{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Art%2C+American+--+Virginia+--+20th+century","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Art%2C+American+--+Virginia+--+20th+century\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":5,"first_page?":true,"last_page?":true}},"data":[{"id":"viblbv_repositories_2_resources_3581","type":"collection","attributes":{"title":"Dean Carter Papers","creator":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_3581#creator","type":"document_value","attributes":{"value":"Carter, Dean, 1922-2013","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_3581#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter (1922-2013), professor and former head of the Art Department at Virginia Tech from 1950-1992.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_3581#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viblbv_repositories_2_resources_3581","ead_ssi":"viblbv_repositories_2_resources_3581","_root_":"viblbv_repositories_2_resources_3581","_nest_parent_":"viblbv_repositories_2_resources_3581","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_3581.xml","title_filing_ssi":"Carter, Dean, Papers","title_ssm":["Dean Carter Papers"],"title_tesim":["Dean Carter Papers"],"unitdate_ssm":["1950-2003","1964-1982"],"unitdate_bulk_ssim":["1964-1982"],"unitdate_inclusive_ssm":["1950-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2021.046"],"text":["Ms.2021.046","Dean Carter Papers","Art, American -- Virginia -- 20th century","Faculty and staff","University Archives","University History","Correspondence","Ephemera","Letters","The collection is open for research.","Duplicates were weeded or separated. One faculty evaluation was deaccessioned due to confidentiality and in accordance with the request of the donor.","This collection is arranged in three series, within each series the folders were arranged alphabetically:","Series I: Administrative Files, 1950-2003","Series II: Teaching Files, 1953-1999","Series III: Oversized Posters, 1974, undated","Dean Carter (1922-2013) was born in Henderson, North Carolina. He was a World War II veteran, serving in the U. S. Army Air Corps. He received a his bachelor's from American University and Master of Fine Arts from Indiana University. In 1950, Carter helped establish the Art Department at Virginia Tech and was department head for about 10 years. He taught numerous classes such as sculpture, drawing, and art history, from the years of 1950 to 1992. ","His work in sculpture has been displayed and exhibited throughout the United States. In 1992, Carter and his wife established the Dean and Rosina Carter Endowed Art Scholarship, which awards funds to outstanding visual arts students in their junior year at Virginia Tech. ","External Source:","\"In memoriam: Dean Carter, professor emeritus of art and art history, College of Architecture and Urban Studies.\" entry, VT News, May 2, 2013, https://vtx.vt.edu/articles/2013/05/050313-caus-deancarter.html","The guide to the Dean Carter Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement, and description of the Dean Carter Papers was completed in November 2021.","This collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter, professor and former head of the Art Department at Virginia Tech from 1950-1992.","Series I: Administrative Files, 1950-2003, contains departmental memorandums, letters, and other forms of correspondence between Dean Carter and other organizations and people. It also includes historical materials about the development of the Art Department at Virginia Tech, College of Architecture documents, and flyers and promotional materials for events and art exhibitions hosted by these departments. This series also has different photographs of artworks and sculptures, students in art class, and portraits, as well as an art gallery guestbook. ","Series II: Teaching Files, 1953-1999, consists of art history, drawing, sculpture, and painting course materials, such as syllabi, tests, and worksheets from the Art Department from the 1960s to the 1990s. It also includes flyers, photographs, and promotional materials for these courses.","Series III: Oversized Posters, 1974, undated, contains promotional materials for art shows, craft fairs, art galleries, and other events.","The following publications were separated to the Rare Book Collection at Virginia Tech Special Collections and University Archives (SCUA):","Separated publications \"Environment for Education\" (VPI President's Report), 1968/1969 \"A Report of Progress and A Look to Years Ahead\" (Bulletin Vol. LI, No. 9), July 1958 Commencement program, Department of Art, VPI\u0026SU, June 10, 1978 VPI Student Directory, 1967/1968 \"A New water system\", [Blacksburg, Va.] : Blacksburg, Christiansburg, V.P.I. Water Authority, 1957","Duplicate ephemera, such as brochures and flyers, were separated to the Record Group Vertical Files , also at SCUA.","The copyright status of this collection is unknown. Copyright restrictions\nmay apply. Contact Special Collections and University Archives for\nassistance in determining the use of these materials. ","Reproduction or\ndigitization of materials for personal or research use can be requested using\nour reproduction/digitization form: http://bit.ly/scuareproduction .","Reproduction or digitization of materials for publication or exhibit use can\nbe requested using our publication/exhibition form:\n http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","This collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter (1922-2013), professor and former head of the Art Department at Virginia Tech from 1950-1992.","Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute and State University. 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","Reproduction or\ndigitization of materials for personal or research use can be requested using\nour reproduction/digitization form: http://bit.ly/scuareproduction .","Reproduction or digitization of materials for publication or exhibit use can\nbe requested using our publication/exhibition form:\n http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["This collection was donated to Special Collections and University Archives in September 2021."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Faculty and staff","University Archives","University History","Correspondence","Ephemera","Letters"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Faculty and staff","University Archives","University History","Correspondence","Ephemera","Letters"],"has_online_content_ssim":["false"],"extent_ssm":["4.2 Cubic Feet 2 boxes, 1 oversize folder"],"extent_tesim":["4.2 Cubic Feet 2 boxes, 1 oversize folder"],"genreform_ssim":["Correspondence","Ephemera","Letters"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"appraisal_html_tesm":["\u003cp\u003eDuplicates were weeded or separated. 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One faculty evaluation was deaccessioned due to confidentiality and in accordance with the request of the donor."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged in three series, within each series the folders were arranged alphabetically:\u003c/p\u003e\n","\u003cp\u003eSeries I: Administrative Files, 1950-2003\u003c/p\u003e\n","\u003cp\u003eSeries II: Teaching Files, 1953-1999\u003c/p\u003e\n","\u003cp\u003eSeries III: Oversized Posters, 1974, undated\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged in three series, within each series the folders were arranged alphabetically:","Series I: Administrative Files, 1950-2003","Series II: Teaching Files, 1953-1999","Series III: Oversized Posters, 1974, undated"],"bioghist_html_tesm":["\u003cp\u003eDean Carter (1922-2013) was born in Henderson, North Carolina. He was a World War II veteran, serving in the U. S. Army Air Corps. He received a his bachelor's from American University and Master of Fine Arts from Indiana University. In 1950, Carter helped establish the Art Department at Virginia Tech and was department head for about 10 years. He taught numerous classes such as sculpture, drawing, and art history, from the years of 1950 to 1992. \u003c/p\u003e\n","\u003cp\u003eHis work in sculpture has been displayed and exhibited throughout the United States. In 1992, Carter and his wife established the Dean and Rosina Carter Endowed Art Scholarship, which awards funds to outstanding visual arts students in their junior year at Virginia Tech. \u003c/p\u003e\n","\u003cp\u003eExternal Source:\u003c/p\u003e\n","\u003cp\u003e\"In memoriam: Dean Carter, professor emeritus of art and art history, College of Architecture and Urban Studies.\" entry, VT News, May 2, 2013, \u003ca target=\"_blank\" href=\"https://vtx.vt.edu/articles/2013/05/050313-caus-deancarter.html\"\u003ehttps://vtx.vt.edu/articles/2013/05/050313-caus-deancarter.html\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Dean Carter (1922-2013) was born in Henderson, North Carolina. He was a World War II veteran, serving in the U. S. Army Air Corps. He received a his bachelor's from American University and Master of Fine Arts from Indiana University. In 1950, Carter helped establish the Art Department at Virginia Tech and was department head for about 10 years. He taught numerous classes such as sculpture, drawing, and art history, from the years of 1950 to 1992. ","His work in sculpture has been displayed and exhibited throughout the United States. In 1992, Carter and his wife established the Dean and Rosina Carter Endowed Art Scholarship, which awards funds to outstanding visual arts students in their junior year at Virginia Tech. ","External Source:","\"In memoriam: Dean Carter, professor emeritus of art and art history, College of Architecture and Urban Studies.\" entry, VT News, May 2, 2013, https://vtx.vt.edu/articles/2013/05/050313-caus-deancarter.html"],"odd_html_tesm":["\u003cp\u003eThe guide to the Dean Carter Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003cextref href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/extref\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Dean Carter Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Dean Carter Papers, Ms2021-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Dean Carter Papers, Ms2021-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Dean Carter Papers was completed in November 2021.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Dean Carter Papers was completed in November 2021."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter, professor and former head of the Art Department at Virginia Tech from 1950-1992.\u003c/p\u003e\n","\u003cp\u003eSeries I: Administrative Files, 1950-2003, contains departmental memorandums, letters, and other forms of correspondence between Dean Carter and other organizations and people. It also includes historical materials about the development of the Art Department at Virginia Tech, College of Architecture documents, and flyers and promotional materials for events and art exhibitions hosted by these departments. This series also has different photographs of artworks and sculptures, students in art class, and portraits, as well as an art gallery guestbook. \u003c/p\u003e\n","\u003cp\u003eSeries II: Teaching Files, 1953-1999, consists of art history, drawing, sculpture, and painting course materials, such as syllabi, tests, and worksheets from the Art Department from the 1960s to the 1990s. It also includes flyers, photographs, and promotional materials for these courses.\u003c/p\u003e\n","\u003cp\u003eSeries III: Oversized Posters, 1974, undated, contains promotional materials for art shows, craft fairs, art galleries, and other events.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter, professor and former head of the Art Department at Virginia Tech from 1950-1992.","Series I: Administrative Files, 1950-2003, contains departmental memorandums, letters, and other forms of correspondence between Dean Carter and other organizations and people. It also includes historical materials about the development of the Art Department at Virginia Tech, College of Architecture documents, and flyers and promotional materials for events and art exhibitions hosted by these departments. This series also has different photographs of artworks and sculptures, students in art class, and portraits, as well as an art gallery guestbook. ","Series II: Teaching Files, 1953-1999, consists of art history, drawing, sculpture, and painting course materials, such as syllabi, tests, and worksheets from the Art Department from the 1960s to the 1990s. It also includes flyers, photographs, and promotional materials for these courses.","Series III: Oversized Posters, 1974, undated, contains promotional materials for art shows, craft fairs, art galleries, and other events."],"separatedmaterial_html_tesm":["\u003cp\u003eThe following publications were separated to the Rare Book Collection at Virginia Tech Special Collections and University Archives (SCUA):\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n \u003chead\u003eSeparated publications\u003c/head\u003e\n \u003citem\u003e\"Environment for Education\" (VPI President's Report), 1968/1969\u003c/item\u003e\n \u003citem\u003e\"A Report of Progress and A Look to Years Ahead\" (Bulletin Vol. LI, No. 9), July 1958\u003c/item\u003e\n \u003citem\u003eCommencement program, Department of Art, VPI\u0026amp;SU, June 10, 1978\u003c/item\u003e\n \u003citem\u003eVPI Student Directory, 1967/1968\u003c/item\u003e\n \u003citem\u003e\"A New water system\", [Blacksburg, Va.] : Blacksburg, Christiansburg, V.P.I. Water Authority, 1957\u003c/item\u003e\n \u003c/list\u003e","\u003cp\u003eDuplicate ephemera, such as brochures and flyers, were separated to the \u003ca target=\"_blank\" href=\"https://ead.lib.virginia.edu/vivaxtf/view?docId=oai/lib.vt.edu/repositories/2/resources/3150.oai_ead.xml\"\u003eRecord Group Vertical Files\u003c/a\u003e, also at SCUA.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["The following publications were separated to the Rare Book Collection at Virginia Tech Special Collections and University Archives (SCUA):","Separated publications \"Environment for Education\" (VPI President's Report), 1968/1969 \"A Report of Progress and A Look to Years Ahead\" (Bulletin Vol. LI, No. 9), July 1958 Commencement program, Department of Art, VPI\u0026SU, June 10, 1978 VPI Student Directory, 1967/1968 \"A New water system\", [Blacksburg, Va.] : Blacksburg, Christiansburg, V.P.I. Water Authority, 1957","Duplicate ephemera, such as brochures and flyers, were separated to the Record Group Vertical Files , also at SCUA."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions\nmay apply. Contact Special Collections and University Archives for\nassistance in determining the use of these materials. \u003c/p\u003e\n","\u003cp\u003eReproduction or\ndigitization of materials for personal or research use can be requested using\nour reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e.\u003c/p\u003e\n","\u003cp\u003eReproduction or digitization of materials for publication or exhibit use can\nbe requested using our publication/exhibition form:\n\u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions\nmay apply. Contact Special Collections and University Archives for\nassistance in determining the use of these materials. ","Reproduction or\ndigitization of materials for personal or research use can be requested using\nour reproduction/digitization form: http://bit.ly/scuareproduction .","Reproduction or digitization of materials for publication or exhibit use can\nbe requested using our publication/exhibition form:\n http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_88be1582beb972f0b539ed24b39447bb\" label=\"Abstract\"\u003eThis collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter (1922-2013), professor and former head of the Art Department at Virginia Tech from 1950-1992.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter (1922-2013), professor and former head of the Art Department at Virginia Tech from 1950-1992."],"names_coll_ssim":["Virginia Polytechnic Institute and State University. Department of Art and Art History"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute and State University. Department of Art and Art History","Carter, Dean, 1922-2013"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute and State University. 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One faculty evaluation was deaccessioned due to confidentiality and in accordance with the request of the donor.","This collection is arranged in three series, within each series the folders were arranged alphabetically:","Series I: Administrative Files, 1950-2003","Series II: Teaching Files, 1953-1999","Series III: Oversized Posters, 1974, undated","Dean Carter (1922-2013) was born in Henderson, North Carolina. He was a World War II veteran, serving in the U. S. Army Air Corps. He received a his bachelor's from American University and Master of Fine Arts from Indiana University. In 1950, Carter helped establish the Art Department at Virginia Tech and was department head for about 10 years. He taught numerous classes such as sculpture, drawing, and art history, from the years of 1950 to 1992. ","His work in sculpture has been displayed and exhibited throughout the United States. In 1992, Carter and his wife established the Dean and Rosina Carter Endowed Art Scholarship, which awards funds to outstanding visual arts students in their junior year at Virginia Tech. ","External Source:","\"In memoriam: Dean Carter, professor emeritus of art and art history, College of Architecture and Urban Studies.\" entry, VT News, May 2, 2013, https://vtx.vt.edu/articles/2013/05/050313-caus-deancarter.html","The guide to the Dean Carter Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement, and description of the Dean Carter Papers was completed in November 2021.","This collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter, professor and former head of the Art Department at Virginia Tech from 1950-1992.","Series I: Administrative Files, 1950-2003, contains departmental memorandums, letters, and other forms of correspondence between Dean Carter and other organizations and people. It also includes historical materials about the development of the Art Department at Virginia Tech, College of Architecture documents, and flyers and promotional materials for events and art exhibitions hosted by these departments. This series also has different photographs of artworks and sculptures, students in art class, and portraits, as well as an art gallery guestbook. ","Series II: Teaching Files, 1953-1999, consists of art history, drawing, sculpture, and painting course materials, such as syllabi, tests, and worksheets from the Art Department from the 1960s to the 1990s. 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One faculty evaluation was deaccessioned due to confidentiality and in accordance with the request of the donor."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged in three series, within each series the folders were arranged alphabetically:\u003c/p\u003e\n","\u003cp\u003eSeries I: Administrative Files, 1950-2003\u003c/p\u003e\n","\u003cp\u003eSeries II: Teaching Files, 1953-1999\u003c/p\u003e\n","\u003cp\u003eSeries III: Oversized Posters, 1974, undated\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged in three series, within each series the folders were arranged alphabetically:","Series I: Administrative Files, 1950-2003","Series II: Teaching Files, 1953-1999","Series III: Oversized Posters, 1974, undated"],"bioghist_html_tesm":["\u003cp\u003eDean Carter (1922-2013) was born in Henderson, North Carolina. He was a World War II veteran, serving in the U. S. Army Air Corps. He received a his bachelor's from American University and Master of Fine Arts from Indiana University. In 1950, Carter helped establish the Art Department at Virginia Tech and was department head for about 10 years. He taught numerous classes such as sculpture, drawing, and art history, from the years of 1950 to 1992. \u003c/p\u003e\n","\u003cp\u003eHis work in sculpture has been displayed and exhibited throughout the United States. In 1992, Carter and his wife established the Dean and Rosina Carter Endowed Art Scholarship, which awards funds to outstanding visual arts students in their junior year at Virginia Tech. \u003c/p\u003e\n","\u003cp\u003eExternal Source:\u003c/p\u003e\n","\u003cp\u003e\"In memoriam: Dean Carter, professor emeritus of art and art history, College of Architecture and Urban Studies.\" entry, VT News, May 2, 2013, \u003ca target=\"_blank\" href=\"https://vtx.vt.edu/articles/2013/05/050313-caus-deancarter.html\"\u003ehttps://vtx.vt.edu/articles/2013/05/050313-caus-deancarter.html\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Dean Carter (1922-2013) was born in Henderson, North Carolina. He was a World War II veteran, serving in the U. S. Army Air Corps. He received a his bachelor's from American University and Master of Fine Arts from Indiana University. In 1950, Carter helped establish the Art Department at Virginia Tech and was department head for about 10 years. He taught numerous classes such as sculpture, drawing, and art history, from the years of 1950 to 1992. ","His work in sculpture has been displayed and exhibited throughout the United States. In 1992, Carter and his wife established the Dean and Rosina Carter Endowed Art Scholarship, which awards funds to outstanding visual arts students in their junior year at Virginia Tech. ","External Source:","\"In memoriam: Dean Carter, professor emeritus of art and art history, College of Architecture and Urban Studies.\" entry, VT News, May 2, 2013, https://vtx.vt.edu/articles/2013/05/050313-caus-deancarter.html"],"odd_html_tesm":["\u003cp\u003eThe guide to the Dean Carter Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003cextref href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/extref\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Dean Carter Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Dean Carter Papers, Ms2021-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Dean Carter Papers, Ms2021-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Dean Carter Papers was completed in November 2021.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Dean Carter Papers was completed in November 2021."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter, professor and former head of the Art Department at Virginia Tech from 1950-1992.\u003c/p\u003e\n","\u003cp\u003eSeries I: Administrative Files, 1950-2003, contains departmental memorandums, letters, and other forms of correspondence between Dean Carter and other organizations and people. It also includes historical materials about the development of the Art Department at Virginia Tech, College of Architecture documents, and flyers and promotional materials for events and art exhibitions hosted by these departments. This series also has different photographs of artworks and sculptures, students in art class, and portraits, as well as an art gallery guestbook. \u003c/p\u003e\n","\u003cp\u003eSeries II: Teaching Files, 1953-1999, consists of art history, drawing, sculpture, and painting course materials, such as syllabi, tests, and worksheets from the Art Department from the 1960s to the 1990s. It also includes flyers, photographs, and promotional materials for these courses.\u003c/p\u003e\n","\u003cp\u003eSeries III: Oversized Posters, 1974, undated, contains promotional materials for art shows, craft fairs, art galleries, and other events.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter, professor and former head of the Art Department at Virginia Tech from 1950-1992.","Series I: Administrative Files, 1950-2003, contains departmental memorandums, letters, and other forms of correspondence between Dean Carter and other organizations and people. It also includes historical materials about the development of the Art Department at Virginia Tech, College of Architecture documents, and flyers and promotional materials for events and art exhibitions hosted by these departments. This series also has different photographs of artworks and sculptures, students in art class, and portraits, as well as an art gallery guestbook. ","Series II: Teaching Files, 1953-1999, consists of art history, drawing, sculpture, and painting course materials, such as syllabi, tests, and worksheets from the Art Department from the 1960s to the 1990s. It also includes flyers, photographs, and promotional materials for these courses.","Series III: Oversized Posters, 1974, undated, contains promotional materials for art shows, craft fairs, art galleries, and other events."],"separatedmaterial_html_tesm":["\u003cp\u003eThe following publications were separated to the Rare Book Collection at Virginia Tech Special Collections and University Archives (SCUA):\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n \u003chead\u003eSeparated publications\u003c/head\u003e\n \u003citem\u003e\"Environment for Education\" (VPI President's Report), 1968/1969\u003c/item\u003e\n \u003citem\u003e\"A Report of Progress and A Look to Years Ahead\" (Bulletin Vol. LI, No. 9), July 1958\u003c/item\u003e\n \u003citem\u003eCommencement program, Department of Art, VPI\u0026amp;SU, June 10, 1978\u003c/item\u003e\n \u003citem\u003eVPI Student Directory, 1967/1968\u003c/item\u003e\n \u003citem\u003e\"A New water system\", [Blacksburg, Va.] : Blacksburg, Christiansburg, V.P.I. Water Authority, 1957\u003c/item\u003e\n \u003c/list\u003e","\u003cp\u003eDuplicate ephemera, such as brochures and flyers, were separated to the \u003ca target=\"_blank\" href=\"https://ead.lib.virginia.edu/vivaxtf/view?docId=oai/lib.vt.edu/repositories/2/resources/3150.oai_ead.xml\"\u003eRecord Group Vertical Files\u003c/a\u003e, also at SCUA.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["The following publications were separated to the Rare Book Collection at Virginia Tech Special Collections and University Archives (SCUA):","Separated publications \"Environment for Education\" (VPI President's Report), 1968/1969 \"A Report of Progress and A Look to Years Ahead\" (Bulletin Vol. LI, No. 9), July 1958 Commencement program, Department of Art, VPI\u0026SU, June 10, 1978 VPI Student Directory, 1967/1968 \"A New water system\", [Blacksburg, Va.] : Blacksburg, Christiansburg, V.P.I. Water Authority, 1957","Duplicate ephemera, such as brochures and flyers, were separated to the Record Group Vertical Files , also at SCUA."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions\nmay apply. Contact Special Collections and University Archives for\nassistance in determining the use of these materials. \u003c/p\u003e\n","\u003cp\u003eReproduction or\ndigitization of materials for personal or research use can be requested using\nour reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e.\u003c/p\u003e\n","\u003cp\u003eReproduction or digitization of materials for publication or exhibit use can\nbe requested using our publication/exhibition form:\n\u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions\nmay apply. Contact Special Collections and University Archives for\nassistance in determining the use of these materials. ","Reproduction or\ndigitization of materials for personal or research use can be requested using\nour reproduction/digitization form: http://bit.ly/scuareproduction .","Reproduction or digitization of materials for publication or exhibit use can\nbe requested using our publication/exhibition form:\n http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_88be1582beb972f0b539ed24b39447bb\" label=\"Abstract\"\u003eThis collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter (1922-2013), professor and former head of the Art Department at Virginia Tech from 1950-1992.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains administrative and teaching records, such as art course materials, departmental correspondence, photographs, and art exhibition materials from Dean Carter (1922-2013), professor and former head of the Art Department at Virginia Tech from 1950-1992."],"names_coll_ssim":["Virginia Polytechnic Institute and State University. Department of Art and Art History"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute and State University. Department of Art and Art History","Carter, Dean, 1922-2013"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute and State University. Department of Art and Art History"],"persname_ssim":["Carter, Dean, 1922-2013"],"language_ssim":["The materials in this collection are in English."],"total_component_count_is":194,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:09:02.779Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_3581"}},{"id":"virmu_repositories_2_resources_21","type":"collection","attributes":{"title":"Records of the Richmond Artists Association (SC-09)","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_21#creator","type":"document_value","attributes":{"value":"Richmond Artists Association","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_21#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the history of the Richmond Artists Association (RAA), from its founding in 1955 by artist Westwood Winfree, to 2005 when the group joined with another Richmond art organization to form the Metropolitan Richmond Artists Association. The material highlights RAA's growth and achievements over five decades, including early annual exhibitions at the Carillon and Miller and Rhoads, as well as numerous other exhibitions. Meeting minutes, officer files, and membership materials detail RAA's administration over the years, while the newsletters provide an overview of all RAA activities. Several files highlight the RAA's relationship with other arts organizations, especially the Federated Arts Council of Richmond.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_21#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_21","ead_ssi":"virmu_repositories_2_resources_21","_root_":"virmu_repositories_2_resources_21","_nest_parent_":"virmu_repositories_2_resources_21","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_21.