrapbook D shows people taking a carriage ride. Page 4a and b possibly contain images of African American men.","Page 6a contains images of African American men. 6b and 7a shows women raking hay but possibly a posed photograph since they appear to be wearing nice dresses. One of the women in 6a is Lena Logan, Lily Logan is in 7b. 8b also shows a woman \"at work\" and may be. This woman is probably Lena Logan.","Pages 1-37 of this Scrapbook contain writing by Lily Logan Morrill. She was a writer and editor of the \"Home and Garden Review.\" Some of the magazines in which she published include \"Girlhood Days,\" \"Junior Life,\" and \"Homes and Gardens of Tomorrow.\"","Page 37 of this Scrapbook contains an article by Lily Logan Morrill about Morven Garden. This garden is still used today for students at the University of Virginia to learn more about sustainability and the crops grown from this garden are used to partially supply University of Virginia dining.","Page 101 has an image of \"Union Hall\" and an African American woman, whose name appears to be Mary Minor Bush. Page 103 has a photograph of Dr. Sam Logan","Page 104 contains an image of Elizabeth Morrill working on her plane.","Page 106 has an image of Axtell Academy and a photograph of African American girls who were the ribbon bearers at the wedding of Elizabeth Morrill and Theodore Phillips, her first husband."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Morrill, Lily Logan, 1877-1944"],"names_coll_ssim":["Morrill, Lily Logan, 1877-1944"],"names_ssim":["Albert and Shirley Small Special Collections Library","Morrill, Lily Logan, 1877-1944"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":15,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:30:00.774Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_998"}},{"id":"viu_repositories_3_resources_1484","type":"collection","attributes":{"title":"Stephen Railton collection of Uncle Tom's Cabin ephemera, 1884/2015","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1484#creator","type":"document_value","attributes":{"value":"Railton,  Stephen, 1948-","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1484#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1484#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1484","ead_ssi":"viu_repositories_3_resources_1484","_root_":"viu_repositories_3_resources_1484","_nest_parent_":"viu_repositories_3_resources_1484","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1484.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/188793","title_filing_ssi":"Railton, Stephen collection of Uncle Tom's Cabin ephemera","title_ssm":["Stephen Railton collection of Uncle Tom's Cabin ephemera"],"title_tesim":["Stephen Railton collection of Uncle Tom's Cabin ephemera"],"unitdate_ssm":["1884-2015"],"unitdate_inclusive_ssm":["1884-2015"],"normalized_date_ssm":["1884/2015"],"normalized_title_ssm":["Stephen Railton collection of Uncle Tom's Cabin ephemera, 1884/2015"],"text":["Stephen Railton collection of Uncle Tom's Cabin ephemera, 1884/2015","MSS 16759","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1484","Slave trade-United States-History","Black people--segregation","Slavery--United States--History--19th Century","African Americans","Slaveholders","Songbooks.","Advertising","postcards","American Literature--19th Century--History and Criticism","The collection is open for research use.","Dr. Stephen Railton is Professor of English at the University of Virginia. He came to Virginia from Columbia University, where he earned his B.A., M.A., and Ph.D. Professor Railton has published numerous articles on American literature and has written two books, including Fenimore Cooper: A Study of His Imagination. He has also appeared on PBS's Newshour with Jim Lehrer as an expert on Mark Twain. Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026 American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.","Source:\nThe Great Course website. Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton","Content warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials.","Broadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.","There is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852.","This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials.","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South.","The materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin.","Racist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. 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He came to Virginia from Columbia University, where he earned his B.A., M.A., and Ph.D. Professor Railton has published numerous articles on American literature and has written two books, including Fenimore Cooper: A Study of His Imagination. He has also appeared on PBS's Newshour with Jim Lehrer as an expert on Mark Twain. Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026amp; American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.\u003c/p\u003e","\u003cp\u003eSource:\nThe Great Course website. 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Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026 American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.","Source:\nThe Great Course website. Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton"],"odd_html_tesm":["\u003cp\u003eContent warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. 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This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials."],"prefercite_html_tesm":["\u003cp\u003eMSS 16759, Steven Railton collection of Uncle Tom's Cabin ephemera, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16759, Steven Railton collection of Uncle Tom's Cabin ephemera, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"relatedmaterial_html_tesm":["\u003cp\u003eBroadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.\u003c/p\u003e","\u003cp\u003eThere is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Broadside a1852 a. 