{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1907\u0026f%5Blevel%5D%5B%5D=Subseries\u0026page=8","prev":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1907\u0026f%5Blevel%5D%5B%5D=Subseries\u0026page=7","next":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1907\u0026f%5Blevel%5D%5B%5D=Subseries\u0026page=9","last":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1907\u0026f%5Blevel%5D%5B%5D=Subseries\u0026page=62"},"meta":{"pages":{"current_page":8,"next_page":9,"prev_page":7,"total_pages":62,"limit_value":10,"offset_value":70,"total_count":612,"first_page?":false,"last_page?":false}},"data":[{"id":"viu_viu00917_c01_c25_c03","type":"Subseries","attributes":{"title":"C. Covington","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu00917_c01_c25_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu00917_c01_c25_c03","ref_ssm":["viu_viu00917_c01_c25_c03"],"id":"viu_viu00917_c01_c25_c03","ead_ssi":"viu_viu00917","_root_":"viu_viu00917","_nest_parent_":"viu_viu00917_c01_c25","parent_ssi":"viu_viu00917_c01_c25","parent_ssim":["viu_viu00917","viu_viu00917_c01","viu_viu00917_c01_c25"],"parent_ids_ssim":["viu_viu00917","viu_viu00917_c01","viu_viu00917_c01_c25"],"parent_unittitles_ssm":["Papers of the Low Moor Iron Company \n 1873-1927","Bound Volumes","Scrip Books"],"parent_unittitles_tesim":["Papers of the Low Moor Iron Company \n 1873-1927","Bound Volumes","Scrip Books"],"text":["Papers of the Low Moor Iron Company \n 1873-1927","Bound Volumes","Scrip Books","C. Covington","3 volumes"],"title_filing_ssi":"C. Covington","title_ssm":["C. Covington"],"title_tesim":["C. Covington"],"unitdate_other_ssim":["1898-1902; 1920-1925"],"normalized_date_ssm":["1898/1925"],"normalized_title_ssm":["C. Covington"],"component_level_isim":[3],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Papers of the Low Moor Iron Company \n 1873-1927"],"physdesc_tesim":["3 volumes"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":127,"date_range_isim":[1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925],"_nest_path_":"/components#0/components#24/components#2","timestamp":"2026-05-21T12:10:02.328Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu00917","ead_ssi":"viu_viu00917","_root_":"viu_viu00917","_nest_parent_":"viu_viu00917","ead_source_url_ssi":"data/uva-sc/viu00917.xml","title_ssm":["Papers of the Low Moor Iron Company \n 1873-1927"],"title_tesim":["Papers of the Low Moor Iron Company \n 1873-1927"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["662"],"text":["662","Papers of the Low Moor Iron Company \n 1873-1927","95 linear feer + 1200\n volumes","Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n","The word \"organization\" is used here with considerable\n diffidence, for any researcher studying the container list\n that follows will realize quickly that there is no\n organization in the usual sense of the word.","As noted under \"Provenance,\" the Low Moor Iron Company\n papers were subjected to a number of moves; when processing\n began in the fall of 1976, no discernible scheme of\n organization could be determined.","The first step was to review the series of coded numbers\n placed on the bundles of papers before they were moved to\n the dormitory attic, but these did not provide any sort of\n useful organization. Next, the spine titles of the original\n letter boxes were reviewed (they had been copied onto the\n gray cardboard sheets before the move to the dormitory\n attic), but they, too, proved useless.","These steps having provided no scheme, and after a\n considerable hiatus due to a turnover in student processors\n on the collection, the new student processors were\n instructed to begin a box-by-box inventory of the contents\n of the collection. During this inventory, old folders were\n replaced with acid-free ones, and the original folder\n headings were copied onto the new ones. Some removal of\n paper clips was accomplished, and the materials were\n reviewed and notes taken for the guide.","Some consolidation of materials was accomplished, and in\n other cases, materials were moved. This work has created\n some problems in the numbering of the boxes. Thus, the\n researchers will find boxes marked \"6A\" and \"23C\"; he will\n also discover that certain box numbers have been entirely\n omitted. As the box numbers exist only to aid in the\n location of material, it was not felt that the unusual\n numbers and the omissions would cause problems in working\n with the papers.","A certain amount of movement of boxes within the\n collection, and of materials among boxes, probably would\n ease use of it. But what processing was accomplished on\n this project took far longer than had been anticipated, and\n there was no time in the late spring of 1978, when the\n processors had to complete their work with the project, to\n undertake a mass movement of material. Thus, they stand in\n the order in which we found them at the beginning of the\n project.","The Low Moor Iron Company, the first producer of pig\n iron in Virginia according to the company's claims, was a\n self-contained manufacturing unit producing from its own\n mines the coal, limestone, and iron ore needed for its iron\n production. Located in Low Moor near Clifton Forge in\n Alleghany County in western Virginia, an area rich in\n mineral deposits, the company was in operation from\n 1872-1930, producing only pig iron; it never attempted to\n produce finished iron products.","Coal came to the Low Moor furnaces from the Kay Moor\n Mines at Kay Moor, West Virginia, about thirty miles from\n Low Moor; limestone was produced from the Low Moor\n limestone quarries; and iron ore came from the Fenwick,\n Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n Mines, most of them within twenty miles of Low Moor at\n Covington or Clifton Forge.","The towns of Low Moor and Kay Moor were company towns in\n every respect. Workers lived in company-owned houses,\n bought food in company stores, worshiped at the company\n church, saw movies in the company theater, were treated in\n the company hospital, and were buried in the company\n cemetery. Workers received part of their pay in scrip that\n they exchanged for goods and services. According to a\n statement from the Kay Moor Mines dated November 1904, Kay\n Moor then employed 338 people, paid them an average wage of\n $36.26 per month, and issued half of their pay in scrip.