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/21","title_filing_ssi":"Richmond Artists Association (SC-09)","title_ssm":["Records of the Richmond Artists Association (SC-09)"],"title_tesim":["Records of the Richmond Artists Association (SC-09)"],"unitdate_ssm":["1955-2005"],"unitdate_inclusive_ssm":["1955-2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-09","/repositories/2/resources/21"],"text":["SC-09","/repositories/2/resources/21","Records of the Richmond Artists Association (SC-09)","Richmond (Va.)","Art, American -- Virginia -- 20th century","Artists -- Virginia","The collection is open for research.","The collection is organized into two series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 General Files, 1955-2005, undated Series 2 Newsletters, 1971-2002","Subject File: Organizations and Foundations: Virginia: Private: Richmond Artists Association","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863) ","Looking for ways to display their artworks and introduce Richmond to contemporary fine art, a group of full time art instructors and other professional artists from the Richmond Professional Institute (now Virginia Commonwealth University's School of Arts) started the area's very first art organization. The Richmond Artists Association began in 1955 with artist/lawyer, Westwood Winfree, as its first president and Theresa Pollock as one of its founding members. The Richmond Artists Association has been a leader in encouraging and showcasing all types of art throughout the community. In the fall of 2005, members of the Richmond Artists Association and the Metropolitan Artists Association met and decided to join together to form the Metropolitan Richmond Artists Association.","Source: Metropolitan Richmond Artists Association","The collection was donated by Irene Jessee Perry, past President of Richmond Artists Association in August 2005. The blue notebook belonging to Sara D. (Mrs. Israel) November was donated by Neil November in November 2011.","The collection was arranged chronologically and newsletters that were scattered throughout the collection were brought together in one series. When provided, original folder titles were kept.","The collection's inclusive dates are 1955-2005, with the bulk of the material dating from 1955-1994. The collection is comprised of exhibition catalogs, correspondence, membership lists, president and officer files, meeting minutes, committee files, newsletters, and other ephemeral material.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the history of the Richmond Artists Association (RAA), from its founding in 1955 by artist Westwood Winfree, to 2005 when the group joined with another Richmond art organization to form the Metropolitan Richmond Artists Association. The material highlights RAA's growth and achievements over five decades, including early annual exhibitions at the Carillon and Miller and Rhoads, as well as numerous other exhibitions. Meeting minutes, officer files, and membership materials detail RAA's administration over the years, while the newsletters provide an overview of all RAA activities. Several files highlight the RAA's relationship with other arts organizations, especially the Federated Arts Council of Richmond.","Virginia Museum of Fine Arts Archives","Richmond Artists Association","Metropolitan Richmond Artists Association","Federated Arts Council of Richmond","Arts Council of Richmond","English \n. "],"unitid_tesim":["SC-09","/repositories/2/resources/21"],"normalized_title_ssm":["Records of the Richmond Artists Association (SC-09)"],"collection_title_tesim":["Records of the Richmond Artists Association (SC-09)"],"collection_ssim":["Records of the Richmond Artists Association (SC-09)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"creator_ssm":["Richmond Artists Association","Metropolitan Richmond Artists Association"],"creator_ssim":["Richmond Artists Association","Metropolitan Richmond Artists Association"],"creator_corpname_ssim":["Richmond Artists Association","Metropolitan Richmond Artists Association"],"creators_ssim":["Richmond Artists Association","Metropolitan Richmond Artists Association"],"places_ssim":["Richmond (Va.)"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["5 Linear Feet 4 boxes; 161 folders"],"extent_tesim":["5 Linear Feet 4 boxes; 161 folders"],"date_range_isim":[1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into two series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 1\u003c/label\u003e\n \u003citem\u003eGeneral Files, 1955-2005, undated\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 2\u003c/label\u003e\n \u003citem\u003eNewsletters, 1971-2002\u003c/item\u003e\n \u003c/defitem\u003e\n \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into two series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 General Files, 1955-2005, undated Series 2 Newsletters, 1971-2002"],"bibliography_html_tesm":["\u003cbibref\u003eSubject File: Organizations and Foundations: Virginia: Private: Richmond Artists Association\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863) \u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library","Related Materials - Library of Virginia"],"bibliography_tesim":["Subject File: Organizations and Foundations: Virginia: Private: Richmond Artists Association","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863) "],"bioghist_html_tesm":["\u003cp\u003eLooking for ways to display their artworks and introduce Richmond to contemporary fine art, a group of full time art instructors and other professional artists from the Richmond Professional Institute (now Virginia Commonwealth University's School of Arts) started the area's very first art organization. The Richmond Artists Association began in 1955 with artist/lawyer, Westwood Winfree, as its first president and Theresa Pollock as one of its founding members. The Richmond Artists Association has been a leader in encouraging and showcasing all types of art throughout the community. In the fall of 2005, members of the Richmond Artists Association and the Metropolitan Artists Association met and decided to join together to form the Metropolitan Richmond Artists Association.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://metrorichmondart.com/mraa/\"\u003eMetropolitan Richmond Artists Association\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Looking for ways to display their artworks and introduce Richmond to contemporary fine art, a group of full time art instructors and other professional artists from the Richmond Professional Institute (now Virginia Commonwealth University's School of Arts) started the area's very first art organization. The Richmond Artists Association began in 1955 with artist/lawyer, Westwood Winfree, as its first president and Theresa Pollock as one of its founding members. The Richmond Artists Association has been a leader in encouraging and showcasing all types of art throughout the community. In the fall of 2005, members of the Richmond Artists Association and the Metropolitan Artists Association met and decided to join together to form the Metropolitan Richmond Artists Association.","Source: Metropolitan Richmond Artists Association"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by Irene Jessee Perry, past President of Richmond Artists Association in August 2005. The blue notebook belonging to Sara D. (Mrs. Israel) November was donated by Neil November in November 2011.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Irene Jessee Perry, past President of Richmond Artists Association in August 2005. The blue notebook belonging to Sara D. (Mrs. Israel) November was donated by Neil November in November 2011."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Richmond Artists Association (SC-09). Gift of the Richmond Artists Association by Irene Jessee Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of the Richmond Artists Association (SC-09). Gift of the Richmond Artists Association by Irene Jessee Perry. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe collection was arranged chronologically and newsletters that were scattered throughout the collection were brought together in one series. When provided, original folder titles were kept.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The collection was arranged chronologically and newsletters that were scattered throughout the collection were brought together in one series. When provided, original folder titles were kept."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1955-2005, with the bulk of the material dating from 1955-1994. The collection is comprised of exhibition catalogs, correspondence, membership lists, president and officer files, meeting minutes, committee files, newsletters, and other ephemeral material.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1955-2005, with the bulk of the material dating from 1955-1994. The collection is comprised of exhibition catalogs, correspondence, membership lists, president and officer files, meeting minutes, committee files, newsletters, and other ephemeral material."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_827ed54167c34897a85d342ff45080f1\"\u003eThe collection documents the history of the Richmond Artists Association (RAA), from its founding in 1955 by artist Westwood Winfree, to 2005 when the group joined with another Richmond art organization to form the Metropolitan Richmond Artists Association. The material highlights RAA's growth and achievements over five decades, including early annual exhibitions at the Carillon and Miller and Rhoads, as well as numerous other exhibitions. Meeting minutes, officer files, and membership materials detail RAA's administration over the years, while the newsletters provide an overview of all RAA activities. Several files highlight the RAA's relationship with other arts organizations, especially the Federated Arts Council of Richmond.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the history of the Richmond Artists Association (RAA), from its founding in 1955 by artist Westwood Winfree, to 2005 when the group joined with another Richmond art organization to form the Metropolitan Richmond Artists Association. The material highlights RAA's growth and achievements over five decades, including early annual exhibitions at the Carillon and Miller and Rhoads, as well as numerous other exhibitions. Meeting minutes, officer files, and membership materials detail RAA's administration over the years, while the newsletters provide an overview of all RAA activities. Several files highlight the RAA's relationship with other arts organizations, especially the Federated Arts Council of Richmond."],"names_coll_ssim":["Federated Arts Council of Richmond","Arts Council of Richmond"],"names_ssim":["Virginia Museum of Fine Arts Archives","Richmond Artists Association","Metropolitan Richmond Artists Association","Federated Arts Council of Richmond","Arts Council of Richmond"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Richmond Artists Association","Metropolitan Richmond Artists Association","Federated Arts Council of Richmond","Arts Council of Richmond"],"language_ssim":["English \n. "],"total_component_count_is":163,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:02:07.296Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_21","ead_ssi":"virmu_repositories_2_resources_21","_root_":"virmu_repositories_2_resources_21","_nest_parent_":"virmu_repositories_2_resources_21","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_21.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/21","title_filing_ssi":"Richmond Artists Association (SC-09)","title_ssm":["Records of the Richmond Artists Association (SC-09)"],"title_tesim":["Records of the Richmond Artists Association (SC-09)"],"unitdate_ssm":["1955-2005"],"unitdate_inclusive_ssm":["1955-2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-09","/repositories/2/resources/21"],"text":["SC-09","/repositories/2/resources/21","Records of the Richmond Artists Association (SC-09)","Richmond (Va.)","Art, American -- Virginia -- 20th century","Artists -- Virginia","The collection is open for research.","The collection is organized into two series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 General Files, 1955-2005, undated Series 2 Newsletters, 1971-2002","Subject File: Organizations and Foundations: Virginia: Private: Richmond Artists Association","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863) ","Looking for ways to display their artworks and introduce Richmond to contemporary fine art, a group of full time art instructors and other professional artists from the Richmond Professional Institute (now Virginia Commonwealth University's School of Arts) started the area's very first art organization. The Richmond Artists Association began in 1955 with artist/lawyer, Westwood Winfree, as its first president and Theresa Pollock as one of its founding members. The Richmond Artists Association has been a leader in encouraging and showcasing all types of art throughout the community. In the fall of 2005, members of the Richmond Artists Association and the Metropolitan Artists Association met and decided to join together to form the Metropolitan Richmond Artists Association.","Source: Metropolitan Richmond Artists Association","The collection was donated by Irene Jessee Perry, past President of Richmond Artists Association in August 2005. The blue notebook belonging to Sara D. (Mrs. Israel) November was donated by Neil November in November 2011.","The collection was arranged chronologically and newsletters that were scattered throughout the collection were brought together in one series. When provided, original folder titles were kept.","The collection's inclusive dates are 1955-2005, with the bulk of the material dating from 1955-1994. The collection is comprised of exhibition catalogs, correspondence, membership lists, president and officer files, meeting minutes, committee files, newsletters, and other ephemeral material.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the history of the Richmond Artists Association (RAA), from its founding in 1955 by artist Westwood Winfree, to 2005 when the group joined with another Richmond art organization to form the Metropolitan Richmond Artists Association. The material highlights RAA's growth and achievements over five decades, including early annual exhibitions at the Carillon and Miller and Rhoads, as well as numerous other exhibitions. Meeting minutes, officer files, and membership materials detail RAA's administration over the years, while the newsletters provide an overview of all RAA activities. Several files highlight the RAA's relationship with other arts organizations, especially the Federated Arts Council of Richmond.","Virginia Museum of Fine Arts Archives","Richmond Artists Association","Metropolitan Richmond Artists Association","Federated Arts Council of Richmond","Arts Council of Richmond","English \n. "],"unitid_tesim":["SC-09","/repositories/2/resources/21"],"normalized_title_ssm":["Records of the Richmond Artists Association (SC-09)"],"collection_title_tesim":["Records of the Richmond Artists Association (SC-09)"],"collection_ssim":["Records of the Richmond Artists Association (SC-09)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"creator_ssm":["Richmond Artists Association","Metropolitan Richmond Artists Association"],"creator_ssim":["Richmond Artists Association","Metropolitan Richmond Artists Association"],"creator_corpname_ssim":["Richmond Artists Association","Metropolitan Richmond Artists Association"],"creators_ssim":["Richmond Artists Association","Metropolitan Richmond Artists Association"],"places_ssim":["Richmond (Va.)"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["5 Linear Feet 4 boxes; 161 folders"],"extent_tesim":["5 Linear Feet 4 boxes; 161 folders"],"date_range_isim":[1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into two series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 1\u003c/label\u003e\n \u003citem\u003eGeneral Files, 1955-2005, undated\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 2\u003c/label\u003e\n \u003citem\u003eNewsletters, 1971-2002\u003c/item\u003e\n \u003c/defitem\u003e\n \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into two series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 General Files, 1955-2005, undated Series 2 Newsletters, 1971-2002"],"bibliography_html_tesm":["\u003cbibref\u003eSubject File: Organizations and Foundations: Virginia: Private: Richmond Artists Association\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863) \u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library","Related Materials - Library of Virginia"],"bibliography_tesim":["Subject File: Organizations and Foundations: Virginia: Private: Richmond Artists Association","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863) "],"bioghist_html_tesm":["\u003cp\u003eLooking for ways to display their artworks and introduce Richmond to contemporary fine art, a group of full time art instructors and other professional artists from the Richmond Professional Institute (now Virginia Commonwealth University's School of Arts) started the area's very first art organization. The Richmond Artists Association began in 1955 with artist/lawyer, Westwood Winfree, as its first president and Theresa Pollock as one of its founding members. The Richmond Artists Association has been a leader in encouraging and showcasing all types of art throughout the community. In the fall of 2005, members of the Richmond Artists Association and the Metropolitan Artists Association met and decided to join together to form the Metropolitan Richmond Artists Association.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://metrorichmondart.com/mraa/\"\u003eMetropolitan Richmond Artists Association\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Looking for ways to display their artworks and introduce Richmond to contemporary fine art, a group of full time art instructors and other professional artists from the Richmond Professional Institute (now Virginia Commonwealth University's School of Arts) started the area's very first art organization. The Richmond Artists Association began in 1955 with artist/lawyer, Westwood Winfree, as its first president and Theresa Pollock as one of its founding members. The Richmond Artists Association has been a leader in encouraging and showcasing all types of art throughout the community. In the fall of 2005, members of the Richmond Artists Association and the Metropolitan Artists Association met and decided to join together to form the Metropolitan Richmond Artists Association.","Source: Metropolitan Richmond Artists Association"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by Irene Jessee Perry, past President of Richmond Artists Association in August 2005. The blue notebook belonging to Sara D. (Mrs. Israel) November was donated by Neil November in November 2011.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Irene Jessee Perry, past President of Richmond Artists Association in August 2005. The blue notebook belonging to Sara D. (Mrs. Israel) November was donated by Neil November in November 2011."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Richmond Artists Association (SC-09). Gift of the Richmond Artists Association by Irene Jessee Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of the Richmond Artists Association (SC-09). Gift of the Richmond Artists Association by Irene Jessee Perry. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe collection was arranged chronologically and newsletters that were scattered throughout the collection were brought together in one series. When provided, original folder titles were kept.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The collection was arranged chronologically and newsletters that were scattered throughout the collection were brought together in one series. When provided, original folder titles were kept."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1955-2005, with the bulk of the material dating from 1955-1994. The collection is comprised of exhibition catalogs, correspondence, membership lists, president and officer files, meeting minutes, committee files, newsletters, and other ephemeral material.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1955-2005, with the bulk of the material dating from 1955-1994. The collection is comprised of exhibition catalogs, correspondence, membership lists, president and officer files, meeting minutes, committee files, newsletters, and other ephemeral material."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_827ed54167c34897a85d342ff45080f1\"\u003eThe collection documents the history of the Richmond Artists Association (RAA), from its founding in 1955 by artist Westwood Winfree, to 2005 when the group joined with another Richmond art organization to form the Metropolitan Richmond Artists Association. The material highlights RAA's growth and achievements over five decades, including early annual exhibitions at the Carillon and Miller and Rhoads, as well as numerous other exhibitions. Meeting minutes, officer files, and membership materials detail RAA's administration over the years, while the newsletters provide an overview of all RAA activities. Several files highlight the RAA's relationship with other arts organizations, especially the Federated Arts Council of Richmond.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the history of the Richmond Artists Association (RAA), from its founding in 1955 by artist Westwood Winfree, to 2005 when the group joined with another Richmond art organization to form the Metropolitan Richmond Artists Association. The material highlights RAA's growth and achievements over five decades, including early annual exhibitions at the Carillon and Miller and Rhoads, as well as numerous other exhibitions. Meeting minutes, officer files, and membership materials detail RAA's administration over the years, while the newsletters provide an overview of all RAA activities. Several files highlight the RAA's relationship with other arts organizations, especially the Federated Arts Council of Richmond."],"names_coll_ssim":["Federated Arts Council of Richmond","Arts Council of Richmond"],"names_ssim":["Virginia Museum of Fine Arts Archives","Richmond Artists Association","Metropolitan Richmond Artists Association","Federated Arts Council of Richmond","Arts Council of Richmond"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Richmond Artists Association","Metropolitan Richmond Artists Association","Federated Arts Council of Richmond","Arts Council of Richmond"],"language_ssim":["English \n. "],"total_component_count_is":163,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:02:07.296Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_21"}},{"id":"virmu_repositories_2_resources_17","type":"collection","attributes":{"title":"Records of Virginia Arts Organizations (SC-03)","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_17#creator","type":"document_value","attributes":{"value":"Academy of Sciences and Fine Arts","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_17#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_17#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_17","ead_ssi":"virmu_repositories_2_resources_17","_root_":"virmu_repositories_2_resources_17","_nest_parent_":"virmu_repositories_2_resources_17","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_17.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/17","title_filing_ssi":"Virginia Arts Organizations (SC-03)","title_ssm":["Records of Virginia Arts Organizations (SC-03)"],"title_tesim":["Records of Virginia Arts Organizations (SC-03)"],"unitdate_ssm":["1888-1942"],"unitdate_inclusive_ssm":["1888-1942"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-03","/repositories/2/resources/17"],"text":["SC-03","/repositories/2/resources/17","Records of Virginia Arts Organizations (SC-03)","Richmond (Va.)","Art, American -- Virginia -- 20th century","Artists -- Virginia","The collection is open for research.","The collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 Early Arts Organizations, 1888-1928 Series 2 Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 Series 3 Correspondence, 1931-1942 Series 4 Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated Series 5 \"Southern States Art League Newsletter,\" 1941-1942","The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 ","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)","On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. ","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source: The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, Arts in Virginia , Winter 1966","The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.","The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.","The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.","This series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.","The series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.","The series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.","The series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.","The series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.","Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏","English"],"unitid_tesim":["SC-03","/repositories/2/resources/17"],"normalized_title_ssm":["Records of Virginia Arts Organizations (SC-03)"],"collection_title_tesim":["Records of Virginia Arts Organizations (SC-03)"],"collection_ssim":["Records of Virginia Arts Organizations (SC-03)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"creator_ssm":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_ssim":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_corpname_ssim":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League"],"creators_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League"],"places_ssim":["Richmond (Va.)"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"extent_tesim":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 1\u003c/label\u003e\n \u003citem\u003eEarly Arts Organizations, 1888-1928\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 2\u003c/label\u003e\n \u003citem\u003eRichmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 3\u003c/label\u003e\n \u003citem\u003eCorrespondence, 1931-1942\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 4\u003c/label\u003e\n \u003citem\u003eSallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 5\u003c/label\u003e\n \u003citem\u003e\"Southern States Art League Newsletter,\" 1941-1942\u003c/item\u003e\n \u003c/defitem\u003e\n \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 Early Arts Organizations, 1888-1928 Series 2 Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 Series 3 Correspondence, 1931-1942 Series 4 Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated Series 5 \"Southern States Art League Newsletter,\" 1941-1942"],"bibliography_html_tesm":["\u003cbibref\u003eThe Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931\u003c/bibref\u003e","\u003cbibref\u003eRichmond, Virginia, in Old Prints 1737-1887, 1932\u003c/bibref\u003e","\u003cbibref\u003eThe Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 \u003c/bibref\u003e","\u003cbibref\u003eExhibition File: 27th Annual Exhibition of the Southern States Art League, 1947\u003c/bibref\u003e","\u003cbibref\u003eSubject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)\u003c/bibref\u003e","\u003cbibref\u003eJulia Sully Papers (Coll. No. 26567)\u003c/bibref\u003e","\u003cbibref\u003eStatuts \u0026amp; reglemens de l'Academie des Sciences \u0026amp; Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)\u003c/bibref\u003e","\u003cbibref\u003eEdmund S. Campbell Papers (Coll. No. 3505)\u003c/bibref\u003e","\u003cbibref\u003eAdele Goodman Clark Papers (Coll. No. M9)\u003c/bibref\u003e","\u003cbibref\u003eAdele Clark Papers (Coll. No. Mss1 C5472 a FA2)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials: VMFA Library - Book","Related Material: VMFA Library - Catalogs","Related Materials: VMFA Library - Vertical Files","Related Materials: Library of Virginia","Related Materials: University of Virginia","Related Materials: Virginia Commonwealth University","Related Materials: Virginia Historical Society"],"bibliography_tesim":["The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 ","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)"],"bioghist_html_tesm":["\u003cp\u003eOn May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. \u003c/p\u003e\n","\u003cp\u003eAfter one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=75415%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eThe Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003eSource: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=29161%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eArts in Virginia\u003c/a\u003e, Winter 1966\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. ","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source: The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, Arts in Virginia , Winter 1966"],"custodhist_html_tesm":["\u003cp\u003eThe collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004."],"prefercite_html_tesm":["\u003cp\u003eRecords of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.\u003c/p\u003e","\u003cp\u003eThis series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.\u003c/p\u003e","\u003cp\u003eThe series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.\u003c/p\u003e","\u003cp\u003eThe series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.\u003c/p\u003e","\u003cp\u003eThe series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.\u003c/p\u003e","\u003cp\u003eThe series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note","Series Description","Series Description","Series Description","Series Description","Series Description"],"scopecontent_tesim":["The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.","This series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.","The series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.","The series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.","The series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.","The series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7f7888ae484e7c6bfb4c577f3b85ff90\"\u003eThe collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations."],"names_coll_ssim":["Academy of Sciences and Fine Arts","Art Club of Richmond","Richmond Academy of Arts","Southern States Art League","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"language_ssim":["English"],"total_component_count_is":126,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:32:35.642Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_17","ead_ssi":"virmu_repositories_2_resources_17","_root_":"virmu_repositories_2_resources_17","_nest_parent_":"virmu_repositories_2_resources_17","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_17.