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As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026amp; American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South. \u003c/p\u003e","\u003cp\u003e\nThe materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin. \u003c/p\u003e","\u003cp\u003eRacist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects. \u003c/p\u003e","\u003cp\u003eIn addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website. \u003c/p\u003e  ","\u003cp\u003eBoston Globe contains cut-out paper dolls\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents"],"scopecontent_tesim":["This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials.","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South.","The materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin.","Racist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. 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Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton","Content warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials.","Broadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.","There is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852.","This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials.","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South.","The materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin.","Racist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. 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As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026amp; American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South. \u003c/p\u003e","\u003cp\u003e\nThe materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin. \u003c/p\u003e","\u003cp\u003eRacist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects. \u003c/p\u003e","\u003cp\u003eIn addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website. \u003c/p\u003e  ","\u003cp\u003eBoston Globe contains cut-out paper dolls\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents"],"scopecontent_tesim":["This material contains racist imagery of Black people. This note aims to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials.","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South.","The materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin.","Racist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects.","In addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website.","Boston Globe contains cut-out paper dolls"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Railton,  Stephen, 1948-"],"names_coll_ssim":["Railton,  Stephen, 1948-"],"names_ssim":["Albert and Shirley Small Special Collections Library","Railton,  Stephen, 1948-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1484"}},{"id":"viu_repositories_3_resources_1552","type":"collection","attributes":{"title":"Two African American women tintype, 1865/1900","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1552#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1552#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures 2.5 X 3.5 \". \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1552#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1552","ead_ssi":"viu_repositories_3_resources_1552","_root_":"viu_repositories_3_resources_1552","_nest_parent_":"viu_repositories_3_resources_1552","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1552.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190887","title_filing_ssi":"Two African American women tintype","title_ssm":["Two African American women tintype"],"title_tesim":["Two African American women tintype"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"normalized_date_ssm":["1865/1900"],"normalized_title_ssm":["Two African American women tintype, 1865/1900"],"text":["Two African American women tintype, 1865/1900","MSS 16796","Archival Resource Key","/repositories/3/resources/1552","African Americans","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image.","This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Two African American women tintype, 1865/1900"],"collection_ssim":["Two African American women tintype, 1865/1900"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"unitid_tesim":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on  01 March 2023."],"access_subjects_ssim":["African Americans","tintypes (prints)"],"access_subjects_ssm":["African Americans","tintypes (prints)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One letter-sized folder"],"extent_tesim":["0.03 Cubic Feet One letter-sized folder"],"genreform_ssim":["tintypes (prints)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003e\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.\u003c/p\u003e","\u003cp\u003eTintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image."],"prefercite_html_tesm":["\u003cp\u003eMSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". \u003c/p\u003e","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1552","ead_ssi":"viu_repositories_3_resources_1552","_root_":"viu_repositories_3_resources_1552","_nest_parent_":"viu_repositories_3_resources_1552","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1552.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190887","title_filing_ssi":"Two African American women tintype","title_ssm":["Two African American women tintype"],"title_tesim":["Two African American women tintype"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"normalized_date_ssm":["1865/1900"],"normalized_title_ssm":["Two African American women tintype, 1865/1900"],"text":["Two African American women tintype, 1865/1900","MSS 16796","Archival Resource Key","/repositories/3/resources/1552","African Americans","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image.","This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Two African American women tintype, 1865/1900"],"collection_ssim":["Two African American women tintype, 1865/1900"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"unitid_tesim":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on  01 March 2023."],"access_subjects_ssim":["African Americans","tintypes (prints)"],"access_subjects_ssm":["African Americans","tintypes (prints)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One letter-sized folder"],"extent_tesim":["0.03 Cubic Feet One letter-sized folder"],"genreform_ssim":["tintypes (prints)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003e\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.\u003c/p\u003e","\u003cp\u003eTintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image."],"prefercite_html_tesm":["\u003cp\u003eMSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". \u003c/p\u003e","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. 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