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/17","title_filing_ssi":"Virginia Arts Organizations (SC-03)","title_ssm":["Records of Virginia Arts Organizations (SC-03)"],"title_tesim":["Records of Virginia Arts Organizations (SC-03)"],"unitdate_ssm":["1888-1942"],"unitdate_inclusive_ssm":["1888-1942"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-03","/repositories/2/resources/17"],"text":["SC-03","/repositories/2/resources/17","Records of Virginia Arts Organizations (SC-03)","Richmond (Va.)","Art, American -- Virginia -- 20th century","Artists -- Virginia","The collection is open for research.","The collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 Early Arts Organizations, 1888-1928 Series 2 Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 Series 3 Correspondence, 1931-1942 Series 4 Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated Series 5 \"Southern States Art League Newsletter,\" 1941-1942","The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 ","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)","On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. ","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source: The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, Arts in Virginia , Winter 1966","The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.","The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.","The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.","This series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.","The series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.","The series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.","The series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.","The series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.","Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏","English"],"unitid_tesim":["SC-03","/repositories/2/resources/17"],"normalized_title_ssm":["Records of Virginia Arts Organizations (SC-03)"],"collection_title_tesim":["Records of Virginia Arts Organizations (SC-03)"],"collection_ssim":["Records of Virginia Arts Organizations (SC-03)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"creator_ssm":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_ssim":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_corpname_ssim":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League"],"creators_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League"],"places_ssim":["Richmond (Va.)"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"extent_tesim":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 1\u003c/label\u003e\n \u003citem\u003eEarly Arts Organizations, 1888-1928\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 2\u003c/label\u003e\n \u003citem\u003eRichmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 3\u003c/label\u003e\n \u003citem\u003eCorrespondence, 1931-1942\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 4\u003c/label\u003e\n \u003citem\u003eSallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 5\u003c/label\u003e\n \u003citem\u003e\"Southern States Art League Newsletter,\" 1941-1942\u003c/item\u003e\n \u003c/defitem\u003e\n \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 Early Arts Organizations, 1888-1928 Series 2 Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 Series 3 Correspondence, 1931-1942 Series 4 Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated Series 5 \"Southern States Art League Newsletter,\" 1941-1942"],"bibliography_html_tesm":["\u003cbibref\u003eThe Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931\u003c/bibref\u003e","\u003cbibref\u003eRichmond, Virginia, in Old Prints 1737-1887, 1932\u003c/bibref\u003e","\u003cbibref\u003eThe Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 \u003c/bibref\u003e","\u003cbibref\u003eExhibition File: 27th Annual Exhibition of the Southern States Art League, 1947\u003c/bibref\u003e","\u003cbibref\u003eSubject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)\u003c/bibref\u003e","\u003cbibref\u003eJulia Sully Papers (Coll. No. 26567)\u003c/bibref\u003e","\u003cbibref\u003eStatuts \u0026amp; reglemens de l'Academie des Sciences \u0026amp; Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)\u003c/bibref\u003e","\u003cbibref\u003eEdmund S. Campbell Papers (Coll. No. 3505)\u003c/bibref\u003e","\u003cbibref\u003eAdele Goodman Clark Papers (Coll. No. M9)\u003c/bibref\u003e","\u003cbibref\u003eAdele Clark Papers (Coll. No. Mss1 C5472 a FA2)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials: VMFA Library - Book","Related Material: VMFA Library - Catalogs","Related Materials: VMFA Library - Vertical Files","Related Materials: Library of Virginia","Related Materials: University of Virginia","Related Materials: Virginia Commonwealth University","Related Materials: Virginia Historical Society"],"bibliography_tesim":["The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 ","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)"],"bioghist_html_tesm":["\u003cp\u003eOn May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. \u003c/p\u003e\n","\u003cp\u003eAfter one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=75415%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eThe Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003eSource: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=29161%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eArts in Virginia\u003c/a\u003e, Winter 1966\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. ","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source: The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, Arts in Virginia , Winter 1966"],"custodhist_html_tesm":["\u003cp\u003eThe collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004."],"prefercite_html_tesm":["\u003cp\u003eRecords of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.\u003c/p\u003e","\u003cp\u003eThis series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.\u003c/p\u003e","\u003cp\u003eThe series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.\u003c/p\u003e","\u003cp\u003eThe series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.\u003c/p\u003e","\u003cp\u003eThe series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.\u003c/p\u003e","\u003cp\u003eThe series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note","Series Description","Series Description","Series Description","Series Description","Series Description"],"scopecontent_tesim":["The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.","This series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.","The series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.","The series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.","The series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.","The series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7f7888ae484e7c6bfb4c577f3b85ff90\"\u003eThe collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations."],"names_coll_ssim":["Academy of Sciences and Fine Arts","Art Club of Richmond","Richmond Academy of Arts","Southern States Art League","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"language_ssim":["English"],"total_component_count_is":126,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:32:35.642Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_17"}},{"id":"virmu_repositories_2_resources_435","type":"collection","attributes":{"title":"Rubin Peacock Artist Archives (VA-08)","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_435#creator","type":"document_value","attributes":{"value":"Peacock, Rubin, 1941-","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_435#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents the life and artwork of Rubin Peacock (1941-), a Richmond-based sculptor. For over fifty years, Rubin has dedicated his career to experimenting with bronze sculptures, taking inspiration from nature, ancient civilizations, and his Catawba Indian ancestry. His work has challenged popular art trends as many sculptors chose to utilize other materials in their work, making him one of few Virginia artists to use bronze. In addition to a diverse array of photographic materials documenting Rubin's art production, processes, and completed pieces, this collection contains correspondence and publications detailing commissions, supply shipments, and patina formulas, providing an in-depth overview of Rubin's art career.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_435#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_435","ead_ssi":"virmu_repositories_2_resources_435","_root_":"virmu_repositories_2_resources_435","_nest_parent_":"virmu_repositories_2_resources_435","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_435.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/435","title_filing_ssi":"Peacock, Rubin (VA-08)","title_ssm":["Rubin Peacock Artist Archives (VA-08)"],"title_tesim":["Rubin Peacock Artist Archives (VA-08)"],"unitdate_ssm":["1945-2021"],"unitdate_inclusive_ssm":["1945-2021"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["VA-08","/repositories/2/resources/435"],"text":["VA-08","/repositories/2/resources/435","Rubin Peacock Artist Archives (VA-08)","Art, American -- Virginia -- 20th century","Sculpture, American","Sculptors--United States","Bronze sculpture, American--20th century.","The collection is open for research. One folder is restricted and an unrestricted copy is located within the collection. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into 3 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1 Art Production, 1966-1986 Series 2 Artwork, 1969-2015 Series 3 Biographical, 1945-2021","Rubin Peacock: 50 Years of Bronze Sculpture, 2019","Recent Sculpture: Rubin Peacock: Institute of Contemporary Art of the Virginia Museum, November 24-December 31, 1980","Exhibition File: 20 Sculptors: Miscellaneous Uncataloged Material, 1982","Exhibition File: Rubin Peacock / New Sculpture: Miscellaneous Uncataloged Material, 1980","Artist File: Miscellaneous Uncataloged Material","Rubin Clifton Peacock","Born: September 8, 1941, Winston-Salem, NC","Rubin Peacock is an American sculptor whose works have been inspired by nature, ancient civilizations, and his Catawba Indian ancestry. Rubin's works are largely abstract with an emphasis on humanity's relationship with nature and the permanence of creating art with bronze.","Rubin Peacock began his career as a percussionist with a traveling rock and roll band in 1960. Using the money he earned from his music performances, Rubin pursued a Bachelor of Science and a Bachelor of Fine Arts from the University of Georgia in Athens, graduating in 1965. Upon completing his undergraduate education, Rubin went on to join the Peace Corps as an art teacher from 1965-1967, teaching students at Camp Cobbla in Jamaica and creating a scholarship for two of his students by selling his sculptures in an exhibition at the Bolivar Gallery in 1967.","After taking a brief hiatus in which he traveled throughout Central and South America to study art, Rubin returned to the United States to continue his education, graduating with a Masters of Fine Arts from Richmond Professional Institute - now Virginia Commonwealth University - in 1969. Rubin established himself in Virginia in 1969 with the purchase of an abandoned house called \"Marlboro\" that he transformed into the Aylett Art Foundry, buying his 303 Brook Road Richmond studio and gallery in 1985. Rubin regularly experimented with different modes of expression through bronze and exhibited his artwork in a variety of galleries, including his own.","Rubin has been commissioned by institutions such as The Carpenter Co., the Federal Reserve Bank of Richmond, Gunston Hall, the National Cathedral, the National Electronics Museum, and numerous private collectors, and has exhibited in galleries such as VMFA, 1708 Gallery, the Chrysler Museum of Art, Mickelson Gallery, the Sande Webster Gallery, and Sarasota's Modern Art Gallery, among others.","Sources: Collection materials; \"Rubin Peacock: 50 Years of Bronze Sculpture\" by Rubin Peacock","The collection was donated to the VMFA Archives by Rubin Peacock in January 2022.","In general, during processing, all publications are removed and added to the VMFA Library's holdings. Original newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders. Original folder titles are retained, when provided.","The collection documents the life and artwork of Rubin Peacock. The collection's inclusive dates are 1945-2021, with the bulk of the material dating from the 1960s-1990s. The collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.","This series contains film, photographs, and slides that document the production of Rubin Peacock's artwork from 1966-1986. Included in this series are photographs of sculptures such as America's Gateway, Ancestral Terrain, Ancient Arroyo, Kanawha Landscape, Pentangle, Querceta, and early works made of stone and aluminum, and locations such as the Aylett Art Foundry and 303 Brook Road.","This file contains 20 photographs and 1 slide of early stone and aluminum works, sculpture production, and Rubin's studio.","This file contains 6 frames of film and 169 photographs documenting Rubin's bronze production for sculptures such as America's Gateway, Ancestral Terrain, Pentangle, and Winged Stele, among others.","This series contains film, photographs, publications, slides, and a flash drive that document Rubin Peacock's artwork from 1969-2017. Included in this series are sculptures such as Ancestral Terrain, Block Bronze with Four Points, Courtyard Model for Three Point Bronze, Cube Series, Flaming Teepee, Obtuse Triangles, Opposing Forces, Pentangle, Reflections on the Past, Seraphic Visitor, Sphere Series, Swayed Hegemony, The King's Fool, Triad, Wedged Stele, and Winged Stele, among others, and locations such as the Cary Hill Sculpture Gardens, the Chrysler Museum of Art, and the Aylett Art Foundry.","This file contains 27 photographs, 1 oversized photograph, and 43 slides featuring sculptures such as Butterfly Chief, Seraphic Visitor, Swayed Hegemony I, and The King's Fool, among others.","This file contains 33 photographs and 1 document featuring sculptures such as Reflections on the Past and Block Bronze with Four Points, among others.","This file contains 1 photograph that features Cardplaying Duck.","This file contains 248 photographs, 30 frames of film, 19 slides, and 5 documentary materials that feature sculptures such as Ancestral Terrain, Ancient Arroyo, Querceta, Triad, Wedged Stele, and Winged Stele, among others.","This file contains 18 photographs and 2 documentary materials that feature sculptures such as Lily Pond Stele, Silhouetted Geometry, and Winged Stele, among others.","This file contains 23 photographs and 21 slides that feature sculptures such as Kanawha Landscape, among others.","This file contains 5 photographs and 4 slides.","This file contains 21 photographs that feature One Morning In The Garden and The Dove and the Snake, among others.","This file contains 19 photographs, 9 slides, and 2 documentary materials that feature sculptures such as Arch, Ascending Spirit, Broken Wing Stele, and Strong Man Stele, among others.","This series contains correspondence, receipts, photographs, and publications that document Rubin Peacock's life and career.","This file contains 9 photographs and 33 slides that document Rubin Peacock's early works and his participation in the Peace Corps at Camp Cobbla, Jamaica.","This file contains 24 photographs that document Rubin Peacock's studios and workshops.","This file contains correspondence between Rubin, his acquaintances, and his clients, including Gunston Hall, the National Electronics Museum, and the Federal Reserve Bank of Richmond, among others; newspapers, including Richmond News Leader, Richmond Times-Dispatch, Sarasota Arts Review, and Washington Post, among others; and publications such as Style Weekly, The Gunston Hall Newsletter, and Virginia Living, among others.","This file contains the correspondence and receipts of the Aylett Art Foundry. Included within this file is Rubin Peacock's notebook of patina formulas.","Rubin Peacock's notebook of patina formulas has been placed in its own envelope due to its fragile condition.","The collection is subject to all copyright laws. Upon donation, Peacock assigned to the VMFA Archives all of his available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents the life and artwork of Rubin Peacock (1941-), a Richmond-based sculptor. For over fifty years, Rubin has dedicated his career to experimenting with bronze sculptures, taking inspiration from nature, ancient civilizations, and his Catawba Indian ancestry. His work has challenged popular art trends as many sculptors chose to utilize other materials in their work, making him one of few Virginia artists to use bronze.\n\nIn addition to a diverse array of photographic materials documenting Rubin's art production, processes, and completed pieces, this collection contains correspondence and publications detailing commissions, supply shipments, and patina formulas, providing an in-depth overview of Rubin's art career.","Virginia Museum of Fine Arts Archives","Peacock, Rubin, 1941-","English \n, Latin \n. "],"unitid_tesim":["VA-08","/repositories/2/resources/435"],"normalized_title_ssm":["Rubin Peacock Artist Archives (VA-08)"],"collection_title_tesim":["Rubin Peacock Artist Archives (VA-08)"],"collection_ssim":["Rubin Peacock Artist Archives (VA-08)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"creator_ssim":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"creator_persname_ssim":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"creators_ssim":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"access_terms_ssm":["The collection is subject to all copyright laws. Upon donation, Peacock assigned to the VMFA Archives all of his available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Sculpture, American","Sculptors--United States","Bronze sculpture, American--20th century."],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Sculpture, American","Sculptors--United States","Bronze sculpture, American--20th century."],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 6 boxes; 11 folders; 1,238 items"],"extent_tesim":["1.5 Linear Feet 6 boxes; 11 folders; 1,238 items"],"date_range_isim":[1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. One folder is restricted and an unrestricted copy is located within the collection. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. One folder is restricted and an unrestricted copy is located within the collection. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 3 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 1\u003c/label\u003e\n \u003citem\u003eArt Production, 1966-1986\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 2\u003c/label\u003e\n \u003citem\u003eArtwork, 1969-2015\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 3\u003c/label\u003e\n \u003citem\u003eBiographical, 1945-2021\u003c/item\u003e\n \u003c/defitem\u003e\n \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 3 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1 Art Production, 1966-1986 Series 2 Artwork, 1969-2015 Series 3 Biographical, 1945-2021"],"bibliography_html_tesm":["\u003cbibref\u003eRubin Peacock: 50 Years of Bronze Sculpture, 2019\u003c/bibref\u003e","\u003cbibref\u003eRecent Sculpture: Rubin Peacock: Institute of Contemporary Art of the Virginia Museum, November 24-December 31, 1980\u003c/bibref\u003e","\u003cbibref\u003eExhibition File: 20 Sculptors: Miscellaneous Uncataloged Material, 1982\u003c/bibref\u003e","\u003cbibref\u003eExhibition File: Rubin Peacock / New Sculpture: Miscellaneous Uncataloged Material, 1980\u003c/bibref\u003e","\u003cbibref\u003eArtist File: Miscellaneous Uncataloged Material\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["Rubin Peacock: 50 Years of Bronze Sculpture, 2019","Recent Sculpture: Rubin Peacock: Institute of Contemporary Art of the Virginia Museum, November 24-December 31, 1980","Exhibition File: 20 Sculptors: Miscellaneous Uncataloged Material, 1982","Exhibition File: Rubin Peacock / New Sculpture: Miscellaneous Uncataloged Material, 1980","Artist File: Miscellaneous Uncataloged Material"],"bioghist_html_tesm":["\u003cp\u003eRubin Clifton Peacock\u003c/p\u003e\n","\u003cp\u003eBorn: September 8, 1941, Winston-Salem, NC\u003c/p\u003e\n","\u003cp\u003eRubin Peacock is an American sculptor whose works have been inspired by nature, ancient civilizations, and his Catawba Indian ancestry. Rubin's works are largely abstract with an emphasis on humanity's relationship with nature and the permanence of creating art with bronze.\u003c/p\u003e\n","\u003cp\u003eRubin Peacock began his career as a percussionist with a traveling rock and roll band in 1960. Using the money he earned from his music performances, Rubin pursued a Bachelor of Science and a Bachelor of Fine Arts from the University of Georgia in Athens, graduating in 1965. Upon completing his undergraduate education, Rubin went on to join the Peace Corps as an art teacher from 1965-1967, teaching students at Camp Cobbla in Jamaica and creating a scholarship for two of his students by selling his sculptures in an exhibition at the Bolivar Gallery in 1967.\u003c/p\u003e\n","\u003cp\u003eAfter taking a brief hiatus in which he traveled throughout Central and South America to study art, Rubin returned to the United States to continue his education, graduating with a Masters of Fine Arts from Richmond Professional Institute - now Virginia Commonwealth University - in 1969. Rubin established himself in Virginia in 1969 with the purchase of an abandoned house called \"Marlboro\" that he transformed into the Aylett Art Foundry, buying his 303 Brook Road Richmond studio and gallery in 1985. Rubin regularly experimented with different modes of expression through bronze and exhibited his artwork in a variety of galleries, including his own.\u003c/p\u003e\n","\u003cp\u003eRubin has been commissioned by institutions such as The Carpenter Co., the Federal Reserve Bank of Richmond, Gunston Hall, the National Cathedral, the National Electronics Museum, and numerous private collectors, and has exhibited in galleries such as VMFA, 1708 Gallery, the Chrysler Museum of Art, Mickelson Gallery, the Sande Webster Gallery, and Sarasota's Modern Art Gallery, among others.\u003c/p\u003e\n","\u003cp\u003eSources: Collection materials; \u003ca href=\"https://vmfashop.com/books-media/collections/rubin-peacock-50-years-of-bronze-sculpture.html\"\u003e\"Rubin Peacock: 50 Years of Bronze Sculpture\"\u003c/a\u003e by Rubin Peacock\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Rubin Clifton Peacock","Born: September 8, 1941, Winston-Salem, NC","Rubin Peacock is an American sculptor whose works have been inspired by nature, ancient civilizations, and his Catawba Indian ancestry. Rubin's works are largely abstract with an emphasis on humanity's relationship with nature and the permanence of creating art with bronze.","Rubin Peacock began his career as a percussionist with a traveling rock and roll band in 1960. Using the money he earned from his music performances, Rubin pursued a Bachelor of Science and a Bachelor of Fine Arts from the University of Georgia in Athens, graduating in 1965. Upon completing his undergraduate education, Rubin went on to join the Peace Corps as an art teacher from 1965-1967, teaching students at Camp Cobbla in Jamaica and creating a scholarship for two of his students by selling his sculptures in an exhibition at the Bolivar Gallery in 1967.","After taking a brief hiatus in which he traveled throughout Central and South America to study art, Rubin returned to the United States to continue his education, graduating with a Masters of Fine Arts from Richmond Professional Institute - now Virginia Commonwealth University - in 1969. Rubin established himself in Virginia in 1969 with the purchase of an abandoned house called \"Marlboro\" that he transformed into the Aylett Art Foundry, buying his 303 Brook Road Richmond studio and gallery in 1985. Rubin regularly experimented with different modes of expression through bronze and exhibited his artwork in a variety of galleries, including his own.","Rubin has been commissioned by institutions such as The Carpenter Co., the Federal Reserve Bank of Richmond, Gunston Hall, the National Cathedral, the National Electronics Museum, and numerous private collectors, and has exhibited in galleries such as VMFA, 1708 Gallery, the Chrysler Museum of Art, Mickelson Gallery, the Sande Webster Gallery, and Sarasota's Modern Art Gallery, among others.","Sources: Collection materials; \"Rubin Peacock: 50 Years of Bronze Sculpture\" by Rubin Peacock"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated to the VMFA Archives by Rubin Peacock in January 2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated to the VMFA Archives by Rubin Peacock in January 2022."],"prefercite_html_tesm":["\u003cp\u003eRubin Peacock Artist Archives (VA-08). Gift of Rubin Peacock. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Rubin Peacock Artist Archives (VA-08). Gift of Rubin Peacock. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings. Original newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders. Original folder titles are retained, when provided.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings. Original newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThe collection documents the life and artwork of Rubin Peacock. The collection's inclusive dates are 1945-2021, with the bulk of the material dating from the 1960s-1990s. The collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.\u003c/p\u003e","\u003cp\u003eThis series contains film, photographs, and slides that document the production of Rubin Peacock's artwork from 1966-1986. Included in this series are photographs of sculptures such as America's Gateway, Ancestral Terrain, Ancient Arroyo, Kanawha Landscape, Pentangle, Querceta, and early works made of stone and aluminum, and locations such as the Aylett Art Foundry and 303 Brook Road.\u003c/p\u003e","\u003cp\u003eThis file contains 20 photographs and 1 slide of early stone and aluminum works, sculpture production, and Rubin's studio.\u003c/p\u003e","\u003cp\u003eThis file contains 6 frames of film and 169 photographs documenting Rubin's bronze production for sculptures such as America's Gateway, Ancestral Terrain, Pentangle, and Winged Stele, among others.\u003c/p\u003e","\u003cp\u003eThis series contains film, photographs, publications, slides, and a flash drive that document Rubin Peacock's artwork from 1969-2017. Included in this series are sculptures such as Ancestral Terrain, Block Bronze with Four Points, Courtyard Model for Three Point Bronze, Cube Series, Flaming Teepee, Obtuse Triangles, Opposing Forces, Pentangle, Reflections on the Past, Seraphic Visitor, Sphere Series, Swayed Hegemony, The King's Fool, Triad, Wedged Stele, and Winged Stele, among others, and locations such as the Cary Hill Sculpture Gardens, the Chrysler Museum of Art, and the Aylett Art Foundry.\u003c/p\u003e","\u003cp\u003eThis file contains 27 photographs, 1 oversized photograph, and 43 slides featuring sculptures such as Butterfly Chief, Seraphic Visitor, Swayed Hegemony I, and The King's Fool, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 33 photographs and 1 document featuring sculptures such as Reflections on the Past and Block Bronze with Four Points, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 1 photograph that features Cardplaying Duck.\u003c/p\u003e","\u003cp\u003eThis file contains 248 photographs, 30 frames of film, 19 slides, and 5 documentary materials that feature sculptures such as Ancestral Terrain, Ancient Arroyo, Querceta, Triad, Wedged Stele, and Winged Stele, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 18 photographs and 2 documentary materials that feature sculptures such as Lily Pond Stele, Silhouetted Geometry, and Winged Stele, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 23 photographs and 21 slides that feature sculptures such as Kanawha Landscape, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 5 photographs and 4 slides.\u003c/p\u003e","\u003cp\u003eThis file contains 21 photographs that feature One Morning In The Garden and The Dove and the Snake, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 19 photographs, 9 slides, and 2 documentary materials that feature sculptures such as Arch, Ascending Spirit, Broken Wing Stele, and Strong Man Stele, among others.\u003c/p\u003e","\u003cp\u003eThis series contains correspondence, receipts, photographs, and publications that document Rubin Peacock's life and career.\u003c/p\u003e","\u003cp\u003eThis file contains 9 photographs and 33 slides that document Rubin Peacock's early works and his participation in the Peace Corps at Camp Cobbla, Jamaica.\u003c/p\u003e","\u003cp\u003eThis file contains 24 photographs that document Rubin Peacock's studios and workshops.\u003c/p\u003e","\u003cp\u003eThis file contains correspondence between Rubin, his acquaintances, and his clients, including Gunston Hall, the National Electronics Museum, and the Federal Reserve Bank of Richmond, among others; newspapers, including Richmond News Leader, Richmond Times-Dispatch, Sarasota Arts Review, and Washington Post, among others; and publications such as Style Weekly, The Gunston Hall Newsletter, and Virginia Living, among others.\u003c/p\u003e","\u003cp\u003eThis file contains the correspondence and receipts of the Aylett Art Foundry. Included within this file is Rubin Peacock's notebook of patina formulas.\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","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The collection documents the life and artwork of Rubin Peacock. The collection's inclusive dates are 1945-2021, with the bulk of the material dating from the 1960s-1990s. The collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.","This series contains film, photographs, and slides that document the production of Rubin Peacock's artwork from 1966-1986. Included in this series are photographs of sculptures such as America's Gateway, Ancestral Terrain, Ancient Arroyo, Kanawha Landscape, Pentangle, Querceta, and early works made of stone and aluminum, and locations such as the Aylett Art Foundry and 303 Brook Road.","This file contains 20 photographs and 1 slide of early stone and aluminum works, sculpture production, and Rubin's studio.","This file contains 6 frames of film and 169 photographs documenting Rubin's bronze production for sculptures such as America's Gateway, Ancestral Terrain, Pentangle, and Winged Stele, among others.","This series contains film, photographs, publications, slides, and a flash drive that document Rubin Peacock's artwork from 1969-2017. Included in this series are sculptures such as Ancestral Terrain, Block Bronze with Four Points, Courtyard Model for Three Point Bronze, Cube Series, Flaming Teepee, Obtuse Triangles, Opposing Forces, Pentangle, Reflections on the Past, Seraphic Visitor, Sphere Series, Swayed Hegemony, The King's Fool, Triad, Wedged Stele, and Winged Stele, among others, and locations such as the Cary Hill Sculpture Gardens, the Chrysler Museum of Art, and the Aylett Art Foundry.","This file contains 27 photographs, 1 oversized photograph, and 43 slides featuring sculptures such as Butterfly Chief, Seraphic Visitor, Swayed Hegemony I, and The King's Fool, among others.","This file contains 33 photographs and 1 document featuring sculptures such as Reflections on the Past and Block Bronze with Four Points, among others.","This file contains 1 photograph that features Cardplaying Duck.","This file contains 248 photographs, 30 frames of film, 19 slides, and 5 documentary materials that feature sculptures such as Ancestral Terrain, Ancient Arroyo, Querceta, Triad, Wedged Stele, and Winged Stele, among others.","This file contains 18 photographs and 2 documentary materials that feature sculptures such as Lily Pond Stele, Silhouetted Geometry, and Winged Stele, among others.","This file contains 23 photographs and 21 slides that feature sculptures such as Kanawha Landscape, among others.","This file contains 5 photographs and 4 slides.","This file contains 21 photographs that feature One Morning In The Garden and The Dove and the Snake, among others.","This file contains 19 photographs, 9 slides, and 2 documentary materials that feature sculptures such as Arch, Ascending Spirit, Broken Wing Stele, and Strong Man Stele, among others.","This series contains correspondence, receipts, photographs, and publications that document Rubin Peacock's life and career.","This file contains 9 photographs and 33 slides that document Rubin Peacock's early works and his participation in the Peace Corps at Camp Cobbla, Jamaica.","This file contains 24 photographs that document Rubin Peacock's studios and workshops.","This file contains correspondence between Rubin, his acquaintances, and his clients, including Gunston Hall, the National Electronics Museum, and the Federal Reserve Bank of Richmond, among others; newspapers, including Richmond News Leader, Richmond Times-Dispatch, Sarasota Arts Review, and Washington Post, among others; and publications such as Style Weekly, The Gunston Hall Newsletter, and Virginia Living, among others.","This file contains the correspondence and receipts of the Aylett Art Foundry. Included within this file is Rubin Peacock's notebook of patina formulas."],"separatedmaterial_html_tesm":["\u003cp\u003eRubin Peacock's notebook of patina formulas has been placed in its own envelope due to its fragile condition.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Rubin Peacock's notebook of patina formulas has been placed in its own envelope due to its fragile condition."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Upon donation, Peacock assigned to the VMFA Archives all of his available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Upon donation, Peacock assigned to the VMFA Archives all of his available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_170051d948295468442c2d85cb740f8f\"\u003eThis collection documents the life and artwork of Rubin Peacock (1941-), a Richmond-based sculptor. For over fifty years, Rubin has dedicated his career to experimenting with bronze sculptures, taking inspiration from nature, ancient civilizations, and his Catawba Indian ancestry. His work has challenged popular art trends as many sculptors chose to utilize other materials in their work, making him one of few Virginia artists to use bronze.\n\nIn addition to a diverse array of photographic materials documenting Rubin's art production, processes, and completed pieces, this collection contains correspondence and publications detailing commissions, supply shipments, and patina formulas, providing an in-depth overview of Rubin's art career.\u003c/abstract\u003e"],"abstract_tesim":["This collection documents the life and artwork of Rubin Peacock (1941-), a Richmond-based sculptor. For over fifty years, Rubin has dedicated his career to experimenting with bronze sculptures, taking inspiration from nature, ancient civilizations, and his Catawba Indian ancestry. His work has challenged popular art trends as many sculptors chose to utilize other materials in their work, making him one of few Virginia artists to use bronze.\n\nIn addition to a diverse array of photographic materials documenting Rubin's art production, processes, and completed pieces, this collection contains correspondence and publications detailing commissions, supply shipments, and patina formulas, providing an in-depth overview of Rubin's art career."],"names_ssim":["Virginia Museum of Fine Arts Archives","Peacock, Rubin, 1941-"],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_coll_ssim":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"persname_ssim":["Peacock, Rubin, 1941-"],"language_ssim":["English \n, Latin \n. "],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:37:25.620Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_435","ead_ssi":"virmu_repositories_2_resources_435","_root_":"virmu_repositories_2_resources_435","_nest_parent_":"virmu_repositories_2_resources_435","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_435.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/435","title_filing_ssi":"Peacock, Rubin (VA-08)","title_ssm":["Rubin Peacock Artist Archives (VA-08)"],"title_tesim":["Rubin Peacock Artist Archives (VA-08)"],"unitdate_ssm":["1945-2021"],"unitdate_inclusive_ssm":["1945-2021"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["VA-08","/repositories/2/resources/435"],"text":["VA-08","/repositories/2/resources/435","Rubin Peacock Artist Archives (VA-08)","Art, American -- Virginia -- 20th century","Sculpture, American","Sculptors--United States","Bronze sculpture, American--20th century.","The collection is open for research. One folder is restricted and an unrestricted copy is located within the collection. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into 3 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1 Art Production, 1966-1986 Series 2 Artwork, 1969-2015 Series 3 Biographical, 1945-2021","Rubin Peacock: 50 Years of Bronze Sculpture, 2019","Recent Sculpture: Rubin Peacock: Institute of Contemporary Art of the Virginia Museum, November 24-December 31, 1980","Exhibition File: 20 Sculptors: Miscellaneous Uncataloged Material, 1982","Exhibition File: Rubin Peacock / New Sculpture: Miscellaneous Uncataloged Material, 1980","Artist File: Miscellaneous Uncataloged Material","Rubin Clifton Peacock","Born: September 8, 1941, Winston-Salem, NC","Rubin Peacock is an American sculptor whose works have been inspired by nature, ancient civilizations, and his Catawba Indian ancestry. Rubin's works are largely abstract with an emphasis on humanity's relationship with nature and the permanence of creating art with bronze.","Rubin Peacock began his career as a percussionist with a traveling rock and roll band in 1960. Using the money he earned from his music performances, Rubin pursued a Bachelor of Science and a Bachelor of Fine Arts from the University of Georgia in Athens, graduating in 1965. Upon completing his undergraduate education, Rubin went on to join the Peace Corps as an art teacher from 1965-1967, teaching students at Camp Cobbla in Jamaica and creating a scholarship for two of his students by selling his sculptures in an exhibition at the Bolivar Gallery in 1967.","After taking a brief hiatus in which he traveled throughout Central and South America to study art, Rubin returned to the United States to continue his education, graduating with a Masters of Fine Arts from Richmond Professional Institute - now Virginia Commonwealth University - in 1969. Rubin established himself in Virginia in 1969 with the purchase of an abandoned house called \"Marlboro\" that he transformed into the Aylett Art Foundry, buying his 303 Brook Road Richmond studio and gallery in 1985. Rubin regularly experimented with different modes of expression through bronze and exhibited his artwork in a variety of galleries, including his own.","Rubin has been commissioned by institutions such as The Carpenter Co., the Federal Reserve Bank of Richmond, Gunston Hall, the National Cathedral, the National Electronics Museum, and numerous private collectors, and has exhibited in galleries such as VMFA, 1708 Gallery, the Chrysler Museum of Art, Mickelson Gallery, the Sande Webster Gallery, and Sarasota's Modern Art Gallery, among others.","Sources: Collection materials; \"Rubin Peacock: 50 Years of Bronze Sculpture\" by Rubin Peacock","The collection was donated to the VMFA Archives by Rubin Peacock in January 2022.","In general, during processing, all publications are removed and added to the VMFA Library's holdings. Original newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders. Original folder titles are retained, when provided.","The collection documents the life and artwork of Rubin Peacock. The collection's inclusive dates are 1945-2021, with the bulk of the material dating from the 1960s-1990s. The collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.","This series contains film, photographs, and slides that document the production of Rubin Peacock's artwork from 1966-1986. Included in this series are photographs of sculptures such as America's Gateway, Ancestral Terrain, Ancient Arroyo, Kanawha Landscape, Pentangle, Querceta, and early works made of stone and aluminum, and locations such as the Aylett Art Foundry and 303 Brook Road.","This file contains 20 photographs and 1 slide of early stone and aluminum works, sculpture production, and Rubin's studio.","This file contains 6 frames of film and 169 photographs documenting Rubin's bronze production for sculptures such as America's Gateway, Ancestral Terrain, Pentangle, and Winged Stele, among others.","This series contains film, photographs, publications, slides, and a flash drive that document Rubin Peacock's artwork from 1969-2017. Included in this series are sculptures such as Ancestral Terrain, Block Bronze with Four Points, Courtyard Model for Three Point Bronze, Cube Series, Flaming Teepee, Obtuse Triangles, Opposing Forces, Pentangle, Reflections on the Past, Seraphic Visitor, Sphere Series, Swayed Hegemony, The King's Fool, Triad, Wedged Stele, and Winged Stele, among others, and locations such as the Cary Hill Sculpture Gardens, the Chrysler Museum of Art, and the Aylett Art Foundry.","This file contains 27 photographs, 1 oversized photograph, and 43 slides featuring sculptures such as Butterfly Chief, Seraphic Visitor, Swayed Hegemony I, and The King's Fool, among others.","This file contains 33 photographs and 1 document featuring sculptures such as Reflections on the Past and Block Bronze with Four Points, among others.","This file contains 1 photograph that features Cardplaying Duck.","This file contains 248 photographs, 30 frames of film, 19 slides, and 5 documentary materials that feature sculptures such as Ancestral Terrain, Ancient Arroyo, Querceta, Triad, Wedged Stele, and Winged Stele, among others.","This file contains 18 photographs and 2 documentary materials that feature sculptures such as Lily Pond Stele, Silhouetted Geometry, and Winged Stele, among others.","This file contains 23 photographs and 21 slides that feature sculptures such as Kanawha Landscape, among others.","This file contains 5 photographs and 4 slides.","This file contains 21 photographs that feature One Morning In The Garden and The Dove and the Snake, among others.","This file contains 19 photographs, 9 slides, and 2 documentary materials that feature sculptures such as Arch, Ascending Spirit, Broken Wing Stele, and Strong Man Stele, among others.","This series contains correspondence, receipts, photographs, and publications that document Rubin Peacock's life and career.","This file contains 9 photographs and 33 slides that document Rubin Peacock's early works and his participation in the Peace Corps at Camp Cobbla, Jamaica.","This file contains 24 photographs that document Rubin Peacock's studios and workshops.","This file contains correspondence between Rubin, his acquaintances, and his clients, including Gunston Hall, the National Electronics Museum, and the Federal Reserve Bank of Richmond, among others; newspapers, including Richmond News Leader, Richmond Times-Dispatch, Sarasota Arts Review, and Washington Post, among others; and publications such as Style Weekly, The Gunston Hall Newsletter, and Virginia Living, among others.","This file contains the correspondence and receipts of the Aylett Art Foundry. Included within this file is Rubin Peacock's notebook of patina formulas.","Rubin Peacock's notebook of patina formulas has been placed in its own envelope due to its fragile condition.","The collection is subject to all copyright laws. Upon donation, Peacock assigned to the VMFA Archives all of his available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents the life and artwork of Rubin Peacock (1941-), a Richmond-based sculptor. For over fifty years, Rubin has dedicated his career to experimenting with bronze sculptures, taking inspiration from nature, ancient civilizations, and his Catawba Indian ancestry. His work has challenged popular art trends as many sculptors chose to utilize other materials in their work, making him one of few Virginia artists to use bronze.\n\nIn addition to a diverse array of photographic materials documenting Rubin's art production, processes, and completed pieces, this collection contains correspondence and publications detailing commissions, supply shipments, and patina formulas, providing an in-depth overview of Rubin's art career.","Virginia Museum of Fine Arts Archives","Peacock, Rubin, 1941-","English \n, Latin \n. "],"unitid_tesim":["VA-08","/repositories/2/resources/435"],"normalized_title_ssm":["Rubin Peacock Artist Archives (VA-08)"],"collection_title_tesim":["Rubin Peacock Artist Archives (VA-08)"],"collection_ssim":["Rubin Peacock Artist Archives (VA-08)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"creator_ssim":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"creator_persname_ssim":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"creators_ssim":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"access_terms_ssm":["The collection is subject to all copyright laws. Upon donation, Peacock assigned to the VMFA Archives all of his available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Sculpture, American","Sculptors--United States","Bronze sculpture, American--20th century."],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Sculpture, American","Sculptors--United States","Bronze sculpture, American--20th century."],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 6 boxes; 11 folders; 1,238 items"],"extent_tesim":["1.5 Linear Feet 6 boxes; 11 folders; 1,238 items"],"date_range_isim":[1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. One folder is restricted and an unrestricted copy is located within the collection. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. One folder is restricted and an unrestricted copy is located within the collection. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 3 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 1\u003c/label\u003e\n \u003citem\u003eArt Production, 1966-1986\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 2\u003c/label\u003e\n \u003citem\u003eArtwork, 1969-2015\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003eSeries 3\u003c/label\u003e\n \u003citem\u003eBiographical, 1945-2021\u003c/item\u003e\n \u003c/defitem\u003e\n \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 3 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1 Art Production, 1966-1986 Series 2 Artwork, 1969-2015 Series 3 Biographical, 1945-2021"],"bibliography_html_tesm":["\u003cbibref\u003eRubin Peacock: 50 Years of Bronze Sculpture, 2019\u003c/bibref\u003e","\u003cbibref\u003eRecent Sculpture: Rubin Peacock: Institute of Contemporary Art of the Virginia Museum, November 24-December 31, 1980\u003c/bibref\u003e","\u003cbibref\u003eExhibition File: 20 Sculptors: Miscellaneous Uncataloged Material, 1982\u003c/bibref\u003e","\u003cbibref\u003eExhibition File: Rubin Peacock / New Sculpture: Miscellaneous Uncataloged Material, 1980\u003c/bibref\u003e","\u003cbibref\u003eArtist File: Miscellaneous Uncataloged Material\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["Rubin Peacock: 50 Years of Bronze Sculpture, 2019","Recent Sculpture: Rubin Peacock: Institute of Contemporary Art of the Virginia Museum, November 24-December 31, 1980","Exhibition File: 20 Sculptors: Miscellaneous Uncataloged Material, 1982","Exhibition File: Rubin Peacock / New Sculpture: Miscellaneous Uncataloged Material, 1980","Artist File: Miscellaneous Uncataloged Material"],"bioghist_html_tesm":["\u003cp\u003eRubin Clifton Peacock\u003c/p\u003e\n","\u003cp\u003eBorn: September 8, 1941, Winston-Salem, NC\u003c/p\u003e\n","\u003cp\u003eRubin Peacock is an American sculptor whose works have been inspired by nature, ancient civilizations, and his Catawba Indian ancestry. Rubin's works are largely abstract with an emphasis on humanity's relationship with nature and the permanence of creating art with bronze.\u003c/p\u003e\n","\u003cp\u003eRubin Peacock began his career as a percussionist with a traveling rock and roll band in 1960. Using the money he earned from his music performances, Rubin pursued a Bachelor of Science and a Bachelor of Fine Arts from the University of Georgia in Athens, graduating in 1965. Upon completing his undergraduate education, Rubin went on to join the Peace Corps as an art teacher from 1965-1967, teaching students at Camp Cobbla in Jamaica and creating a scholarship for two of his students by selling his sculptures in an exhibition at the Bolivar Gallery in 1967.\u003c/p\u003e\n","\u003cp\u003eAfter taking a brief hiatus in which he traveled throughout Central and South America to study art, Rubin returned to the United States to continue his education, graduating with a Masters of Fine Arts from Richmond Professional Institute - now Virginia Commonwealth University - in 1969. Rubin established himself in Virginia in 1969 with the purchase of an abandoned house called \"Marlboro\" that he transformed into the Aylett Art Foundry, buying his 303 Brook Road Richmond studio and gallery in 1985. Rubin regularly experimented with different modes of expression through bronze and exhibited his artwork in a variety of galleries, including his own.\u003c/p\u003e\n","\u003cp\u003eRubin has been commissioned by institutions such as The Carpenter Co., the Federal Reserve Bank of Richmond, Gunston Hall, the National Cathedral, the National Electronics Museum, and numerous private collectors, and has exhibited in galleries such as VMFA, 1708 Gallery, the Chrysler Museum of Art, Mickelson Gallery, the Sande Webster Gallery, and Sarasota's Modern Art Gallery, among others.\u003c/p\u003e\n","\u003cp\u003eSources: Collection materials; \u003ca href=\"https://vmfashop.com/books-media/collections/rubin-peacock-50-years-of-bronze-sculpture.html\"\u003e\"Rubin Peacock: 50 Years of Bronze Sculpture\"\u003c/a\u003e by Rubin Peacock\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Rubin Clifton Peacock","Born: September 8, 1941, Winston-Salem, NC","Rubin Peacock is an American sculptor whose works have been inspired by nature, ancient civilizations, and his Catawba Indian ancestry. Rubin's works are largely abstract with an emphasis on humanity's relationship with nature and the permanence of creating art with bronze.","Rubin Peacock began his career as a percussionist with a traveling rock and roll band in 1960. Using the money he earned from his music performances, Rubin pursued a Bachelor of Science and a Bachelor of Fine Arts from the University of Georgia in Athens, graduating in 1965. Upon completing his undergraduate education, Rubin went on to join the Peace Corps as an art teacher from 1965-1967, teaching students at Camp Cobbla in Jamaica and creating a scholarship for two of his students by selling his sculptures in an exhibition at the Bolivar Gallery in 1967.","After taking a brief hiatus in which he traveled throughout Central and South America to study art, Rubin returned to the United States to continue his education, graduating with a Masters of Fine Arts from Richmond Professional Institute - now Virginia Commonwealth University - in 1969. Rubin established himself in Virginia in 1969 with the purchase of an abandoned house called \"Marlboro\" that he transformed into the Aylett Art Foundry, buying his 303 Brook Road Richmond studio and gallery in 1985. Rubin regularly experimented with different modes of expression through bronze and exhibited his artwork in a variety of galleries, including his own.","Rubin has been commissioned by institutions such as The Carpenter Co., the Federal Reserve Bank of Richmond, Gunston Hall, the National Cathedral, the National Electronics Museum, and numerous private collectors, and has exhibited in galleries such as VMFA, 1708 Gallery, the Chrysler Museum of Art, Mickelson Gallery, the Sande Webster Gallery, and Sarasota's Modern Art Gallery, among others.","Sources: Collection materials; \"Rubin Peacock: 50 Years of Bronze Sculpture\" by Rubin Peacock"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated to the VMFA Archives by Rubin Peacock in January 2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated to the VMFA Archives by Rubin Peacock in January 2022."],"prefercite_html_tesm":["\u003cp\u003eRubin Peacock Artist Archives (VA-08). Gift of Rubin Peacock. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Rubin Peacock Artist Archives (VA-08). Gift of Rubin Peacock. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings. Original newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders. Original folder titles are retained, when provided.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings. Original newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThe collection documents the life and artwork of Rubin Peacock. The collection's inclusive dates are 1945-2021, with the bulk of the material dating from the 1960s-1990s. The collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.\u003c/p\u003e","\u003cp\u003eThis series contains film, photographs, and slides that document the production of Rubin Peacock's artwork from 1966-1986. Included in this series are photographs of sculptures such as America's Gateway, Ancestral Terrain, Ancient Arroyo, Kanawha Landscape, Pentangle, Querceta, and early works made of stone and aluminum, and locations such as the Aylett Art Foundry and 303 Brook Road.\u003c/p\u003e","\u003cp\u003eThis file contains 20 photographs and 1 slide of early stone and aluminum works, sculpture production, and Rubin's studio.\u003c/p\u003e","\u003cp\u003eThis file contains 6 frames of film and 169 photographs documenting Rubin's bronze production for sculptures such as America's Gateway, Ancestral Terrain, Pentangle, and Winged Stele, among others.\u003c/p\u003e","\u003cp\u003eThis series contains film, photographs, publications, slides, and a flash drive that document Rubin Peacock's artwork from 1969-2017. Included in this series are sculptures such as Ancestral Terrain, Block Bronze with Four Points, Courtyard Model for Three Point Bronze, Cube Series, Flaming Teepee, Obtuse Triangles, Opposing Forces, Pentangle, Reflections on the Past, Seraphic Visitor, Sphere Series, Swayed Hegemony, The King's Fool, Triad, Wedged Stele, and Winged Stele, among others, and locations such as the Cary Hill Sculpture Gardens, the Chrysler Museum of Art, and the Aylett Art Foundry.\u003c/p\u003e","\u003cp\u003eThis file contains 27 photographs, 1 oversized photograph, and 43 slides featuring sculptures such as Butterfly Chief, Seraphic Visitor, Swayed Hegemony I, and The King's Fool, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 33 photographs and 1 document featuring sculptures such as Reflections on the Past and Block Bronze with Four Points, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 1 photograph that features Cardplaying Duck.\u003c/p\u003e","\u003cp\u003eThis file contains 248 photographs, 30 frames of film, 19 slides, and 5 documentary materials that feature sculptures such as Ancestral Terrain, Ancient Arroyo, Querceta, Triad, Wedged Stele, and Winged Stele, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 18 photographs and 2 documentary materials that feature sculptures such as Lily Pond Stele, Silhouetted Geometry, and Winged Stele, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 23 photographs and 21 slides that feature sculptures such as Kanawha Landscape, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 5 photographs and 4 slides.\u003c/p\u003e","\u003cp\u003eThis file contains 21 photographs that feature One Morning In The Garden and The Dove and the Snake, among others.\u003c/p\u003e","\u003cp\u003eThis file contains 19 photographs, 9 slides, and 2 documentary materials that feature sculptures such as Arch, Ascending Spirit, Broken Wing Stele, and Strong Man Stele, among others.\u003c/p\u003e","\u003cp\u003eThis series contains correspondence, receipts, photographs, and publications that document Rubin Peacock's life and career.\u003c/p\u003e","\u003cp\u003eThis file contains 9 photographs and 33 slides that document Rubin Peacock's early works and his participation in the Peace Corps at Camp Cobbla, Jamaica.\u003c/p\u003e","\u003cp\u003eThis file contains 24 photographs that document Rubin Peacock's studios and workshops.\u003c/p\u003e","\u003cp\u003eThis file contains correspondence between Rubin, his acquaintances, and his clients, including Gunston Hall, the National Electronics Museum, and the Federal Reserve Bank of Richmond, among others; newspapers, including Richmond News Leader, Richmond Times-Dispatch, Sarasota Arts Review, and Washington Post, among others; and publications such as Style Weekly, The Gunston Hall Newsletter, and Virginia Living, among others.\u003c/p\u003e","\u003cp\u003eThis file contains the correspondence and receipts of the Aylett Art Foundry. Included within this file is Rubin Peacock's notebook of patina formulas.\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","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The collection documents the life and artwork of Rubin Peacock. The collection's inclusive dates are 1945-2021, with the bulk of the material dating from the 1960s-1990s. The collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.","This series contains film, photographs, and slides that document the production of Rubin Peacock's artwork from 1966-1986. Included in this series are photographs of sculptures such as America's Gateway, Ancestral Terrain, Ancient Arroyo, Kanawha Landscape, Pentangle, Querceta, and early works made of stone and aluminum, and locations such as the Aylett Art Foundry and 303 Brook Road.","This file contains 20 photographs and 1 slide of early stone and aluminum works, sculpture production, and Rubin's studio.","This file contains 6 frames of film and 169 photographs documenting Rubin's bronze production for sculptures such as America's Gateway, Ancestral Terrain, Pentangle, and Winged Stele, among others.","This series contains film, photographs, publications, slides, and a flash drive that document Rubin Peacock's artwork from 1969-2017. Included in this series are sculptures such as Ancestral Terrain, Block Bronze with Four Points, Courtyard Model for Three Point Bronze, Cube Series, Flaming Teepee, Obtuse Triangles, Opposing Forces, Pentangle, Reflections on the Past, Seraphic Visitor, Sphere Series, Swayed Hegemony, The King's Fool, Triad, Wedged Stele, and Winged Stele, among others, and locations such as the Cary Hill Sculpture Gardens, the Chrysler Museum of Art, and the Aylett Art Foundry.","This file contains 27 photographs, 1 oversized photograph, and 43 slides featuring sculptures such as Butterfly Chief, Seraphic Visitor, Swayed Hegemony I, and The King's Fool, among others.","This file contains 33 photographs and 1 document featuring sculptures such as Reflections on the Past and Block Bronze with Four Points, among others.","This file contains 1 photograph that features Cardplaying Duck.","This file contains 248 photographs, 30 frames of film, 19 slides, and 5 documentary materials that feature sculptures such as Ancestral Terrain, Ancient Arroyo, Querceta, Triad, Wedged Stele, and Winged Stele, among others.","This file contains 18 photographs and 2 documentary materials that feature sculptures such as Lily Pond Stele, Silhouetted Geometry, and Winged Stele, among others.","This file contains 23 photographs and 21 slides that feature sculptures such as Kanawha Landscape, among others.","This file contains 5 photographs and 4 slides.","This file contains 21 photographs that feature One Morning In The Garden and The Dove and the Snake, among others.","This file contains 19 photographs, 9 slides, and 2 documentary materials that feature sculptures such as Arch, Ascending Spirit, Broken Wing Stele, and Strong Man Stele, among others.","This series contains correspondence, receipts, photographs, and publications that document Rubin Peacock's life and career.","This file contains 9 photographs and 33 slides that document Rubin Peacock's early works and his participation in the Peace Corps at Camp Cobbla, Jamaica.","This file contains 24 photographs that document Rubin Peacock's studios and workshops.","This file contains correspondence between Rubin, his acquaintances, and his clients, including Gunston Hall, the National Electronics Museum, and the Federal Reserve Bank of Richmond, among others; newspapers, including Richmond News Leader, Richmond Times-Dispatch, Sarasota Arts Review, and Washington Post, among others; and publications such as Style Weekly, The Gunston Hall Newsletter, and Virginia Living, among others.","This file contains the correspondence and receipts of the Aylett Art Foundry. Included within this file is Rubin Peacock's notebook of patina formulas."],"separatedmaterial_html_tesm":["\u003cp\u003eRubin Peacock's notebook of patina formulas has been placed in its own envelope due to its fragile condition.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Rubin Peacock's notebook of patina formulas has been placed in its own envelope due to its fragile condition."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Upon donation, Peacock assigned to the VMFA Archives all of his available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Upon donation, Peacock assigned to the VMFA Archives all of his available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_170051d948295468442c2d85cb740f8f\"\u003eThis collection documents the life and artwork of Rubin Peacock (1941-), a Richmond-based sculptor. For over fifty years, Rubin has dedicated his career to experimenting with bronze sculptures, taking inspiration from nature, ancient civilizations, and his Catawba Indian ancestry. His work has challenged popular art trends as many sculptors chose to utilize other materials in their work, making him one of few Virginia artists to use bronze.\n\nIn addition to a diverse array of photographic materials documenting Rubin's art production, processes, and completed pieces, this collection contains correspondence and publications detailing commissions, supply shipments, and patina formulas, providing an in-depth overview of Rubin's art career.\u003c/abstract\u003e"],"abstract_tesim":["This collection documents the life and artwork of Rubin Peacock (1941-), a Richmond-based sculptor. For over fifty years, Rubin has dedicated his career to experimenting with bronze sculptures, taking inspiration from nature, ancient civilizations, and his Catawba Indian ancestry. His work has challenged popular art trends as many sculptors chose to utilize other materials in their work, making him one of few Virginia artists to use bronze.\n\nIn addition to a diverse array of photographic materials documenting Rubin's art production, processes, and completed pieces, this collection contains correspondence and publications detailing commissions, supply shipments, and patina formulas, providing an in-depth overview of Rubin's art career."],"names_ssim":["Virginia Museum of Fine Arts Archives","Peacock, Rubin, 1941-"],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_coll_ssim":["Peacock, Rubin, 1941-","Peacock, Rubin, 1941-"],"persname_ssim":["Peacock, Rubin, 1941-"],"language_ssim":["English \n, Latin \n. "],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:37:25.620Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_435"}},{"id":"viblbv_repositories_2_resources_2970","type":"collection","attributes":{"title":"Welford D. Taylor Collection on Sherwood Anderson","creator":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2970#creator","type":"document_value","attributes":{"value":"Anderson, Eleanor Copenhaver, 1896-1985","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2970#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2970#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viblbv_repositories_2_resources_2970","ead_ssi":"viblbv_repositories_2_resources_2970","_root_":"viblbv_repositories_2_resources_2970","_nest_parent_":"viblbv_repositories_2_resources_2970","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2970.xml","title_filing_ssi":"Taylor, Welford D. Collection on Sherwood Anderson","title_ssm":["Welford D. Taylor Collection on Sherwood Anderson"],"title_tesim":["Welford D. Taylor Collection on Sherwood Anderson"],"unitdate_ssm":["1918-2006, n.d."],"unitdate_other_ssim":["1918-2006, n.d."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2015.020"],"text":["Ms.2015.020","Welford D. Taylor Collection on Sherwood Anderson","Art, American -- Virginia -- 20th century","Authors, American -- 20th century","American Literature -- Virginia","Ripshin (Grayson County, Va.)","Local/Regional History and Appalachian South","Photographs","Correspondence","The collection is open for research.","Some issues of the Smyth County News have been digitized by the Smyth-Bland Regional Library.","Some items from this collection have been digitized and are available online .","Sherwood Anderson (1876-1941) was born in the small town of Camden, Ohio to Irwin McClain Anderson (d.1919) and Emma Jane Smith (d.1895). While Anderson excelled as a student, he quit school at the age of 14 to help support his family, taking on a wide variety of jobs. After his mother's death, he relocated to Chicago for the first time, working and taking a few night classes. He served briefly in Cuba during he Spanish-American War, but was sent there after combat had ended. A few months later, he returned to Clyde, then moved to Springfield, Ohio, in 1899, where he completed his senior year at Wittenburg Academy, a prep school. His graduation speech resulted in his being offered a job as an advertising solicitor and he moved to back to Chicago.","In 1903, work travels took him to Toledo, Ohio, where he met Cornelia Pratt Lane, his first wife. The couple married in 1904 and had three children: Robert Lane (1907-1951), John Sherwood (1908-1995) and Marion (Mimi) (1911-1996). In 1906, they relocated to Cleveland when Anderson became the president of the United Factories Company, a mail-order firm. The following year he departed the company, took his family to Elyria, Ohio, and started the Anderson Manufacturing Co., another mail order business. ","In 1912, Anderson suffered a nervous breakdown. He returned to Chicago yet again and began work writing advertising copy and becoming part of the writer and artist scene of the city. In 1916, he divorced Cornelia Pratt and married Tennessee Mitchell, a sculptor. He also published his first novel, Windy McPherson's Son , the first of three books in a deal with publisher John Lane. It was beginning of his writing career. 1919 saw the publication of his short story collection, Winesburg, Ohio , one of his most well-know works. In 1924, he divorced Tennessee Mitchell and marred Elizabeth Prall. They lived in New York and New Orleans, and traveled in Europe, too. With profits from his novel 1925 Dark Laughter, Anderson bought Ripshin Farm, later just Ripshin, as a summer home, in 1926. He also acquired both local newspapers, the Smyth County News and the Marion Democrat . His son, Robert, helped with, and eventually took over management of the newspapers in 1929. Around the same time, Anderson began a tour of the south and its factory towns with Eleanor Copenhaver, which shaped several of his later non-fiction publications. ","In 1932, Anderson divorced Elizabeth Prall and the following year, married Eleanor Copenhaver (1896-1985). Southwest Virginia was a powerful influence on his later stories and novels. His life in around Marion and Troutdale, Virginia, was the focus of his writing for the newspapers, as well. At the same time, he was still writing novels and short stories for magazines. In 1941, Sherwood and Eleanor Anderson left for a trip to South America. During the trip, after ingesting a toothpick, Anderson developed peritonitis and was hospitalized in Panama, where he passed away on March 8, 1941. He is buried in Round Hill Cemetery in Marion, Virginia. ","Over his lifetime, Anderson published 8 novels, 4 collections of short stories, 2 collections of poetry, 1 collection of plays, and 12 works of non-fiction. Following his death, publishers and scholars have produced memoirs, critical editions, and several volumes of his collected letters. During his life, he was influential on the careers of William Faulkner and Ernest Hemingway, and maintained extensive correspondence and friendships with authors, artists, publishers, and critics (though he later wrote that he had given up reading reviews).","Eleanor Gladys Copenhaver (1896-1985) was born on June 15, 1896 in Marion, Virginia, to Bascom Eugene and Laura Lu Scherer Copenhaver. Laura Lu's father founded Marion Female College, which was located next door to the family home, \"Rosemont.\" Laura Lu attended Marion College and later taught English there. Her husband, B.E. Copenhaver, first taught at Marion and then became Smyth County superintendent of schools.\nEleanor Copenhaver attended Marion College, then Westhampton College in Richmond, completing a B. A. in English in 1917. After spending a year teaching and time as a camp director, she spent more than ten years working for the YWCA, specializing first in rural community organizing and later in industrial communities. During this time, she met and eventually married Sherwood Anderson in 1933. ","From 1937 to 1947 Copenhaver Anderson was head of the National YWCA's Industrial Program, later accepting a 2 year assignment abroad. In 1950, she spent a brief time apart from the YWCA, after it ended programs for employed women, but she was re-hired in 1951 for another ten years for the YWCA and United Community Defense Services, until she retired in 1961. ","She spent her later life in both New York City and at \"Rosemont\" and \"Ripshin\" in Virginia. As the collection suggests, she maintained an active role in scholarship surrounded Sherwood Anderson. She died on September 12, 1985, in Marion, Virginia. ","A lengthier biographical note can be found in finding aid for the Eleanor Copenhaver Anderson Papers in the Sophia Smith Collection. The UNC Chapel Hill \"Documenting the American South\" Collection also includes an oral history interview with Eleanor Copenhaver Anderson from November 5, 1974 .","Julius John (J. J.) Lankes was born in 1884 in Buffalo, NY. He began working as a draftsman in 1902, but spent the majority of his professional life known for his woodcuts. His career as an artist spanned decades, during which he created woodcuts and illustrations for authors, among others. In addition to Sherwood Anderson, he worked with Robert Frost and Beatrix Potter. Lankes wrote and illustrated A Woodcut Manual , published by Henry Holt in 1932. In 2006, The University of Tampa published a new edition of this book with selected letters and other writings, edited by Welford Dunaway Taylor. (A copy of the 2006 edition is housed in Special Collections. A copy of the 1932 edition is available at the University Libraries' Art \u0026 Architecture Library.) In addition to his illustrations and work as an artist, Lankes taught at Wells College from 1933 to about 1940. From 1943 to 1950, Lankes worked for the reproduction section of the National Advisory Council for Aeronautics (NACA, later NASA). He retired in 1951 and died in April 1960.","The Rauner Special Collections Library of Dartmouth University contains a collection of J. J. Lankes papers. A finding aid for the collection is available online. ","Welford D. Taylor is a retired English professor and scholar. Over the course of his career, he published edited volumes of Sherwood Anderson's work and his own research on Anderson, as well as on J. J. Lankes and other authors and topics. Highlights of his books include:\n Julius J. Lankes: Survey of an American Artist , 2013 Sherwood Anderson Remembered , 2009 The Woodcut Art of J. J. Lankes , 1999 Southern Odyssey: Selected Writings by Sherwood Anderson , with Charles E. Modlin, 1997 The Newsprint Mask: The Tradition of the Fictional Journalist in America , 1991 Sherwood Anderson, J.J. Lankes and the illustration of _Perhaps Women_ , 1981 Sherwood Anderson , 1977","This collection represents his research and accumulated materials pirmarily relating to Sherwood Anderson, J. J. Lankes, and Eleanor Copenhaver Anderson.","The processing, arrangement, and description of the Welford D. Taylor Collection on Sherwood Anderson began in October 2016 and was completed in November 2016.","Books by and about Sherwood Anderson stored in Special Collections and the general collection of Newman Library are cataloged and can be located using the library's catalog .\nMicrofilmed and bound theses and dissertations about Sherwood Anderson and his work that were collected by researcher Ray White are cataloged and can be located using the library's catalog .\nSpecial Collections houses multiple manuscripts relating to Anderson, including: \nMs1971-002, Dayton M. Kohler Papers, 1889-1972. Finding aid available online .","Ms1973-002, Sherwood Anderson Collection, 1912-1938. Finding aid available online . Some items in this collection have been digitized and are available online .","Ms2011-004, Sherwood Anderson Photograph and Postcard, 1929, 1939. Finding aid available online . This collection has been digitized and is available online . ","Ms2015-020, Welford D. Taylor Collection on Sherwood Anderson, 1918-2006, n.d. Finding aid available online . Some items from this collection have been digitized and are available online . ","Ms2015-044, Sherwood Anderson Correspondence with Llewellyn Jones, 1916-1924, n.d. Finding aid available online . Digital images with transcripts available online. ","Ms2017-001, Mary Sinton Leitch Correspondence with J. J. Lankes, 1932-1950. Finding aid available online . This collection has been digitized and is available online . ","Ms2017-005, James T. Farrell Letters to Eleanor Copenhaver Anderson, 1952. Finding aid available online . This collection has been digitized and is available online . ","This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006. ","Series I: Correspondence to/from Sherwood Anderson, 1927-1940 includes correspondence to and from Anderson with a variety of colleagues and friends. It contains three subseries. Materials in each subseries in Series I are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Sherwood Anderson to J. J. Lankes, 1926-1940 consists of Anderson's letters to artist and friend, J. J. Lankes. The correspondence is a combination of personal conversations and professional. There are also several folders of materials that relate to the correspondence and the Anderson-Lankes collaboration: manuscripts and copies of essays, woodcuts, articles, and reviews. Subseries B: From Sherwood Anderson to various, A-Z, 1925-1940, n.d. contains letters by Anderson to a variety of individuals. In most cases, there is a single letter to each correspondent, with the exception of William and Carrie Wright. Wright built Ripshin, Anderson's home in Marion, Va. Subseries C: To Sherwood Anderson from various, A-Z, 1931, 1935 consists of a letter to Anderson from his publisher and an invitation.","Series II: Correspondence about Sherwood Anderson, 1929-2006, n.d. contains letters about Sherwood Anderson, including personal correspondence to Eleanor Copenhaver Anderson, artist J. J. Lankes, Anderson scholar Welford D. Taylor, and others. It contains four subseries. Materials in each subseries in Series II are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: To/from Eleanor Copenhaver Anderson, 1941-1977, n.d., includes letters written to and from Eleanor Copenhaver Anderson, written after Anderson's death in 1941. It is primary correspondence between Eleanor and J. J. Lankes and W. D. Taylor. Subseries B: To/from J. J. Lankes, 1930-1957, n.d. consists of letters to and from Lankes from Anderson's son, Robert, from publishers working with Lankes and Anderson on Anderson's books, and other mutual acquaintances. Subseries C: To/from Welford D. Taylor from Various, A-Z, 1929-2006 includes correspondence from other Sherwood Anderson scholars and researchers. The last subseries, Subseries D: To/from various, A-Z, 1932, 1938, 1965, contains a few letters from individuals connected to Anderson (his children) or between individuals interested in Anderson. ","Series III: Subject Files, 1918-2006, n.d. includes collected research files, ephemera, and other items related to scholarship about Sherwood Anderson. Materials in each subseries in Series III are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Writings by \u0026 about Sherwood Anderson, 1918-1953, n.d. contains a few drafts of writings by Anderson, along with photocopies of an article about Anderson and one of his newspaper columns from 1918. Subseries B: Sherwood Anderson \u0026 His Works, 1964-2006, n.d. includes files of research materials collected by W. D. Taylor on secondary sources or edited collections of Anderson's works. This includes The Buck Fever Papers , Certain Things Last: The Selected Short Stories of Sherwood Anderson , Sherwood Anderson , Sherwood Anderson: A Writer in America , and Southern Odyssey: Selected Writings by Sherwood Anderson . This subseries also has the transcript of an interview by Taylor with Joseph and Mary Cortina. Subseries C: Ephemera, 1924-2005, n.d. consist of pages from newspapers, programs from events related to Anderson scholarship, and materials from the Sherwood Anderson Foundation. Subseries D: Eleanor Copenhaver Anderson, 1980, 1985 contains obituaries following the death of Eleanor Copenhaver Anderson and a pamphlet relating to her mother.","Series IV: Images, Video, Audio, and Microfilm, 1970s-1991, n.d. contains all the multimedia materials received as part of this collection. Formats include photographs, postcards, a VHS tape, cassette tape and audio reels, and microfilm. Materials in each subseries in Series IV are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Photographs and Postcards, c.1970s, n.d. includes pictures of art works relating to Anderson, formal and candid images of Anderson, of Ripshin ( https://en.wikipedia.org/wiki/Ripshin_Farm ), his home in Grayson County, Virginia, and of locations around Marion, Virginia, which were significant to Anderson's life and career. Subseries B: Video, 1991 includes the recording of a 1991 event on the Virginia Tech campus. Subseries C: Audio, 1976, 1982, n.d. includes a partial interview with an unknown friend of Sherwood Anderson and cassette tapes with interviews of Anderson scholars and Eleanor Anderson. Subseries D: Microfilm, 1925-1931, n.d. contains microfilm of Smyth County newspapers purchased and published by Anderson in the 1920s and 1930s. ","Series V: Graphic Arts Materials, n.d. includes a small group of art works, primarily woodcuts. This series contains prints and photocopies of J. J. Lankes woodcuts, some of which were used in Anderson publications. It also includes bookplates for the libraries of Sherwood Anderson and Welford D. Taylor. Materials in Series V are organized by material type. ","List of Major Correspondents · Anderson, Eleanor Copenhaver (1896-1985) · Anderson, Sherwood (1876-1941) · Anderson, Robert Lane (1907-1951) · Campbell, Hilbert · DeVries, Carrow · Hurd, Thaddeus B. · Lankes, J. J. (1884-1960) · Modlin, Charles E. · Rideout, Walter B. · Taylor, Welford Dunaway · Wright, William and Carrie","This audio reel contains no lead and starts in the middle of an interview with an unknown person about his memories and experiences with Sherwood Anderson. Following the interview, which is cut short, the audio is unplayable by equipment in Special Collections (it seems to have been recorded at a different speed) for many minutes. The middle of the reel includes recordings of someone playing piano. The end of the reel contains additional audio again apparently recorded at a different speed and unplayable.","Please note: Virginia Tech Special Collections does NOT house the original scrapbook from which these articles were filmed. It appears to be part of the Sherwood Anderson Papers held by the Newberry Library.","The following books were purchased along with the manuscript materials and are cataloged for Special Collections Rare Book Collection: \n The Complete Works of Sherwood Anderson , ed. Kichinosuke Ohashi (21 vols) Agricultural Advertising , vol. IX, nos. 1-12. (This includes Anderson's earliest published work, as well as four other pieces by him) Short Stories of Sherwood Anderson (Armed Services Edition) Labor Age: The Voice of Progressive Labor , XX, no. 2, 1931 Sherwood Anderson: A Writer in America , Vols. 1-2 (2 vols) by Walter B. Rideout Sherwood Anderson: Dimensions of His Literary Art/A Collection of Essays , ed. David D. Anderson The Phenomenon of Sherwood Anderson by N. Bryllion Fagin Wave Essays Number 1 (Spring 1980) , \"Sherwood Anderson, J. J. Lankes and the Illustration of Perhaps Women \" by Welford Dunaway Taylor","Permission to publish material from the Welford D. Taylor Collection on Sherwood Anderson must be obtained from Special Collections, Virginia Tech.","This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006.","Special Collections and University Archives, Virginia Tech","Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960","Taylor, Welford Dunaway","English \n. "],"unitid_tesim":["Ms.2015.020"],"normalized_title_ssm":["Welford D. Taylor Collection on Sherwood Anderson"],"collection_title_tesim":["Welford D. Taylor Collection on Sherwood Anderson"],"collection_ssim":["Welford D. Taylor Collection on Sherwood Anderson"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960"],"creator_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960"],"creator_persname_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960"],"creators_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960"],"access_terms_ssm":["Permission to publish material from the Welford D. Taylor Collection on Sherwood Anderson must be obtained from Special Collections, Virginia Tech."],"acqinfo_ssim":["Portions of the Welford D. Taylor Collection on Sherwood Anderson were purchased by Special Collections in 2015 and 2016. Additional portions of the collection were donated to Special Collections in 2015 and in 2016."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Authors, American -- 20th century","American Literature -- Virginia","Ripshin (Grayson County, Va.)","Local/Regional History and Appalachian South","Photographs","Correspondence"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Authors, American -- 20th century","American Literature -- Virginia","Ripshin (Grayson County, Va.)","Local/Regional History and Appalachian South","Photographs","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["2.2 Cubic Feet 3 boxes"],"extent_tesim":["2.2 Cubic Feet 3 boxes"],"genreform_ssim":["Photographs","Correspondence"],"date_range_isim":[1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["The collection is open for research."],"altformavail_html_tesm":["\u003cp\u003eSome issues of the \u003ca show=\"new\" actuate=\"onRequest\" href=\"http://www.sbrl.org/local-history/sherwood-anderson/newspapers\"\u003eSmyth County News\u003c/a\u003e have been digitized by the Smyth-Bland Regional Library.\u003c/p\u003e","\u003cp\u003eSome items from this collection have been digitized and are \u003ca href=\"http://digitalsc.lib.vt.edu/Ms2015_020_TaylerWD_\" show=\"new\"\u003eavailable online\u003c/a\u003e.\u003c/p\u003e"],"altformavail_heading_ssm":["Digital Collections","Alternate Form Available"],"altformavail_tesim":["Some issues of the Smyth County News have been digitized by the Smyth-Bland Regional Library.","Some items from this collection have been digitized and are available online ."],"bioghist_html_tesm":["\u003cp\u003eSherwood Anderson (1876-1941) was born in the small town of Camden, Ohio to Irwin McClain Anderson (d.1919) and Emma Jane Smith (d.1895). While Anderson excelled as a student, he quit school at the age of 14 to help support his family, taking on a wide variety of jobs. After his mother's death, he relocated to Chicago for the first time, working and taking a few night classes. He served briefly in Cuba during he Spanish-American War, but was sent there after combat had ended. A few months later, he returned to Clyde, then moved to Springfield, Ohio, in 1899, where he completed his senior year at Wittenburg Academy, a prep school. His graduation speech resulted in his being offered a job as an advertising solicitor and he moved to back to Chicago.\u003c/p\u003e\n","\u003cp\u003eIn 1903, work travels took him to Toledo, Ohio, where he met Cornelia Pratt Lane, his first wife. The couple married in 1904 and had three children: Robert Lane (1907-1951), John Sherwood (1908-1995) and Marion (Mimi) (1911-1996). In 1906, they relocated to Cleveland when Anderson became the president of the United Factories Company, a mail-order firm. The following year he departed the company, took his family to Elyria, Ohio, and started the Anderson Manufacturing Co., another mail order business. \u003c/p\u003e\n","\u003cp\u003eIn 1912, Anderson suffered a nervous breakdown. He returned to Chicago yet again and began work writing advertising copy and becoming part of the writer and artist scene of the city. In 1916, he divorced Cornelia Pratt and married Tennessee Mitchell, a sculptor. He also published his first novel, \u003ctitle render=\"italic\"\u003eWindy McPherson's Son\u003c/title\u003e, the first of three books in a deal with publisher John Lane. It was beginning of his writing career. 1919 saw the publication of his short story collection, \u003ctitle render=\"italic\"\u003eWinesburg, Ohio\u003c/title\u003e, one of his most well-know works. In 1924, he divorced Tennessee Mitchell and marred Elizabeth Prall. They lived in New York and New Orleans, and traveled in Europe, too. With profits from his novel 1925 Dark Laughter, Anderson bought Ripshin Farm, later just Ripshin, as a summer home, in 1926. He also acquired both local newspapers, the \u003ctitle render=\"italic\"\u003eSmyth County News\u003c/title\u003e and the \u003ctitle render=\"italic\"\u003eMarion Democrat\u003c/title\u003e. His son, Robert, helped with, and eventually took over management of the newspapers in 1929. Around the same time, Anderson began a tour of the south and its factory towns with Eleanor Copenhaver, which shaped several of his later non-fiction publications. \u003c/p\u003e\n","\u003cp\u003eIn 1932, Anderson divorced Elizabeth Prall and the following year, married Eleanor Copenhaver (1896-1985). Southwest Virginia was a powerful influence on his later stories and novels. His life in around Marion and Troutdale, Virginia, was the focus of his writing for the newspapers, as well. At the same time, he was still writing novels and short stories for magazines. In 1941, Sherwood and Eleanor Anderson left for a trip to South America. During the trip, after ingesting a toothpick, Anderson developed peritonitis and was hospitalized in Panama, where he passed away on March 8, 1941. He is buried in Round Hill Cemetery in Marion, Virginia. \u003c/p\u003e\n","\u003cp\u003eOver his lifetime, Anderson published 8 novels, 4 collections of short stories, 2 collections of poetry, 1 collection of plays, and 12 works of non-fiction. Following his death, publishers and scholars have produced memoirs, critical editions, and several volumes of his collected letters. During his life, he was influential on the careers of William Faulkner and Ernest Hemingway, and maintained extensive correspondence and friendships with authors, artists, publishers, and critics (though he later wrote that he had given up reading reviews).\u003c/p\u003e","\u003cp\u003eEleanor Gladys Copenhaver (1896-1985) was born on June 15, 1896 in Marion, Virginia, to Bascom Eugene and Laura Lu Scherer Copenhaver. Laura Lu's father founded Marion Female College, which was located next door to the family home, \"Rosemont.\" Laura Lu attended Marion College and later taught English there. Her husband, B.E. Copenhaver, first taught at Marion and then became Smyth County superintendent of schools.\nEleanor Copenhaver attended Marion College, then Westhampton College in Richmond, completing a B. A. in English in 1917. After spending a year teaching and time as a camp director, she spent more than ten years working for the YWCA, specializing first in rural community organizing and later in industrial communities. During this time, she met and eventually married Sherwood Anderson in 1933. \u003c/p\u003e\n","\u003cp\u003eFrom 1937 to 1947 Copenhaver Anderson was head of the National YWCA's Industrial Program, later accepting a 2 year assignment abroad. In 1950, she spent a brief time apart from the YWCA, after it ended programs for employed women, but she was re-hired in 1951 for another ten years for the YWCA and United Community Defense Services, until she retired in 1961. \u003c/p\u003e\n","\u003cp\u003eShe spent her later life in both New York City and at \"Rosemont\" and \"Ripshin\" in Virginia. As the collection suggests, she maintained an active role in scholarship surrounded Sherwood Anderson. She died on September 12, 1985, in Marion, Virginia. \u003c/p\u003e\n","\u003cp\u003eA lengthier biographical note can be found in finding aid for the \u003cextref href=\"https://asteria.fivecolleges.edu/findaids/sophiasmith/mnsss477_bioghist.html\" show=\"new\" actuate=\"onRequest\"\u003eEleanor Copenhaver Anderson Papers\u003c/extref\u003e in the Sophia Smith Collection. The UNC Chapel Hill \"Documenting the American South\" Collection also includes an oral history interview with \u003cextref show=\"new\" actuate=\"onRequest\" href=\"http://docsouth.unc.edu/sohp/G-0005/menu.html\"\u003eEleanor Copenhaver Anderson from November 5, 1974\u003c/extref\u003e.\u003c/p\u003e","\u003cp\u003eJulius John (J. J.) Lankes was born in 1884 in Buffalo, NY. He began working as a draftsman in 1902, but spent the majority of his professional life known for his woodcuts. His career as an artist spanned decades, during which he created woodcuts and illustrations for authors, among others. In addition to Sherwood Anderson, he worked with Robert Frost and Beatrix Potter. Lankes wrote and illustrated \u003ctitle render=\"italic\"\u003eA Woodcut Manual\u003c/title\u003e, published by Henry Holt in 1932. In 2006, The University of Tampa published a new edition of this book with selected letters and other writings, edited by Welford Dunaway Taylor. (A copy of the 2006 edition is housed in Special Collections. A copy of the 1932 edition is available at the University Libraries' Art \u0026amp; Architecture Library.) In addition to his illustrations and work as an artist, Lankes taught at Wells College from 1933 to about 1940. From 1943 to 1950, Lankes worked for the reproduction section of the National Advisory Council for Aeronautics (NACA, later NASA). He retired in 1951 and died in April 1960.\u003c/p\u003e\n","\u003cp\u003eThe Rauner Special Collections Library of Dartmouth University contains a collection of J. J. Lankes papers. A \u003cextref href=\"http://ead.dartmouth.edu/html/ms1115.html\" show=\"new\" actuate=\"onRequest\"\u003efinding aid for the collection\u003c/extref\u003e is available online. \u003c/p\u003e","\u003cp\u003eWelford D. Taylor is a retired English professor and scholar. Over the course of his career, he published edited volumes of Sherwood Anderson's work and his own research on Anderson, as well as on J. J. Lankes and other authors and topics. Highlights of his books include:\n\u003clist\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eJulius J. Lankes: Survey of an American Artist\u003c/title\u003e, 2013\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson Remembered\u003c/title\u003e, 2009\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eThe Woodcut Art of J. J. Lankes\u003c/title\u003e, 1999\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSouthern Odyssey: Selected Writings by Sherwood Anderson\u003c/title\u003e, with Charles E. Modlin, 1997 \u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eThe Newsprint Mask: The Tradition of the Fictional Journalist in America\u003c/title\u003e, 1991\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson, J.J. Lankes and the illustration of _Perhaps Women_\u003c/title\u003e, 1981\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson\u003c/title\u003e, 1977\u003c/item\u003e\n\u003c/list\u003e\u003c/p\u003e\n","\u003cp\u003eThis collection represents his research and accumulated materials pirmarily relating to Sherwood Anderson, J. J. Lankes, and Eleanor Copenhaver Anderson.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note: Sherwood Anderson (1876-1941)","Biographical Note: Eleanor Copenhaver Anderson (1896-1985)","Biographical Note: J. J. Lankes (1884-1960)","Biographical Note: Welford D. Taylor"],"bioghist_tesim":["Sherwood Anderson (1876-1941) was born in the small town of Camden, Ohio to Irwin McClain Anderson (d.1919) and Emma Jane Smith (d.1895). While Anderson excelled as a student, he quit school at the age of 14 to help support his family, taking on a wide variety of jobs. After his mother's death, he relocated to Chicago for the first time, working and taking a few night classes. He served briefly in Cuba during he Spanish-American War, but was sent there after combat had ended. A few months later, he returned to Clyde, then moved to Springfield, Ohio, in 1899, where he completed his senior year at Wittenburg Academy, a prep school. His graduation speech resulted in his being offered a job as an advertising solicitor and he moved to back to Chicago.","In 1903, work travels took him to Toledo, Ohio, where he met Cornelia Pratt Lane, his first wife. The couple married in 1904 and had three children: Robert Lane (1907-1951), John Sherwood (1908-1995) and Marion (Mimi) (1911-1996). In 1906, they relocated to Cleveland when Anderson became the president of the United Factories Company, a mail-order firm. The following year he departed the company, took his family to Elyria, Ohio, and started the Anderson Manufacturing Co., another mail order business. ","In 1912, Anderson suffered a nervous breakdown. He returned to Chicago yet again and began work writing advertising copy and becoming part of the writer and artist scene of the city. In 1916, he divorced Cornelia Pratt and married Tennessee Mitchell, a sculptor. He also published his first novel, Windy McPherson's Son , the first of three books in a deal with publisher John Lane. It was beginning of his writing career. 1919 saw the publication of his short story collection, Winesburg, Ohio , one of his most well-know works. In 1924, he divorced Tennessee Mitchell and marred Elizabeth Prall. They lived in New York and New Orleans, and traveled in Europe, too. With profits from his novel 1925 Dark Laughter, Anderson bought Ripshin Farm, later just Ripshin, as a summer home, in 1926. He also acquired both local newspapers, the Smyth County News and the Marion Democrat . His son, Robert, helped with, and eventually took over management of the newspapers in 1929. Around the same time, Anderson began a tour of the south and its factory towns with Eleanor Copenhaver, which shaped several of his later non-fiction publications. ","In 1932, Anderson divorced Elizabeth Prall and the following year, married Eleanor Copenhaver (1896-1985). Southwest Virginia was a powerful influence on his later stories and novels. His life in around Marion and Troutdale, Virginia, was the focus of his writing for the newspapers, as well. At the same time, he was still writing novels and short stories for magazines. In 1941, Sherwood and Eleanor Anderson left for a trip to South America. During the trip, after ingesting a toothpick, Anderson developed peritonitis and was hospitalized in Panama, where he passed away on March 8, 1941. He is buried in Round Hill Cemetery in Marion, Virginia. ","Over his lifetime, Anderson published 8 novels, 4 collections of short stories, 2 collections of poetry, 1 collection of plays, and 12 works of non-fiction. Following his death, publishers and scholars have produced memoirs, critical editions, and several volumes of his collected letters. During his life, he was influential on the careers of William Faulkner and Ernest Hemingway, and maintained extensive correspondence and friendships with authors, artists, publishers, and critics (though he later wrote that he had given up reading reviews).","Eleanor Gladys Copenhaver (1896-1985) was born on June 15, 1896 in Marion, Virginia, to Bascom Eugene and Laura Lu Scherer Copenhaver. Laura Lu's father founded Marion Female College, which was located next door to the family home, \"Rosemont.\" Laura Lu attended Marion College and later taught English there. Her husband, B.E. Copenhaver, first taught at Marion and then became Smyth County superintendent of schools.\nEleanor Copenhaver attended Marion College, then Westhampton College in Richmond, completing a B. A. in English in 1917. After spending a year teaching and time as a camp director, she spent more than ten years working for the YWCA, specializing first in rural community organizing and later in industrial communities. During this time, she met and eventually married Sherwood Anderson in 1933. ","From 1937 to 1947 Copenhaver Anderson was head of the National YWCA's Industrial Program, later accepting a 2 year assignment abroad. In 1950, she spent a brief time apart from the YWCA, after it ended programs for employed women, but she was re-hired in 1951 for another ten years for the YWCA and United Community Defense Services, until she retired in 1961. ","She spent her later life in both New York City and at \"Rosemont\" and \"Ripshin\" in Virginia. As the collection suggests, she maintained an active role in scholarship surrounded Sherwood Anderson. She died on September 12, 1985, in Marion, Virginia. ","A lengthier biographical note can be found in finding aid for the Eleanor Copenhaver Anderson Papers in the Sophia Smith Collection. The UNC Chapel Hill \"Documenting the American South\" Collection also includes an oral history interview with Eleanor Copenhaver Anderson from November 5, 1974 .","Julius John (J. J.) Lankes was born in 1884 in Buffalo, NY. He began working as a draftsman in 1902, but spent the majority of his professional life known for his woodcuts. His career as an artist spanned decades, during which he created woodcuts and illustrations for authors, among others. In addition to Sherwood Anderson, he worked with Robert Frost and Beatrix Potter. Lankes wrote and illustrated A Woodcut Manual , published by Henry Holt in 1932. In 2006, The University of Tampa published a new edition of this book with selected letters and other writings, edited by Welford Dunaway Taylor. (A copy of the 2006 edition is housed in Special Collections. A copy of the 1932 edition is available at the University Libraries' Art \u0026 Architecture Library.) In addition to his illustrations and work as an artist, Lankes taught at Wells College from 1933 to about 1940. From 1943 to 1950, Lankes worked for the reproduction section of the National Advisory Council for Aeronautics (NACA, later NASA). He retired in 1951 and died in April 1960.","The Rauner Special Collections Library of Dartmouth University contains a collection of J. J. Lankes papers. A finding aid for the collection is available online. ","Welford D. Taylor is a retired English professor and scholar. Over the course of his career, he published edited volumes of Sherwood Anderson's work and his own research on Anderson, as well as on J. J. Lankes and other authors and topics. Highlights of his books include:\n Julius J. Lankes: Survey of an American Artist , 2013 Sherwood Anderson Remembered , 2009 The Woodcut Art of J. J. Lankes , 1999 Southern Odyssey: Selected Writings by Sherwood Anderson , with Charles E. Modlin, 1997 The Newsprint Mask: The Tradition of the Fictional Journalist in America , 1991 Sherwood Anderson, J.J. Lankes and the illustration of _Perhaps Women_ , 1981 Sherwood Anderson , 1977","This collection represents his research and accumulated materials pirmarily relating to Sherwood Anderson, J. J. Lankes, and Eleanor Copenhaver Anderson."],"otherfindaid_html_tesm":["\u003cp\u003eThe bulk of Sherwood Anderson's papers are housed at the Newberry Library in Chicago, Illinois. A \u003cextref show=\"new\" actuate=\"onRequest\" href=\"http://mms.newberry.org/xml/xml_files/anderson.xml\"\u003efinding aid for this collection\u003c/extref\u003e is available online.\u003c/p\u003e"],"otherfindaid_heading_ssm":["Other Finding Aids"],"otherfindaid_tesim":["The bulk of Sherwood Anderson's papers are housed at the Newberry Library in Chicago, Illinois. A finding aid for this collection is available online."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: Welford D. Taylor Collection on Sherwood Anderson, Ms2015-020, Special Collections, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: Welford D. Taylor Collection on Sherwood Anderson, Ms2015-020, Special Collections, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Welford D. Taylor Collection on Sherwood Anderson began in October 2016 and was completed in November 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Welford D. Taylor Collection on Sherwood Anderson began in October 2016 and was completed in November 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eBooks by and about Sherwood Anderson stored in Special Collections and the general collection of Newman Library are cataloged and can be located using the library's \u003cextref href=\"https://catalog.lib.vt.edu/\" title=\"catalog\"\u003ecatalog\u003c/extref\u003e.\nMicrofilmed and bound theses and dissertations about Sherwood Anderson and his work that were collected by researcher Ray White are cataloged and can be located using the library's \u003cextref href=\"https://catalog.lib.vt.edu/\" title=\"catalog\"\u003ecatalog\u003c/extref\u003e.\nSpecial Collections houses multiple manuscripts relating to Anderson, including: \nMs1971-002, Dayton M. Kohler Papers, 1889-1972. \u003cextref href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00906.xml\" show=\"new\"\u003eFinding aid available online\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003eMs1973-002, Sherwood Anderson Collection, 1912-1938. \u003cextref href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00247.xml\" show=\"new\"\u003eFinding aid available online\u003c/extref\u003e. Some items in this collection have been digitized and are \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms1973_002_AndersonSherwood_\" show=\"new\"\u003eavailable online\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003eMs2011-004, Sherwood Anderson Photograph and Postcard, 1929, 1939. \u003cextref actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00773.xml\" show=\"new\"\u003eFinding aid available online\u003c/extref\u003e. This collection has been digitized and is \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms2011_004_AndersonPostcard_\" show=\"new\"\u003eavailable online\u003c/extref\u003e. \u003c/p\u003e\n","\u003cp\u003eMs2015-020, Welford D. Taylor Collection on Sherwood Anderson, 1918-2006, n.d. \u003cextref show=\"new\" actuate=\"onRequest\" href=\"http://search.vaheritage.org/vivaxtf/view?docId=vt/viblbv01837.xml\"\u003eFinding aid available online\u003c/extref\u003e. Some items from this collection have been digitized and are \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms2015_020_TaylerWD_\" show=\"new\"\u003eavailable online\u003c/extref\u003e. \u003c/p\u003e\n","\u003cp\u003eMs2015-044, Sherwood Anderson Correspondence with Llewellyn Jones, 1916-1924, n.d. \u003cextref show=\"new\" actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv01807.xml\"\u003eFinding aid available online\u003c/extref\u003e. \u003cextref show=\"new\" actuate=\"onRequest\" href=\"https://digitalsc.lib.vt.edu/collections/show/84\"\u003eDigital images with transcripts \u003c/extref\u003eavailable online. \u003c/p\u003e\n","\u003cp\u003eMs2017-001, Mary Sinton Leitch Correspondence with J. J. Lankes, 1932-1950. \u003cextref href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv01847.xml\" show=\"new\"\u003eFinding aid available online\u003c/extref\u003e. This collection has been digitized and is \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms2017_001_LeitchMary_\" show=\"new\"\u003eavailable online\u003c/extref\u003e. \u003c/p\u003e\n","\u003cp\u003eMs2017-005, James T. Farrell Letters to Eleanor Copenhaver Anderson, 1952. \u003cextref href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv01848.xml\" show=\"new\" actuate=\"onRequest\"\u003eFinding aid available online\u003c/extref\u003e. This collection has been digitized and is \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms2017-005\" show=\"new\"\u003eavailable online\u003c/extref\u003e. \u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Books by and about Sherwood Anderson stored in Special Collections and the general collection of Newman Library are cataloged and can be located using the library's catalog .\nMicrofilmed and bound theses and dissertations about Sherwood Anderson and his work that were collected by researcher Ray White are cataloged and can be located using the library's catalog .\nSpecial Collections houses multiple manuscripts relating to Anderson, including: \nMs1971-002, Dayton M. Kohler Papers, 1889-1972. Finding aid available online .","Ms1973-002, Sherwood Anderson Collection, 1912-1938. Finding aid available online . Some items in this collection have been digitized and are available online .","Ms2011-004, Sherwood Anderson Photograph and Postcard, 1929, 1939. Finding aid available online . This collection has been digitized and is available online . ","Ms2015-020, Welford D. Taylor Collection on Sherwood Anderson, 1918-2006, n.d. Finding aid available online . Some items from this collection have been digitized and are available online . ","Ms2015-044, Sherwood Anderson Correspondence with Llewellyn Jones, 1916-1924, n.d. Finding aid available online . Digital images with transcripts available online. ","Ms2017-001, Mary Sinton Leitch Correspondence with J. J. Lankes, 1932-1950. Finding aid available online . This collection has been digitized and is available online . ","Ms2017-005, James T. Farrell Letters to Eleanor Copenhaver Anderson, 1952. Finding aid available online . This collection has been digitized and is available online . "],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006. \u003c/p\u003e\n","\u003cp\u003eSeries I: Correspondence to/from Sherwood Anderson, 1927-1940 includes correspondence to and from Anderson with a variety of colleagues and friends. It contains three subseries. Materials in each subseries in Series I are in chronological order. Undated materials are located at the end of each subseries.\u003c/p\u003e\n","\u003cp\u003eSubseries A: Sherwood Anderson to J. J. Lankes, 1926-1940 consists of Anderson's letters to artist and friend, J. J. Lankes. The correspondence is a combination of personal conversations and professional. There are also several folders of materials that relate to the correspondence and the Anderson-Lankes collaboration: manuscripts and copies of essays, woodcuts, articles, and reviews. Subseries B: From Sherwood Anderson to various, A-Z, 1925-1940, n.d. contains letters by Anderson to a variety of individuals. In most cases, there is a single letter to each correspondent, with the exception of William and Carrie Wright. Wright built Ripshin, Anderson's home in Marion, Va. Subseries C: To Sherwood Anderson from various, A-Z, 1931, 1935 consists of a letter to Anderson from his publisher and an invitation.\u003c/p\u003e\n","\u003cp\u003eSeries II: Correspondence about Sherwood Anderson, 1929-2006, n.d. contains letters about Sherwood Anderson, including personal correspondence to Eleanor Copenhaver Anderson, artist J. J. Lankes, Anderson scholar Welford D. Taylor, and others. It contains four subseries. Materials in each subseries in Series II are in chronological order. Undated materials are located at the end of each subseries.\u003c/p\u003e\n","\u003cp\u003eSubseries A: To/from Eleanor Copenhaver Anderson, 1941-1977, n.d., includes letters written to and from Eleanor Copenhaver Anderson, written after Anderson's death in 1941. It is primary correspondence between Eleanor and J. J. Lankes and W. D. Taylor. Subseries B: To/from J. J. Lankes, 1930-1957, n.d. consists of letters to and from Lankes from Anderson's son, Robert, from publishers working with Lankes and Anderson on Anderson's books, and other mutual acquaintances. Subseries C: To/from Welford D. Taylor from Various, A-Z, 1929-2006 includes correspondence from other Sherwood Anderson scholars and researchers. The last subseries, Subseries D: To/from various, A-Z, 1932, 1938, 1965, contains a few letters from individuals connected to Anderson (his children) or between individuals interested in Anderson. \u003c/p\u003e\n","\u003cp\u003eSeries III: Subject Files, 1918-2006, n.d. includes collected research files, ephemera, and other items related to scholarship about Sherwood Anderson. Materials in each subseries in Series III are in chronological order. Undated materials are located at the end of each subseries.\u003c/p\u003e\n","\u003cp\u003eSubseries A: Writings by \u0026amp; about Sherwood Anderson, 1918-1953, n.d. contains a few drafts of writings by Anderson, along with photocopies of an article about Anderson and one of his newspaper columns from 1918. Subseries B: Sherwood Anderson \u0026amp; His Works, 1964-2006, n.d. includes files of research materials collected by W. D. Taylor on secondary sources or edited collections of Anderson's works. This includes \u003ctitle render=\"italic\"\u003eThe Buck Fever Papers\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eCertain Things Last: The Selected Short Stories of Sherwood Anderson\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSherwood Anderson\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSherwood Anderson: A Writer in America\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eSouthern Odyssey: Selected Writings by Sherwood Anderson\u003c/title\u003e. This subseries also has the transcript of an interview by Taylor with Joseph and Mary Cortina. Subseries C: Ephemera, 1924-2005, n.d. consist of pages from newspapers, programs from events related to Anderson scholarship, and materials from the Sherwood Anderson Foundation. Subseries D: Eleanor Copenhaver Anderson, 1980, 1985 contains obituaries following the death of Eleanor Copenhaver Anderson and a pamphlet relating to her mother.\u003c/p\u003e\n","\u003cp\u003eSeries IV: Images, Video, Audio, and Microfilm, 1970s-1991, n.d. contains all the multimedia materials received as part of this collection. Formats include photographs, postcards, a VHS tape, cassette tape and audio reels, and microfilm. Materials in each subseries in Series IV are in chronological order. Undated materials are located at the end of each subseries.\u003c/p\u003e\n","\u003cp\u003eSubseries A: Photographs and Postcards, c.1970s, n.d. includes pictures of art works relating to Anderson, formal and candid images of Anderson, of Ripshin (\u003cextref actuate=\"onRequest\" show=\"new\" href=\"https://en.wikipedia.org/wiki/Ripshin_Farm\"\u003ehttps://en.wikipedia.org/wiki/Ripshin_Farm\u003c/extref\u003e), his home in Grayson County, Virginia, and of locations around Marion, Virginia, which were significant to Anderson's life and career. Subseries B: Video, 1991 includes the recording of a 1991 event on the Virginia Tech campus. Subseries C: Audio, 1976, 1982, n.d. includes a partial interview with an unknown friend of Sherwood Anderson and cassette tapes with interviews of Anderson scholars and Eleanor Anderson. Subseries D: Microfilm, 1925-1931, n.d. contains microfilm of Smyth County newspapers purchased and published by Anderson in the 1920s and 1930s. \u003c/p\u003e\n","\u003cp\u003eSeries V: Graphic Arts Materials, n.d. includes a small group of art works, primarily woodcuts. This series contains prints and photocopies of J. J. Lankes woodcuts, some of which were used in Anderson publications. It also includes bookplates for the libraries of Sherwood Anderson and Welford D. Taylor. Materials in Series V are organized by material type. \u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n \u003chead\u003eList of Major Correspondents\u003c/head\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eAnderson, Eleanor Copenhaver (1896-1985)\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eAnderson, Sherwood (1876-1941)\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eAnderson, Robert Lane (1907-1951)\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eCampbell, Hilbert\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eDeVries, Carrow\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eHurd, Thaddeus B.\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eLankes, J. J. (1884-1960)\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eModlin, Charles E.\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eRideout, Walter B.\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eTaylor, Welford Dunaway\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eWright, William and Carrie\u003c/item\u003e\n \u003c/defitem\u003e\n \u003c/list\u003e","\u003cp\u003eThis audio reel contains no lead and starts in the middle of an interview with an unknown person about his memories and experiences with Sherwood Anderson. Following the interview, which is cut short, the audio is unplayable by equipment in Special Collections (it seems to have been recorded at a different speed) for many minutes. The middle of the reel includes recordings of someone playing piano. The end of the reel contains additional audio again apparently recorded at a different speed and unplayable.\u003c/p\u003e","\u003cp\u003ePlease note: Virginia Tech Special Collections does NOT house the original scrapbook from which these articles were filmed. It appears to be \u003cextref href=\"http://mms.newberry.org/xml/xml_files/anderson.xml#series10\" show=\"new\" actuate=\"onRequest\"\u003epart of the Sherwood Anderson Papers\u003c/extref\u003e held by the Newberry Library.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Content","Scope and Contents"],"scopecontent_tesim":["This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006. ","Series I: Correspondence to/from Sherwood Anderson, 1927-1940 includes correspondence to and from Anderson with a variety of colleagues and friends. It contains three subseries. Materials in each subseries in Series I are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Sherwood Anderson to J. J. Lankes, 1926-1940 consists of Anderson's letters to artist and friend, J. J. Lankes. The correspondence is a combination of personal conversations and professional. There are also several folders of materials that relate to the correspondence and the Anderson-Lankes collaboration: manuscripts and copies of essays, woodcuts, articles, and reviews. Subseries B: From Sherwood Anderson to various, A-Z, 1925-1940, n.d. contains letters by Anderson to a variety of individuals. In most cases, there is a single letter to each correspondent, with the exception of William and Carrie Wright. Wright built Ripshin, Anderson's home in Marion, Va. Subseries C: To Sherwood Anderson from various, A-Z, 1931, 1935 consists of a letter to Anderson from his publisher and an invitation.","Series II: Correspondence about Sherwood Anderson, 1929-2006, n.d. contains letters about Sherwood Anderson, including personal correspondence to Eleanor Copenhaver Anderson, artist J. J. Lankes, Anderson scholar Welford D. Taylor, and others. It contains four subseries. Materials in each subseries in Series II are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: To/from Eleanor Copenhaver Anderson, 1941-1977, n.d., includes letters written to and from Eleanor Copenhaver Anderson, written after Anderson's death in 1941. It is primary correspondence between Eleanor and J. J. Lankes and W. D. Taylor. Subseries B: To/from J. J. Lankes, 1930-1957, n.d. consists of letters to and from Lankes from Anderson's son, Robert, from publishers working with Lankes and Anderson on Anderson's books, and other mutual acquaintances. Subseries C: To/from Welford D. Taylor from Various, A-Z, 1929-2006 includes correspondence from other Sherwood Anderson scholars and researchers. The last subseries, Subseries D: To/from various, A-Z, 1932, 1938, 1965, contains a few letters from individuals connected to Anderson (his children) or between individuals interested in Anderson. ","Series III: Subject Files, 1918-2006, n.d. includes collected research files, ephemera, and other items related to scholarship about Sherwood Anderson. Materials in each subseries in Series III are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Writings by \u0026 about Sherwood Anderson, 1918-1953, n.d. contains a few drafts of writings by Anderson, along with photocopies of an article about Anderson and one of his newspaper columns from 1918. Subseries B: Sherwood Anderson \u0026 His Works, 1964-2006, n.d. includes files of research materials collected by W. D. Taylor on secondary sources or edited collections of Anderson's works. This includes The Buck Fever Papers , Certain Things Last: The Selected Short Stories of Sherwood Anderson , Sherwood Anderson , Sherwood Anderson: A Writer in America , and Southern Odyssey: Selected Writings by Sherwood Anderson . This subseries also has the transcript of an interview by Taylor with Joseph and Mary Cortina. Subseries C: Ephemera, 1924-2005, n.d. consist of pages from newspapers, programs from events related to Anderson scholarship, and materials from the Sherwood Anderson Foundation. Subseries D: Eleanor Copenhaver Anderson, 1980, 1985 contains obituaries following the death of Eleanor Copenhaver Anderson and a pamphlet relating to her mother.","Series IV: Images, Video, Audio, and Microfilm, 1970s-1991, n.d. contains all the multimedia materials received as part of this collection. Formats include photographs, postcards, a VHS tape, cassette tape and audio reels, and microfilm. Materials in each subseries in Series IV are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Photographs and Postcards, c.1970s, n.d. includes pictures of art works relating to Anderson, formal and candid images of Anderson, of Ripshin ( https://en.wikipedia.org/wiki/Ripshin_Farm ), his home in Grayson County, Virginia, and of locations around Marion, Virginia, which were significant to Anderson's life and career. Subseries B: Video, 1991 includes the recording of a 1991 event on the Virginia Tech campus. Subseries C: Audio, 1976, 1982, n.d. includes a partial interview with an unknown friend of Sherwood Anderson and cassette tapes with interviews of Anderson scholars and Eleanor Anderson. Subseries D: Microfilm, 1925-1931, n.d. contains microfilm of Smyth County newspapers purchased and published by Anderson in the 1920s and 1930s. ","Series V: Graphic Arts Materials, n.d. includes a small group of art works, primarily woodcuts. This series contains prints and photocopies of J. J. Lankes woodcuts, some of which were used in Anderson publications. It also includes bookplates for the libraries of Sherwood Anderson and Welford D. Taylor. Materials in Series V are organized by material type. ","List of Major Correspondents · Anderson, Eleanor Copenhaver (1896-1985) · Anderson, Sherwood (1876-1941) · Anderson, Robert Lane (1907-1951) · Campbell, Hilbert · DeVries, Carrow · Hurd, Thaddeus B. · Lankes, J. J. (1884-1960) · Modlin, Charles E. · Rideout, Walter B. · Taylor, Welford Dunaway · Wright, William and Carrie","This audio reel contains no lead and starts in the middle of an interview with an unknown person about his memories and experiences with Sherwood Anderson. Following the interview, which is cut short, the audio is unplayable by equipment in Special Collections (it seems to have been recorded at a different speed) for many minutes. The middle of the reel includes recordings of someone playing piano. The end of the reel contains additional audio again apparently recorded at a different speed and unplayable.","Please note: Virginia Tech Special Collections does NOT house the original scrapbook from which these articles were filmed. It appears to be part of the Sherwood Anderson Papers held by the Newberry Library."],"separatedmaterial_html_tesm":["\u003cp\u003eThe following books were purchased along with the manuscript materials and are cataloged for Special Collections Rare Book Collection: \n\u003clist\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eThe Complete Works of Sherwood Anderson\u003c/title\u003e, ed. Kichinosuke Ohashi (21 vols)\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eAgricultural Advertising\u003c/title\u003e, vol. IX, nos. 1-12. (This includes Anderson's earliest published work, as well as four other pieces by him)\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eShort Stories of Sherwood Anderson (Armed Services Edition)\u003c/title\u003e\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eLabor Age: The Voice of Progressive Labor\u003c/title\u003e, XX, no. 2, 1931\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson: A Writer in America\u003c/title\u003e, Vols. 1-2 (2 vols) by Walter B. Rideout\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson: Dimensions of His Literary Art/A Collection of Essays\u003c/title\u003e, ed. David D. Anderson\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eThe Phenomenon of Sherwood Anderson\u003c/title\u003e by N. Bryllion Fagin\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eWave Essays Number 1 (Spring 1980)\u003c/title\u003e, \"Sherwood Anderson, J. J. Lankes and the Illustration of \u003ctitle render=\"italic\"\u003ePerhaps Women\u003c/title\u003e\" by Welford Dunaway Taylor\u003c/item\u003e\n\u003c/list\u003e\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["The following books were purchased along with the manuscript materials and are cataloged for Special Collections Rare Book Collection: \n The Complete Works of Sherwood Anderson , ed. Kichinosuke Ohashi (21 vols) Agricultural Advertising , vol. IX, nos. 1-12. (This includes Anderson's earliest published work, as well as four other pieces by him) Short Stories of Sherwood Anderson (Armed Services Edition) Labor Age: The Voice of Progressive Labor , XX, no. 2, 1931 Sherwood Anderson: A Writer in America , Vols. 1-2 (2 vols) by Walter B. Rideout Sherwood Anderson: Dimensions of His Literary Art/A Collection of Essays , ed. David D. Anderson The Phenomenon of Sherwood Anderson by N. Bryllion Fagin Wave Essays Number 1 (Spring 1980) , \"Sherwood Anderson, J. J. Lankes and the Illustration of Perhaps Women \" by Welford Dunaway Taylor"],"userestrict_html_tesm":["\u003cp\u003ePermission to publish material from the Welford D. Taylor Collection on Sherwood Anderson must be obtained from Special Collections, Virginia Tech.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Permission to publish material from the Welford D. Taylor Collection on Sherwood Anderson must be obtained from Special Collections, Virginia Tech."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1203ef19346aae4336d73a158e7ecbcb\" label=\"Abstract\"\u003eThis collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006."],"names_ssim":["Special Collections and University Archives, Virginia Tech","Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960","Taylor, Welford Dunaway"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"names_coll_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960","Taylor, Welford Dunaway"],"persname_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960","Taylor, Welford Dunaway"],"language_ssim":["English \n. "],"total_component_count_is":123,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:30:56.100Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2970","ead_ssi":"viblbv_repositories_2_resources_2970","_root_":"viblbv_repositories_2_resources_2970","_nest_parent_":"viblbv_repositories_2_resources_2970","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2970.xml","title_filing_ssi":"Taylor, Welford D. Collection on Sherwood Anderson","title_ssm":["Welford D. Taylor Collection on Sherwood Anderson"],"title_tesim":["Welford D. Taylor Collection on Sherwood Anderson"],"unitdate_ssm":["1918-2006, n.d."],"unitdate_other_ssim":["1918-2006, n.d."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2015.020"],"text":["Ms.2015.020","Welford D. Taylor Collection on Sherwood Anderson","Art, American -- Virginia -- 20th century","Authors, American -- 20th century","American Literature -- Virginia","Ripshin (Grayson County, Va.)","Local/Regional History and Appalachian South","Photographs","Correspondence","The collection is open for research.","Some issues of the Smyth County News have been digitized by the Smyth-Bland Regional Library.","Some items from this collection have been digitized and are available online .","Sherwood Anderson (1876-1941) was born in the small town of Camden, Ohio to Irwin McClain Anderson (d.1919) and Emma Jane Smith (d.1895). While Anderson excelled as a student, he quit school at the age of 14 to help support his family, taking on a wide variety of jobs. After his mother's death, he relocated to Chicago for the first time, working and taking a few night classes. He served briefly in Cuba during he Spanish-American War, but was sent there after combat had ended. A few months later, he returned to Clyde, then moved to Springfield, Ohio, in 1899, where he completed his senior year at Wittenburg Academy, a prep school. His graduation speech resulted in his being offered a job as an advertising solicitor and he moved to back to Chicago.","In 1903, work travels took him to Toledo, Ohio, where he met Cornelia Pratt Lane, his first wife. The couple married in 1904 and had three children: Robert Lane (1907-1951), John Sherwood (1908-1995) and Marion (Mimi) (1911-1996). In 1906, they relocated to Cleveland when Anderson became the president of the United Factories Company, a mail-order firm. The following year he departed the company, took his family to Elyria, Ohio, and started the Anderson Manufacturing Co., another mail order business. ","In 1912, Anderson suffered a nervous breakdown. He returned to Chicago yet again and began work writing advertising copy and becoming part of the writer and artist scene of the city. In 1916, he divorced Cornelia Pratt and married Tennessee Mitchell, a sculptor. He also published his first novel, Windy McPherson's Son , the first of three books in a deal with publisher John Lane. It was beginning of his writing career. 1919 saw the publication of his short story collection, Winesburg, Ohio , one of his most well-know works. In 1924, he divorced Tennessee Mitchell and marred Elizabeth Prall. They lived in New York and New Orleans, and traveled in Europe, too. With profits from his novel 1925 Dark Laughter, Anderson bought Ripshin Farm, later just Ripshin, as a summer home, in 1926. He also acquired both local newspapers, the Smyth County News and the Marion Democrat . His son, Robert, helped with, and eventually took over management of the newspapers in 1929. Around the same time, Anderson began a tour of the south and its factory towns with Eleanor Copenhaver, which shaped several of his later non-fiction publications. ","In 1932, Anderson divorced Elizabeth Prall and the following year, married Eleanor Copenhaver (1896-1985). Southwest Virginia was a powerful influence on his later stories and novels. His life in around Marion and Troutdale, Virginia, was the focus of his writing for the newspapers, as well. At the same time, he was still writing novels and short stories for magazines. In 1941, Sherwood and Eleanor Anderson left for a trip to South America. During the trip, after ingesting a toothpick, Anderson developed peritonitis and was hospitalized in Panama, where he passed away on March 8, 1941. He is buried in Round Hill Cemetery in Marion, Virginia. ","Over his lifetime, Anderson published 8 novels, 4 collections of short stories, 2 collections of poetry, 1 collection of plays, and 12 works of non-fiction. Following his death, publishers and scholars have produced memoirs, critical editions, and several volumes of his collected letters. During his life, he was influential on the careers of William Faulkner and Ernest Hemingway, and maintained extensive correspondence and friendships with authors, artists, publishers, and critics (though he later wrote that he had given up reading reviews).","Eleanor Gladys Copenhaver (1896-1985) was born on June 15, 1896 in Marion, Virginia, to Bascom Eugene and Laura Lu Scherer Copenhaver. Laura Lu's father founded Marion Female College, which was located next door to the family home, \"Rosemont.\" Laura Lu attended Marion College and later taught English there. Her husband, B.E. Copenhaver, first taught at Marion and then became Smyth County superintendent of schools.\nEleanor Copenhaver attended Marion College, then Westhampton College in Richmond, completing a B. A. in English in 1917. After spending a year teaching and time as a camp director, she spent more than ten years working for the YWCA, specializing first in rural community organizing and later in industrial communities. During this time, she met and eventually married Sherwood Anderson in 1933. ","From 1937 to 1947 Copenhaver Anderson was head of the National YWCA's Industrial Program, later accepting a 2 year assignment abroad. In 1950, she spent a brief time apart from the YWCA, after it ended programs for employed women, but she was re-hired in 1951 for another ten years for the YWCA and United Community Defense Services, until she retired in 1961. ","She spent her later life in both New York City and at \"Rosemont\" and \"Ripshin\" in Virginia. As the collection suggests, she maintained an active role in scholarship surrounded Sherwood Anderson. She died on September 12, 1985, in Marion, Virginia. ","A lengthier biographical note can be found in finding aid for the Eleanor Copenhaver Anderson Papers in the Sophia Smith Collection. The UNC Chapel Hill \"Documenting the American South\" Collection also includes an oral history interview with Eleanor Copenhaver Anderson from November 5, 1974 .","Julius John (J. J.) Lankes was born in 1884 in Buffalo, NY. He began working as a draftsman in 1902, but spent the majority of his professional life known for his woodcuts. His career as an artist spanned decades, during which he created woodcuts and illustrations for authors, among others. In addition to Sherwood Anderson, he worked with Robert Frost and Beatrix Potter. Lankes wrote and illustrated A Woodcut Manual , published by Henry Holt in 1932. In 2006, The University of Tampa published a new edition of this book with selected letters and other writings, edited by Welford Dunaway Taylor. (A copy of the 2006 edition is housed in Special Collections. A copy of the 1932 edition is available at the University Libraries' Art \u0026 Architecture Library.) In addition to his illustrations and work as an artist, Lankes taught at Wells College from 1933 to about 1940. From 1943 to 1950, Lankes worked for the reproduction section of the National Advisory Council for Aeronautics (NACA, later NASA). He retired in 1951 and died in April 1960.","The Rauner Special Collections Library of Dartmouth University contains a collection of J. J. Lankes papers. A finding aid for the collection is available online. ","Welford D. Taylor is a retired English professor and scholar. Over the course of his career, he published edited volumes of Sherwood Anderson's work and his own research on Anderson, as well as on J. J. Lankes and other authors and topics. Highlights of his books include:\n Julius J. Lankes: Survey of an American Artist , 2013 Sherwood Anderson Remembered , 2009 The Woodcut Art of J. J. Lankes , 1999 Southern Odyssey: Selected Writings by Sherwood Anderson , with Charles E. Modlin, 1997 The Newsprint Mask: The Tradition of the Fictional Journalist in America , 1991 Sherwood Anderson, J.J. Lankes and the illustration of _Perhaps Women_ , 1981 Sherwood Anderson , 1977","This collection represents his research and accumulated materials pirmarily relating to Sherwood Anderson, J. J. Lankes, and Eleanor Copenhaver Anderson.","The processing, arrangement, and description of the Welford D. Taylor Collection on Sherwood Anderson began in October 2016 and was completed in November 2016.","Books by and about Sherwood Anderson stored in Special Collections and the general collection of Newman Library are cataloged and can be located using the library's catalog .\nMicrofilmed and bound theses and dissertations about Sherwood Anderson and his work that were collected by researcher Ray White are cataloged and can be located using the library's catalog .\nSpecial Collections houses multiple manuscripts relating to Anderson, including: \nMs1971-002, Dayton M. Kohler Papers, 1889-1972. Finding aid available online .","Ms1973-002, Sherwood Anderson Collection, 1912-1938. Finding aid available online . Some items in this collection have been digitized and are available online .","Ms2011-004, Sherwood Anderson Photograph and Postcard, 1929, 1939. Finding aid available online . This collection has been digitized and is available online . ","Ms2015-020, Welford D. Taylor Collection on Sherwood Anderson, 1918-2006, n.d. Finding aid available online . Some items from this collection have been digitized and are available online . ","Ms2015-044, Sherwood Anderson Correspondence with Llewellyn Jones, 1916-1924, n.d. Finding aid available online . Digital images with transcripts available online. ","Ms2017-001, Mary Sinton Leitch Correspondence with J. J. Lankes, 1932-1950. Finding aid available online . This collection has been digitized and is available online . ","Ms2017-005, James T. Farrell Letters to Eleanor Copenhaver Anderson, 1952. Finding aid available online . This collection has been digitized and is available online . ","This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006. ","Series I: Correspondence to/from Sherwood Anderson, 1927-1940 includes correspondence to and from Anderson with a variety of colleagues and friends. It contains three subseries. Materials in each subseries in Series I are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Sherwood Anderson to J. J. Lankes, 1926-1940 consists of Anderson's letters to artist and friend, J. J. Lankes. The correspondence is a combination of personal conversations and professional. There are also several folders of materials that relate to the correspondence and the Anderson-Lankes collaboration: manuscripts and copies of essays, woodcuts, articles, and reviews. Subseries B: From Sherwood Anderson to various, A-Z, 1925-1940, n.d. contains letters by Anderson to a variety of individuals. In most cases, there is a single letter to each correspondent, with the exception of William and Carrie Wright. Wright built Ripshin, Anderson's home in Marion, Va. Subseries C: To Sherwood Anderson from various, A-Z, 1931, 1935 consists of a letter to Anderson from his publisher and an invitation.","Series II: Correspondence about Sherwood Anderson, 1929-2006, n.d. contains letters about Sherwood Anderson, including personal correspondence to Eleanor Copenhaver Anderson, artist J. J. Lankes, Anderson scholar Welford D. Taylor, and others. It contains four subseries. Materials in each subseries in Series II are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: To/from Eleanor Copenhaver Anderson, 1941-1977, n.d., includes letters written to and from Eleanor Copenhaver Anderson, written after Anderson's death in 1941. It is primary correspondence between Eleanor and J. J. Lankes and W. D. Taylor. Subseries B: To/from J. J. Lankes, 1930-1957, n.d. consists of letters to and from Lankes from Anderson's son, Robert, from publishers working with Lankes and Anderson on Anderson's books, and other mutual acquaintances. Subseries C: To/from Welford D. Taylor from Various, A-Z, 1929-2006 includes correspondence from other Sherwood Anderson scholars and researchers. The last subseries, Subseries D: To/from various, A-Z, 1932, 1938, 1965, contains a few letters from individuals connected to Anderson (his children) or between individuals interested in Anderson. ","Series III: Subject Files, 1918-2006, n.d. includes collected research files, ephemera, and other items related to scholarship about Sherwood Anderson. Materials in each subseries in Series III are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Writings by \u0026 about Sherwood Anderson, 1918-1953, n.d. contains a few drafts of writings by Anderson, along with photocopies of an article about Anderson and one of his newspaper columns from 1918. Subseries B: Sherwood Anderson \u0026 His Works, 1964-2006, n.d. includes files of research materials collected by W. D. Taylor on secondary sources or edited collections of Anderson's works. This includes The Buck Fever Papers , Certain Things Last: The Selected Short Stories of Sherwood Anderson , Sherwood Anderson , Sherwood Anderson: A Writer in America , and Southern Odyssey: Selected Writings by Sherwood Anderson . This subseries also has the transcript of an interview by Taylor with Joseph and Mary Cortina. Subseries C: Ephemera, 1924-2005, n.d. consist of pages from newspapers, programs from events related to Anderson scholarship, and materials from the Sherwood Anderson Foundation. Subseries D: Eleanor Copenhaver Anderson, 1980, 1985 contains obituaries following the death of Eleanor Copenhaver Anderson and a pamphlet relating to her mother.","Series IV: Images, Video, Audio, and Microfilm, 1970s-1991, n.d. contains all the multimedia materials received as part of this collection. Formats include photographs, postcards, a VHS tape, cassette tape and audio reels, and microfilm. Materials in each subseries in Series IV are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Photographs and Postcards, c.1970s, n.d. includes pictures of art works relating to Anderson, formal and candid images of Anderson, of Ripshin ( https://en.wikipedia.org/wiki/Ripshin_Farm ), his home in Grayson County, Virginia, and of locations around Marion, Virginia, which were significant to Anderson's life and career. Subseries B: Video, 1991 includes the recording of a 1991 event on the Virginia Tech campus. Subseries C: Audio, 1976, 1982, n.d. includes a partial interview with an unknown friend of Sherwood Anderson and cassette tapes with interviews of Anderson scholars and Eleanor Anderson. Subseries D: Microfilm, 1925-1931, n.d. contains microfilm of Smyth County newspapers purchased and published by Anderson in the 1920s and 1930s. ","Series V: Graphic Arts Materials, n.d. includes a small group of art works, primarily woodcuts. This series contains prints and photocopies of J. J. Lankes woodcuts, some of which were used in Anderson publications. It also includes bookplates for the libraries of Sherwood Anderson and Welford D. Taylor. Materials in Series V are organized by material type. ","List of Major Correspondents · Anderson, Eleanor Copenhaver (1896-1985) · Anderson, Sherwood (1876-1941) · Anderson, Robert Lane (1907-1951) · Campbell, Hilbert · DeVries, Carrow · Hurd, Thaddeus B. · Lankes, J. J. (1884-1960) · Modlin, Charles E. · Rideout, Walter B. · Taylor, Welford Dunaway · Wright, William and Carrie","This audio reel contains no lead and starts in the middle of an interview with an unknown person about his memories and experiences with Sherwood Anderson. Following the interview, which is cut short, the audio is unplayable by equipment in Special Collections (it seems to have been recorded at a different speed) for many minutes. The middle of the reel includes recordings of someone playing piano. The end of the reel contains additional audio again apparently recorded at a different speed and unplayable.","Please note: Virginia Tech Special Collections does NOT house the original scrapbook from which these articles were filmed. It appears to be part of the Sherwood Anderson Papers held by the Newberry Library.","The following books were purchased along with the manuscript materials and are cataloged for Special Collections Rare Book Collection: \n The Complete Works of Sherwood Anderson , ed. Kichinosuke Ohashi (21 vols) Agricultural Advertising , vol. IX, nos. 1-12. (This includes Anderson's earliest published work, as well as four other pieces by him) Short Stories of Sherwood Anderson (Armed Services Edition) Labor Age: The Voice of Progressive Labor , XX, no. 2, 1931 Sherwood Anderson: A Writer in America , Vols. 1-2 (2 vols) by Walter B. Rideout Sherwood Anderson: Dimensions of His Literary Art/A Collection of Essays , ed. David D. Anderson The Phenomenon of Sherwood Anderson by N. Bryllion Fagin Wave Essays Number 1 (Spring 1980) , \"Sherwood Anderson, J. J. Lankes and the Illustration of Perhaps Women \" by Welford Dunaway Taylor","Permission to publish material from the Welford D. Taylor Collection on Sherwood Anderson must be obtained from Special Collections, Virginia Tech.","This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006.","Special Collections and University Archives, Virginia Tech","Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960","Taylor, Welford Dunaway","English \n. "],"unitid_tesim":["Ms.2015.020"],"normalized_title_ssm":["Welford D. Taylor Collection on Sherwood Anderson"],"collection_title_tesim":["Welford D. Taylor Collection on Sherwood Anderson"],"collection_ssim":["Welford D. Taylor Collection on Sherwood Anderson"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960"],"creator_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960"],"creator_persname_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960"],"creators_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960"],"access_terms_ssm":["Permission to publish material from the Welford D. Taylor Collection on Sherwood Anderson must be obtained from Special Collections, Virginia Tech."],"acqinfo_ssim":["Portions of the Welford D. Taylor Collection on Sherwood Anderson were purchased by Special Collections in 2015 and 2016. Additional portions of the collection were donated to Special Collections in 2015 and in 2016."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Authors, American -- 20th century","American Literature -- Virginia","Ripshin (Grayson County, Va.)","Local/Regional History and Appalachian South","Photographs","Correspondence"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Authors, American -- 20th century","American Literature -- Virginia","Ripshin (Grayson County, Va.)","Local/Regional History and Appalachian South","Photographs","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["2.2 Cubic Feet 3 boxes"],"extent_tesim":["2.2 Cubic Feet 3 boxes"],"genreform_ssim":["Photographs","Correspondence"],"date_range_isim":[1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["The collection is open for research."],"altformavail_html_tesm":["\u003cp\u003eSome issues of the \u003ca show=\"new\" actuate=\"onRequest\" href=\"http://www.sbrl.org/local-history/sherwood-anderson/newspapers\"\u003eSmyth County News\u003c/a\u003e have been digitized by the Smyth-Bland Regional Library.\u003c/p\u003e","\u003cp\u003eSome items from this collection have been digitized and are \u003ca href=\"http://digitalsc.lib.vt.edu/Ms2015_020_TaylerWD_\" show=\"new\"\u003eavailable online\u003c/a\u003e.\u003c/p\u003e"],"altformavail_heading_ssm":["Digital Collections","Alternate Form Available"],"altformavail_tesim":["Some issues of the Smyth County News have been digitized by the Smyth-Bland Regional Library.","Some items from this collection have been digitized and are available online ."],"bioghist_html_tesm":["\u003cp\u003eSherwood Anderson (1876-1941) was born in the small town of Camden, Ohio to Irwin McClain Anderson (d.1919) and Emma Jane Smith (d.1895). While Anderson excelled as a student, he quit school at the age of 14 to help support his family, taking on a wide variety of jobs. After his mother's death, he relocated to Chicago for the first time, working and taking a few night classes. He served briefly in Cuba during he Spanish-American War, but was sent there after combat had ended. A few months later, he returned to Clyde, then moved to Springfield, Ohio, in 1899, where he completed his senior year at Wittenburg Academy, a prep school. His graduation speech resulted in his being offered a job as an advertising solicitor and he moved to back to Chicago.\u003c/p\u003e\n","\u003cp\u003eIn 1903, work travels took him to Toledo, Ohio, where he met Cornelia Pratt Lane, his first wife. The couple married in 1904 and had three children: Robert Lane (1907-1951), John Sherwood (1908-1995) and Marion (Mimi) (1911-1996). In 1906, they relocated to Cleveland when Anderson became the president of the United Factories Company, a mail-order firm. The following year he departed the company, took his family to Elyria, Ohio, and started the Anderson Manufacturing Co., another mail order business. \u003c/p\u003e\n","\u003cp\u003eIn 1912, Anderson suffered a nervous breakdown. He returned to Chicago yet again and began work writing advertising copy and becoming part of the writer and artist scene of the city. In 1916, he divorced Cornelia Pratt and married Tennessee Mitchell, a sculptor. He also published his first novel, \u003ctitle render=\"italic\"\u003eWindy McPherson's Son\u003c/title\u003e, the first of three books in a deal with publisher John Lane. It was beginning of his writing career. 1919 saw the publication of his short story collection, \u003ctitle render=\"italic\"\u003eWinesburg, Ohio\u003c/title\u003e, one of his most well-know works. In 1924, he divorced Tennessee Mitchell and marred Elizabeth Prall. They lived in New York and New Orleans, and traveled in Europe, too. With profits from his novel 1925 Dark Laughter, Anderson bought Ripshin Farm, later just Ripshin, as a summer home, in 1926. He also acquired both local newspapers, the \u003ctitle render=\"italic\"\u003eSmyth County News\u003c/title\u003e and the \u003ctitle render=\"italic\"\u003eMarion Democrat\u003c/title\u003e. His son, Robert, helped with, and eventually took over management of the newspapers in 1929. Around the same time, Anderson began a tour of the south and its factory towns with Eleanor Copenhaver, which shaped several of his later non-fiction publications. \u003c/p\u003e\n","\u003cp\u003eIn 1932, Anderson divorced Elizabeth Prall and the following year, married Eleanor Copenhaver (1896-1985). Southwest Virginia was a powerful influence on his later stories and novels. His life in around Marion and Troutdale, Virginia, was the focus of his writing for the newspapers, as well. At the same time, he was still writing novels and short stories for magazines. In 1941, Sherwood and Eleanor Anderson left for a trip to South America. During the trip, after ingesting a toothpick, Anderson developed peritonitis and was hospitalized in Panama, where he passed away on March 8, 1941. He is buried in Round Hill Cemetery in Marion, Virginia. \u003c/p\u003e\n","\u003cp\u003eOver his lifetime, Anderson published 8 novels, 4 collections of short stories, 2 collections of poetry, 1 collection of plays, and 12 works of non-fiction. Following his death, publishers and scholars have produced memoirs, critical editions, and several volumes of his collected letters. During his life, he was influential on the careers of William Faulkner and Ernest Hemingway, and maintained extensive correspondence and friendships with authors, artists, publishers, and critics (though he later wrote that he had given up reading reviews).\u003c/p\u003e","\u003cp\u003eEleanor Gladys Copenhaver (1896-1985) was born on June 15, 1896 in Marion, Virginia, to Bascom Eugene and Laura Lu Scherer Copenhaver. Laura Lu's father founded Marion Female College, which was located next door to the family home, \"Rosemont.\" Laura Lu attended Marion College and later taught English there. Her husband, B.E. Copenhaver, first taught at Marion and then became Smyth County superintendent of schools.\nEleanor Copenhaver attended Marion College, then Westhampton College in Richmond, completing a B. A. in English in 1917. After spending a year teaching and time as a camp director, she spent more than ten years working for the YWCA, specializing first in rural community organizing and later in industrial communities. During this time, she met and eventually married Sherwood Anderson in 1933. \u003c/p\u003e\n","\u003cp\u003eFrom 1937 to 1947 Copenhaver Anderson was head of the National YWCA's Industrial Program, later accepting a 2 year assignment abroad. In 1950, she spent a brief time apart from the YWCA, after it ended programs for employed women, but she was re-hired in 1951 for another ten years for the YWCA and United Community Defense Services, until she retired in 1961. \u003c/p\u003e\n","\u003cp\u003eShe spent her later life in both New York City and at \"Rosemont\" and \"Ripshin\" in Virginia. As the collection suggests, she maintained an active role in scholarship surrounded Sherwood Anderson. She died on September 12, 1985, in Marion, Virginia. \u003c/p\u003e\n","\u003cp\u003eA lengthier biographical note can be found in finding aid for the \u003cextref href=\"https://asteria.fivecolleges.edu/findaids/sophiasmith/mnsss477_bioghist.html\" show=\"new\" actuate=\"onRequest\"\u003eEleanor Copenhaver Anderson Papers\u003c/extref\u003e in the Sophia Smith Collection. The UNC Chapel Hill \"Documenting the American South\" Collection also includes an oral history interview with \u003cextref show=\"new\" actuate=\"onRequest\" href=\"http://docsouth.unc.edu/sohp/G-0005/menu.html\"\u003eEleanor Copenhaver Anderson from November 5, 1974\u003c/extref\u003e.\u003c/p\u003e","\u003cp\u003eJulius John (J. J.) Lankes was born in 1884 in Buffalo, NY. He began working as a draftsman in 1902, but spent the majority of his professional life known for his woodcuts. His career as an artist spanned decades, during which he created woodcuts and illustrations for authors, among others. In addition to Sherwood Anderson, he worked with Robert Frost and Beatrix Potter. Lankes wrote and illustrated \u003ctitle render=\"italic\"\u003eA Woodcut Manual\u003c/title\u003e, published by Henry Holt in 1932. In 2006, The University of Tampa published a new edition of this book with selected letters and other writings, edited by Welford Dunaway Taylor. (A copy of the 2006 edition is housed in Special Collections. A copy of the 1932 edition is available at the University Libraries' Art \u0026amp; Architecture Library.) In addition to his illustrations and work as an artist, Lankes taught at Wells College from 1933 to about 1940. From 1943 to 1950, Lankes worked for the reproduction section of the National Advisory Council for Aeronautics (NACA, later NASA). He retired in 1951 and died in April 1960.\u003c/p\u003e\n","\u003cp\u003eThe Rauner Special Collections Library of Dartmouth University contains a collection of J. J. Lankes papers. A \u003cextref href=\"http://ead.dartmouth.edu/html/ms1115.html\" show=\"new\" actuate=\"onRequest\"\u003efinding aid for the collection\u003c/extref\u003e is available online. \u003c/p\u003e","\u003cp\u003eWelford D. Taylor is a retired English professor and scholar. Over the course of his career, he published edited volumes of Sherwood Anderson's work and his own research on Anderson, as well as on J. J. Lankes and other authors and topics. Highlights of his books include:\n\u003clist\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eJulius J. Lankes: Survey of an American Artist\u003c/title\u003e, 2013\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson Remembered\u003c/title\u003e, 2009\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eThe Woodcut Art of J. J. Lankes\u003c/title\u003e, 1999\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSouthern Odyssey: Selected Writings by Sherwood Anderson\u003c/title\u003e, with Charles E. Modlin, 1997 \u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eThe Newsprint Mask: The Tradition of the Fictional Journalist in America\u003c/title\u003e, 1991\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson, J.J. Lankes and the illustration of _Perhaps Women_\u003c/title\u003e, 1981\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson\u003c/title\u003e, 1977\u003c/item\u003e\n\u003c/list\u003e\u003c/p\u003e\n","\u003cp\u003eThis collection represents his research and accumulated materials pirmarily relating to Sherwood Anderson, J. J. Lankes, and Eleanor Copenhaver Anderson.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note: Sherwood Anderson (1876-1941)","Biographical Note: Eleanor Copenhaver Anderson (1896-1985)","Biographical Note: J. J. Lankes (1884-1960)","Biographical Note: Welford D. Taylor"],"bioghist_tesim":["Sherwood Anderson (1876-1941) was born in the small town of Camden, Ohio to Irwin McClain Anderson (d.1919) and Emma Jane Smith (d.1895). While Anderson excelled as a student, he quit school at the age of 14 to help support his family, taking on a wide variety of jobs. After his mother's death, he relocated to Chicago for the first time, working and taking a few night classes. He served briefly in Cuba during he Spanish-American War, but was sent there after combat had ended. A few months later, he returned to Clyde, then moved to Springfield, Ohio, in 1899, where he completed his senior year at Wittenburg Academy, a prep school. His graduation speech resulted in his being offered a job as an advertising solicitor and he moved to back to Chicago.","In 1903, work travels took him to Toledo, Ohio, where he met Cornelia Pratt Lane, his first wife. The couple married in 1904 and had three children: Robert Lane (1907-1951), John Sherwood (1908-1995) and Marion (Mimi) (1911-1996). In 1906, they relocated to Cleveland when Anderson became the president of the United Factories Company, a mail-order firm. The following year he departed the company, took his family to Elyria, Ohio, and started the Anderson Manufacturing Co., another mail order business. ","In 1912, Anderson suffered a nervous breakdown. He returned to Chicago yet again and began work writing advertising copy and becoming part of the writer and artist scene of the city. In 1916, he divorced Cornelia Pratt and married Tennessee Mitchell, a sculptor. He also published his first novel, Windy McPherson's Son , the first of three books in a deal with publisher John Lane. It was beginning of his writing career. 1919 saw the publication of his short story collection, Winesburg, Ohio , one of his most well-know works. In 1924, he divorced Tennessee Mitchell and marred Elizabeth Prall. They lived in New York and New Orleans, and traveled in Europe, too. With profits from his novel 1925 Dark Laughter, Anderson bought Ripshin Farm, later just Ripshin, as a summer home, in 1926. He also acquired both local newspapers, the Smyth County News and the Marion Democrat . His son, Robert, helped with, and eventually took over management of the newspapers in 1929. Around the same time, Anderson began a tour of the south and its factory towns with Eleanor Copenhaver, which shaped several of his later non-fiction publications. ","In 1932, Anderson divorced Elizabeth Prall and the following year, married Eleanor Copenhaver (1896-1985). Southwest Virginia was a powerful influence on his later stories and novels. His life in around Marion and Troutdale, Virginia, was the focus of his writing for the newspapers, as well. At the same time, he was still writing novels and short stories for magazines. In 1941, Sherwood and Eleanor Anderson left for a trip to South America. During the trip, after ingesting a toothpick, Anderson developed peritonitis and was hospitalized in Panama, where he passed away on March 8, 1941. He is buried in Round Hill Cemetery in Marion, Virginia. ","Over his lifetime, Anderson published 8 novels, 4 collections of short stories, 2 collections of poetry, 1 collection of plays, and 12 works of non-fiction. Following his death, publishers and scholars have produced memoirs, critical editions, and several volumes of his collected letters. During his life, he was influential on the careers of William Faulkner and Ernest Hemingway, and maintained extensive correspondence and friendships with authors, artists, publishers, and critics (though he later wrote that he had given up reading reviews).","Eleanor Gladys Copenhaver (1896-1985) was born on June 15, 1896 in Marion, Virginia, to Bascom Eugene and Laura Lu Scherer Copenhaver. Laura Lu's father founded Marion Female College, which was located next door to the family home, \"Rosemont.\" Laura Lu attended Marion College and later taught English there. Her husband, B.E. Copenhaver, first taught at Marion and then became Smyth County superintendent of schools.\nEleanor Copenhaver attended Marion College, then Westhampton College in Richmond, completing a B. A. in English in 1917. After spending a year teaching and time as a camp director, she spent more than ten years working for the YWCA, specializing first in rural community organizing and later in industrial communities. During this time, she met and eventually married Sherwood Anderson in 1933. ","From 1937 to 1947 Copenhaver Anderson was head of the National YWCA's Industrial Program, later accepting a 2 year assignment abroad. In 1950, she spent a brief time apart from the YWCA, after it ended programs for employed women, but she was re-hired in 1951 for another ten years for the YWCA and United Community Defense Services, until she retired in 1961. ","She spent her later life in both New York City and at \"Rosemont\" and \"Ripshin\" in Virginia. As the collection suggests, she maintained an active role in scholarship surrounded Sherwood Anderson. She died on September 12, 1985, in Marion, Virginia. ","A lengthier biographical note can be found in finding aid for the Eleanor Copenhaver Anderson Papers in the Sophia Smith Collection. The UNC Chapel Hill \"Documenting the American South\" Collection also includes an oral history interview with Eleanor Copenhaver Anderson from November 5, 1974 .","Julius John (J. J.) Lankes was born in 1884 in Buffalo, NY. He began working as a draftsman in 1902, but spent the majority of his professional life known for his woodcuts. His career as an artist spanned decades, during which he created woodcuts and illustrations for authors, among others. In addition to Sherwood Anderson, he worked with Robert Frost and Beatrix Potter. Lankes wrote and illustrated A Woodcut Manual , published by Henry Holt in 1932. In 2006, The University of Tampa published a new edition of this book with selected letters and other writings, edited by Welford Dunaway Taylor. (A copy of the 2006 edition is housed in Special Collections. A copy of the 1932 edition is available at the University Libraries' Art \u0026 Architecture Library.) In addition to his illustrations and work as an artist, Lankes taught at Wells College from 1933 to about 1940. From 1943 to 1950, Lankes worked for the reproduction section of the National Advisory Council for Aeronautics (NACA, later NASA). He retired in 1951 and died in April 1960.","The Rauner Special Collections Library of Dartmouth University contains a collection of J. J. Lankes papers. A finding aid for the collection is available online. ","Welford D. Taylor is a retired English professor and scholar. Over the course of his career, he published edited volumes of Sherwood Anderson's work and his own research on Anderson, as well as on J. J. Lankes and other authors and topics. Highlights of his books include:\n Julius J. Lankes: Survey of an American Artist , 2013 Sherwood Anderson Remembered , 2009 The Woodcut Art of J. J. Lankes , 1999 Southern Odyssey: Selected Writings by Sherwood Anderson , with Charles E. Modlin, 1997 The Newsprint Mask: The Tradition of the Fictional Journalist in America , 1991 Sherwood Anderson, J.J. Lankes and the illustration of _Perhaps Women_ , 1981 Sherwood Anderson , 1977","This collection represents his research and accumulated materials pirmarily relating to Sherwood Anderson, J. J. Lankes, and Eleanor Copenhaver Anderson."],"otherfindaid_html_tesm":["\u003cp\u003eThe bulk of Sherwood Anderson's papers are housed at the Newberry Library in Chicago, Illinois. A \u003cextref show=\"new\" actuate=\"onRequest\" href=\"http://mms.newberry.org/xml/xml_files/anderson.xml\"\u003efinding aid for this collection\u003c/extref\u003e is available online.\u003c/p\u003e"],"otherfindaid_heading_ssm":["Other Finding Aids"],"otherfindaid_tesim":["The bulk of Sherwood Anderson's papers are housed at the Newberry Library in Chicago, Illinois. A finding aid for this collection is available online."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: Welford D. Taylor Collection on Sherwood Anderson, Ms2015-020, Special Collections, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: Welford D. Taylor Collection on Sherwood Anderson, Ms2015-020, Special Collections, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Welford D. Taylor Collection on Sherwood Anderson began in October 2016 and was completed in November 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Welford D. Taylor Collection on Sherwood Anderson began in October 2016 and was completed in November 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eBooks by and about Sherwood Anderson stored in Special Collections and the general collection of Newman Library are cataloged and can be located using the library's \u003cextref href=\"https://catalog.lib.vt.edu/\" title=\"catalog\"\u003ecatalog\u003c/extref\u003e.\nMicrofilmed and bound theses and dissertations about Sherwood Anderson and his work that were collected by researcher Ray White are cataloged and can be located using the library's \u003cextref href=\"https://catalog.lib.vt.edu/\" title=\"catalog\"\u003ecatalog\u003c/extref\u003e.\nSpecial Collections houses multiple manuscripts relating to Anderson, including: \nMs1971-002, Dayton M. Kohler Papers, 1889-1972. \u003cextref href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00906.xml\" show=\"new\"\u003eFinding aid available online\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003eMs1973-002, Sherwood Anderson Collection, 1912-1938. \u003cextref href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00247.xml\" show=\"new\"\u003eFinding aid available online\u003c/extref\u003e. Some items in this collection have been digitized and are \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms1973_002_AndersonSherwood_\" show=\"new\"\u003eavailable online\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003eMs2011-004, Sherwood Anderson Photograph and Postcard, 1929, 1939. \u003cextref actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00773.xml\" show=\"new\"\u003eFinding aid available online\u003c/extref\u003e. This collection has been digitized and is \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms2011_004_AndersonPostcard_\" show=\"new\"\u003eavailable online\u003c/extref\u003e. \u003c/p\u003e\n","\u003cp\u003eMs2015-020, Welford D. Taylor Collection on Sherwood Anderson, 1918-2006, n.d. \u003cextref show=\"new\" actuate=\"onRequest\" href=\"http://search.vaheritage.org/vivaxtf/view?docId=vt/viblbv01837.xml\"\u003eFinding aid available online\u003c/extref\u003e. Some items from this collection have been digitized and are \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms2015_020_TaylerWD_\" show=\"new\"\u003eavailable online\u003c/extref\u003e. \u003c/p\u003e\n","\u003cp\u003eMs2015-044, Sherwood Anderson Correspondence with Llewellyn Jones, 1916-1924, n.d. \u003cextref show=\"new\" actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv01807.xml\"\u003eFinding aid available online\u003c/extref\u003e. \u003cextref show=\"new\" actuate=\"onRequest\" href=\"https://digitalsc.lib.vt.edu/collections/show/84\"\u003eDigital images with transcripts \u003c/extref\u003eavailable online. \u003c/p\u003e\n","\u003cp\u003eMs2017-001, Mary Sinton Leitch Correspondence with J. J. Lankes, 1932-1950. \u003cextref href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv01847.xml\" show=\"new\"\u003eFinding aid available online\u003c/extref\u003e. This collection has been digitized and is \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms2017_001_LeitchMary_\" show=\"new\"\u003eavailable online\u003c/extref\u003e. \u003c/p\u003e\n","\u003cp\u003eMs2017-005, James T. Farrell Letters to Eleanor Copenhaver Anderson, 1952. \u003cextref href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv01848.xml\" show=\"new\" actuate=\"onRequest\"\u003eFinding aid available online\u003c/extref\u003e. This collection has been digitized and is \u003cextref href=\"http://digitalsc.lib.vt.edu/Ms2017-005\" show=\"new\"\u003eavailable online\u003c/extref\u003e. \u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Books by and about Sherwood Anderson stored in Special Collections and the general collection of Newman Library are cataloged and can be located using the library's catalog .\nMicrofilmed and bound theses and dissertations about Sherwood Anderson and his work that were collected by researcher Ray White are cataloged and can be located using the library's catalog .\nSpecial Collections houses multiple manuscripts relating to Anderson, including: \nMs1971-002, Dayton M. Kohler Papers, 1889-1972. Finding aid available online .","Ms1973-002, Sherwood Anderson Collection, 1912-1938. Finding aid available online . Some items in this collection have been digitized and are available online .","Ms2011-004, Sherwood Anderson Photograph and Postcard, 1929, 1939. Finding aid available online . This collection has been digitized and is available online . ","Ms2015-020, Welford D. Taylor Collection on Sherwood Anderson, 1918-2006, n.d. Finding aid available online . Some items from this collection have been digitized and are available online . ","Ms2015-044, Sherwood Anderson Correspondence with Llewellyn Jones, 1916-1924, n.d. Finding aid available online . Digital images with transcripts available online. ","Ms2017-001, Mary Sinton Leitch Correspondence with J. J. Lankes, 1932-1950. Finding aid available online . This collection has been digitized and is available online . ","Ms2017-005, James T. Farrell Letters to Eleanor Copenhaver Anderson, 1952. Finding aid available online . This collection has been digitized and is available online . "],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006. \u003c/p\u003e\n","\u003cp\u003eSeries I: Correspondence to/from Sherwood Anderson, 1927-1940 includes correspondence to and from Anderson with a variety of colleagues and friends. It contains three subseries. Materials in each subseries in Series I are in chronological order. Undated materials are located at the end of each subseries.\u003c/p\u003e\n","\u003cp\u003eSubseries A: Sherwood Anderson to J. J. Lankes, 1926-1940 consists of Anderson's letters to artist and friend, J. J. Lankes. The correspondence is a combination of personal conversations and professional. There are also several folders of materials that relate to the correspondence and the Anderson-Lankes collaboration: manuscripts and copies of essays, woodcuts, articles, and reviews. Subseries B: From Sherwood Anderson to various, A-Z, 1925-1940, n.d. contains letters by Anderson to a variety of individuals. In most cases, there is a single letter to each correspondent, with the exception of William and Carrie Wright. Wright built Ripshin, Anderson's home in Marion, Va. Subseries C: To Sherwood Anderson from various, A-Z, 1931, 1935 consists of a letter to Anderson from his publisher and an invitation.\u003c/p\u003e\n","\u003cp\u003eSeries II: Correspondence about Sherwood Anderson, 1929-2006, n.d. contains letters about Sherwood Anderson, including personal correspondence to Eleanor Copenhaver Anderson, artist J. J. Lankes, Anderson scholar Welford D. Taylor, and others. It contains four subseries. Materials in each subseries in Series II are in chronological order. Undated materials are located at the end of each subseries.\u003c/p\u003e\n","\u003cp\u003eSubseries A: To/from Eleanor Copenhaver Anderson, 1941-1977, n.d., includes letters written to and from Eleanor Copenhaver Anderson, written after Anderson's death in 1941. It is primary correspondence between Eleanor and J. J. Lankes and W. D. Taylor. Subseries B: To/from J. J. Lankes, 1930-1957, n.d. consists of letters to and from Lankes from Anderson's son, Robert, from publishers working with Lankes and Anderson on Anderson's books, and other mutual acquaintances. Subseries C: To/from Welford D. Taylor from Various, A-Z, 1929-2006 includes correspondence from other Sherwood Anderson scholars and researchers. The last subseries, Subseries D: To/from various, A-Z, 1932, 1938, 1965, contains a few letters from individuals connected to Anderson (his children) or between individuals interested in Anderson. \u003c/p\u003e\n","\u003cp\u003eSeries III: Subject Files, 1918-2006, n.d. includes collected research files, ephemera, and other items related to scholarship about Sherwood Anderson. Materials in each subseries in Series III are in chronological order. Undated materials are located at the end of each subseries.\u003c/p\u003e\n","\u003cp\u003eSubseries A: Writings by \u0026amp; about Sherwood Anderson, 1918-1953, n.d. contains a few drafts of writings by Anderson, along with photocopies of an article about Anderson and one of his newspaper columns from 1918. Subseries B: Sherwood Anderson \u0026amp; His Works, 1964-2006, n.d. includes files of research materials collected by W. D. Taylor on secondary sources or edited collections of Anderson's works. This includes \u003ctitle render=\"italic\"\u003eThe Buck Fever Papers\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eCertain Things Last: The Selected Short Stories of Sherwood Anderson\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSherwood Anderson\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSherwood Anderson: A Writer in America\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eSouthern Odyssey: Selected Writings by Sherwood Anderson\u003c/title\u003e. This subseries also has the transcript of an interview by Taylor with Joseph and Mary Cortina. Subseries C: Ephemera, 1924-2005, n.d. consist of pages from newspapers, programs from events related to Anderson scholarship, and materials from the Sherwood Anderson Foundation. Subseries D: Eleanor Copenhaver Anderson, 1980, 1985 contains obituaries following the death of Eleanor Copenhaver Anderson and a pamphlet relating to her mother.\u003c/p\u003e\n","\u003cp\u003eSeries IV: Images, Video, Audio, and Microfilm, 1970s-1991, n.d. contains all the multimedia materials received as part of this collection. Formats include photographs, postcards, a VHS tape, cassette tape and audio reels, and microfilm. Materials in each subseries in Series IV are in chronological order. Undated materials are located at the end of each subseries.\u003c/p\u003e\n","\u003cp\u003eSubseries A: Photographs and Postcards, c.1970s, n.d. includes pictures of art works relating to Anderson, formal and candid images of Anderson, of Ripshin (\u003cextref actuate=\"onRequest\" show=\"new\" href=\"https://en.wikipedia.org/wiki/Ripshin_Farm\"\u003ehttps://en.wikipedia.org/wiki/Ripshin_Farm\u003c/extref\u003e), his home in Grayson County, Virginia, and of locations around Marion, Virginia, which were significant to Anderson's life and career. Subseries B: Video, 1991 includes the recording of a 1991 event on the Virginia Tech campus. Subseries C: Audio, 1976, 1982, n.d. includes a partial interview with an unknown friend of Sherwood Anderson and cassette tapes with interviews of Anderson scholars and Eleanor Anderson. Subseries D: Microfilm, 1925-1931, n.d. contains microfilm of Smyth County newspapers purchased and published by Anderson in the 1920s and 1930s. \u003c/p\u003e\n","\u003cp\u003eSeries V: Graphic Arts Materials, n.d. includes a small group of art works, primarily woodcuts. This series contains prints and photocopies of J. J. Lankes woodcuts, some of which were used in Anderson publications. It also includes bookplates for the libraries of Sherwood Anderson and Welford D. Taylor. Materials in Series V are organized by material type. \u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n \u003chead\u003eList of Major Correspondents\u003c/head\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eAnderson, Eleanor Copenhaver (1896-1985)\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eAnderson, Sherwood (1876-1941)\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eAnderson, Robert Lane (1907-1951)\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eCampbell, Hilbert\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eDeVries, Carrow\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eHurd, Thaddeus B.\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eLankes, J. J. (1884-1960)\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eModlin, Charles E.\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eRideout, Walter B.\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eTaylor, Welford Dunaway\u003c/item\u003e\n \u003c/defitem\u003e\n \u003cdefitem\u003e\n \u003clabel\u003e·\u003c/label\u003e\n \u003citem\u003eWright, William and Carrie\u003c/item\u003e\n \u003c/defitem\u003e\n \u003c/list\u003e","\u003cp\u003eThis audio reel contains no lead and starts in the middle of an interview with an unknown person about his memories and experiences with Sherwood Anderson. Following the interview, which is cut short, the audio is unplayable by equipment in Special Collections (it seems to have been recorded at a different speed) for many minutes. The middle of the reel includes recordings of someone playing piano. The end of the reel contains additional audio again apparently recorded at a different speed and unplayable.\u003c/p\u003e","\u003cp\u003ePlease note: Virginia Tech Special Collections does NOT house the original scrapbook from which these articles were filmed. It appears to be \u003cextref href=\"http://mms.newberry.org/xml/xml_files/anderson.xml#series10\" show=\"new\" actuate=\"onRequest\"\u003epart of the Sherwood Anderson Papers\u003c/extref\u003e held by the Newberry Library.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Content","Scope and Contents"],"scopecontent_tesim":["This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006. ","Series I: Correspondence to/from Sherwood Anderson, 1927-1940 includes correspondence to and from Anderson with a variety of colleagues and friends. It contains three subseries. Materials in each subseries in Series I are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Sherwood Anderson to J. J. Lankes, 1926-1940 consists of Anderson's letters to artist and friend, J. J. Lankes. The correspondence is a combination of personal conversations and professional. There are also several folders of materials that relate to the correspondence and the Anderson-Lankes collaboration: manuscripts and copies of essays, woodcuts, articles, and reviews. Subseries B: From Sherwood Anderson to various, A-Z, 1925-1940, n.d. contains letters by Anderson to a variety of individuals. In most cases, there is a single letter to each correspondent, with the exception of William and Carrie Wright. Wright built Ripshin, Anderson's home in Marion, Va. Subseries C: To Sherwood Anderson from various, A-Z, 1931, 1935 consists of a letter to Anderson from his publisher and an invitation.","Series II: Correspondence about Sherwood Anderson, 1929-2006, n.d. contains letters about Sherwood Anderson, including personal correspondence to Eleanor Copenhaver Anderson, artist J. J. Lankes, Anderson scholar Welford D. Taylor, and others. It contains four subseries. Materials in each subseries in Series II are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: To/from Eleanor Copenhaver Anderson, 1941-1977, n.d., includes letters written to and from Eleanor Copenhaver Anderson, written after Anderson's death in 1941. It is primary correspondence between Eleanor and J. J. Lankes and W. D. Taylor. Subseries B: To/from J. J. Lankes, 1930-1957, n.d. consists of letters to and from Lankes from Anderson's son, Robert, from publishers working with Lankes and Anderson on Anderson's books, and other mutual acquaintances. Subseries C: To/from Welford D. Taylor from Various, A-Z, 1929-2006 includes correspondence from other Sherwood Anderson scholars and researchers. The last subseries, Subseries D: To/from various, A-Z, 1932, 1938, 1965, contains a few letters from individuals connected to Anderson (his children) or between individuals interested in Anderson. ","Series III: Subject Files, 1918-2006, n.d. includes collected research files, ephemera, and other items related to scholarship about Sherwood Anderson. Materials in each subseries in Series III are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Writings by \u0026 about Sherwood Anderson, 1918-1953, n.d. contains a few drafts of writings by Anderson, along with photocopies of an article about Anderson and one of his newspaper columns from 1918. Subseries B: Sherwood Anderson \u0026 His Works, 1964-2006, n.d. includes files of research materials collected by W. D. Taylor on secondary sources or edited collections of Anderson's works. This includes The Buck Fever Papers , Certain Things Last: The Selected Short Stories of Sherwood Anderson , Sherwood Anderson , Sherwood Anderson: A Writer in America , and Southern Odyssey: Selected Writings by Sherwood Anderson . This subseries also has the transcript of an interview by Taylor with Joseph and Mary Cortina. Subseries C: Ephemera, 1924-2005, n.d. consist of pages from newspapers, programs from events related to Anderson scholarship, and materials from the Sherwood Anderson Foundation. Subseries D: Eleanor Copenhaver Anderson, 1980, 1985 contains obituaries following the death of Eleanor Copenhaver Anderson and a pamphlet relating to her mother.","Series IV: Images, Video, Audio, and Microfilm, 1970s-1991, n.d. contains all the multimedia materials received as part of this collection. Formats include photographs, postcards, a VHS tape, cassette tape and audio reels, and microfilm. Materials in each subseries in Series IV are in chronological order. Undated materials are located at the end of each subseries.","Subseries A: Photographs and Postcards, c.1970s, n.d. includes pictures of art works relating to Anderson, formal and candid images of Anderson, of Ripshin ( https://en.wikipedia.org/wiki/Ripshin_Farm ), his home in Grayson County, Virginia, and of locations around Marion, Virginia, which were significant to Anderson's life and career. Subseries B: Video, 1991 includes the recording of a 1991 event on the Virginia Tech campus. Subseries C: Audio, 1976, 1982, n.d. includes a partial interview with an unknown friend of Sherwood Anderson and cassette tapes with interviews of Anderson scholars and Eleanor Anderson. Subseries D: Microfilm, 1925-1931, n.d. contains microfilm of Smyth County newspapers purchased and published by Anderson in the 1920s and 1930s. ","Series V: Graphic Arts Materials, n.d. includes a small group of art works, primarily woodcuts. This series contains prints and photocopies of J. J. Lankes woodcuts, some of which were used in Anderson publications. It also includes bookplates for the libraries of Sherwood Anderson and Welford D. Taylor. Materials in Series V are organized by material type. ","List of Major Correspondents · Anderson, Eleanor Copenhaver (1896-1985) · Anderson, Sherwood (1876-1941) · Anderson, Robert Lane (1907-1951) · Campbell, Hilbert · DeVries, Carrow · Hurd, Thaddeus B. · Lankes, J. J. (1884-1960) · Modlin, Charles E. · Rideout, Walter B. · Taylor, Welford Dunaway · Wright, William and Carrie","This audio reel contains no lead and starts in the middle of an interview with an unknown person about his memories and experiences with Sherwood Anderson. Following the interview, which is cut short, the audio is unplayable by equipment in Special Collections (it seems to have been recorded at a different speed) for many minutes. The middle of the reel includes recordings of someone playing piano. The end of the reel contains additional audio again apparently recorded at a different speed and unplayable.","Please note: Virginia Tech Special Collections does NOT house the original scrapbook from which these articles were filmed. It appears to be part of the Sherwood Anderson Papers held by the Newberry Library."],"separatedmaterial_html_tesm":["\u003cp\u003eThe following books were purchased along with the manuscript materials and are cataloged for Special Collections Rare Book Collection: \n\u003clist\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eThe Complete Works of Sherwood Anderson\u003c/title\u003e, ed. Kichinosuke Ohashi (21 vols)\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eAgricultural Advertising\u003c/title\u003e, vol. IX, nos. 1-12. (This includes Anderson's earliest published work, as well as four other pieces by him)\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eShort Stories of Sherwood Anderson (Armed Services Edition)\u003c/title\u003e\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eLabor Age: The Voice of Progressive Labor\u003c/title\u003e, XX, no. 2, 1931\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson: A Writer in America\u003c/title\u003e, Vols. 1-2 (2 vols) by Walter B. Rideout\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eSherwood Anderson: Dimensions of His Literary Art/A Collection of Essays\u003c/title\u003e, ed. David D. Anderson\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eThe Phenomenon of Sherwood Anderson\u003c/title\u003e by N. Bryllion Fagin\u003c/item\u003e\n\u003citem\u003e\u003ctitle render=\"italic\"\u003eWave Essays Number 1 (Spring 1980)\u003c/title\u003e, \"Sherwood Anderson, J. J. Lankes and the Illustration of \u003ctitle render=\"italic\"\u003ePerhaps Women\u003c/title\u003e\" by Welford Dunaway Taylor\u003c/item\u003e\n\u003c/list\u003e\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["The following books were purchased along with the manuscript materials and are cataloged for Special Collections Rare Book Collection: \n The Complete Works of Sherwood Anderson , ed. Kichinosuke Ohashi (21 vols) Agricultural Advertising , vol. IX, nos. 1-12. (This includes Anderson's earliest published work, as well as four other pieces by him) Short Stories of Sherwood Anderson (Armed Services Edition) Labor Age: The Voice of Progressive Labor , XX, no. 2, 1931 Sherwood Anderson: A Writer in America , Vols. 1-2 (2 vols) by Walter B. Rideout Sherwood Anderson: Dimensions of His Literary Art/A Collection of Essays , ed. David D. Anderson The Phenomenon of Sherwood Anderson by N. Bryllion Fagin Wave Essays Number 1 (Spring 1980) , \"Sherwood Anderson, J. J. Lankes and the Illustration of Perhaps Women \" by Welford Dunaway Taylor"],"userestrict_html_tesm":["\u003cp\u003ePermission to publish material from the Welford D. Taylor Collection on Sherwood Anderson must be obtained from Special Collections, Virginia Tech.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Permission to publish material from the Welford D. Taylor Collection on Sherwood Anderson must be obtained from Special Collections, Virginia Tech."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1203ef19346aae4336d73a158e7ecbcb\" label=\"Abstract\"\u003eThis collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains several series of materials: correspondence to and from Sherwood Anderson, correspondence and research files about Sherwood Anderson, and a small group of photographs, audio, video, and graphic art materials. Materials generated by Anderson date from 1918-1940. Other materials date from about 1929-2006."],"names_ssim":["Special Collections and University Archives, Virginia Tech","Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960","Taylor, Welford Dunaway"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"names_coll_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960","Taylor, Welford Dunaway"],"persname_ssim":["Anderson, Eleanor Copenhaver, 1896-1985","Anderson, Robert Lane, 1907-1951","Anderson, Sherwood (Sherwood Berton), 1876-1941","Lankes, Julius J., 1884-1960","Taylor, Welford Dunaway"],"language_ssim":["English \n. 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