\n Kay Moor had four stores; Low Moor had seven or eight. All\n of these stores carried large inventories which are\n detailed in the collection. These inventories are valuable\n to anyone interested in determining the wants and needs of\n a coal miner and his family.","In the late 1910's and 1920's Kay Moor had a company\n theater called the Azure Theater which seated about 300\n people. There were also plans for a company-owned social\n center, to have pool tables, a soda fountain, and\n provisions for dancing and skating. The company was in\n tough economic straits by the 1920's, however, and there is\n no evidence that the social center was built. The town of\n Low Moor was so completely under the company's influence\n that one of Low Moor Iron Company's assistant managers\n served as the town sheriff. He often foreclosed on people\n who did not pay their debts, and drove troublesome people\n \"out of town on a rail\" as he put it.","The Low Moor Iron Company's fortunes fluctuated during\n the various business cycles between the years 1880-1930.\n Low Moor was one of the larger pig iron producers in\n Virginia, but Virginia pig iron production was not\n important nationally. Low Moor officials sometimes sold\n their product themselves, but more often they used agents,\n the prevalent method at the time. Low Moor Iron Company\n used a variety of agents through the 1900's. James F. Bryan\n acted as the exclusive agent for the sale of Kay Moor Coal\n from September 21, 1903 to September, 1905. From about 1890\n until about 1910 Dalton Nash and Company were the exclusive\n eastern agents of Low Moor Iron. After that time the\n exclusive agency went to Philips Isham and Company located\n in New York. From about 1890 the western agency was handled\n chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n and Company underwent a name change, becoming Walter\n Wallingford and Company, with offices located in\n Cincinnati, Pittsburgh, and Chicago.","Perhaps the Low Moor Iron Company's biggest problem over\n the years was obtaining railroad cars for the\n transportation of its finished product. Low Moor Iron\n Company had its own cars for transporting its raw materials\n among its various facilities. For the long haul necessary\n for its finished goods, however, it depended upon the\n services of the Chesapeake and Ohio Railroad, and the\n relationship was not always a happy one. The Low Moor\n Company complained many times to the C \u0026 O Railroad\n about the discrepancies between long-and shorthaul freight\n rates. Low Moor also had trouble getting cars from the C\n \u0026 O. In a letter to one of Low Moor Company's agents\n from an irate customer dated 1898, the customer wrote: \"We\n wrote you on Saturday and endeavored to question upon your\n mind the necessity of taking care of us with Low Moor iron.\n We are on our uppers--there is not a pound of Low Moor iron\n in the yard. Of the one hundred tons ordered some time ago,\n not one pound of it has been received.\" This was, according\n to the Low Moor Iron Company, because they could not get\n the railroad cars. In a letter from Thomas Mack and Company\n dated November 26, 1901, to General Manager E. C. Means:\n \"We are hopeful that the car supply will get better because\n of the number of orders you have of ours for prompt\n shipment. Our customers are complaining that they are not\n getting the iron fast enough. . . . We hope that the\n railroad will be able to supply you with empty cars.\" In\n another letter dated 1916 to John B. Guernsey, then acting\n General Manager of the Low Moor Iron Company, \"We were not\n supplied with coke cars for today's loading, and\n consequently we have been practically down of Kay Moor\n ovens all day.\"","The problem of procuring labor also plagued the Low Moor\n Company. The company sometimes tried to hire immigrant\n laborers and send the men directly to Low Moor from New\n York City. There were problems with this, as is explained\n in the following letter dated April 7, 1906: \n To Mr. George Wickes \n Supt. of Mines \n Kay Moor, Virginia \n Dear George, \n Tony arrived with twenty one men last night. One\n got away in Jersey two in Washington D.C., four in\n Charlottesville. Some of the men are very good looking,\n but taken as a whole they are the worst lot I have ever\n seen: Irish, German-Jews, and Italians. . . . Our New\n York transportations to this place have never been a\n success. Signed, \n Ed D. Wickes Supt. of Mines Low Moor usually employed labor agencies, one\n of which was Atwood's Employment Agency. Often the Low Moor\n Company would request certain nationalities, believing them\n to be better workers than others. Sometimes the company\n would request a gang of twenty made up of \"ten Greeks and\n ten Italians.\" Many of the immigrants fled Low Moor and Kay\n Moor when they learned that they would have to work\n underground. There is a fair amount of material on\n immigrant labor and its procurement in the collection, and\n it is noted in the description of the box contents.","Low Moor Iron Company not only had trouble procuring\n labor, but it also had trouble with labor already employed\n in the mines and at the factory. Labor dissension and\n strikes troubled the Kay Moor Mines through the 1900's. The\n great coal strike of 1902 hurt the Low Moor Company's coal\n mining operation, but by 1903 things were \"nearly back to\n normal\" according to the mine superintendent. There was\n still trouble at Kay Moor Mines, however. In a letter dated\n April 26, 1906, to the treasurer of Low Moor Company, the\n manager of the mines wrote about the trouble in \"trying to\n get the agitators out.\" The mines were seventy-five men\n short of the total labor force needed because many of the\n coal miners returned to their farms during the spring.\n There were rumblings of another strike at Kay Moor, the\n result of which was to be a fourteen percent increase in\n wages for the Kay Moor Mine workers via an agreement with\n the United Mine Workers Union in December.","The Low Moor Iron Company grew along with the rest of\n Virginia industry in the 1890's and 1900's. Starting with\n only one furnace in the 1870's, it opened a second furnace\n at Covington, Virginia, in 1891. In 1911 it opened a third\n furnace, this time at Low Moor. Covington, with its heavy\n industry, soon became known as the \"Pittsburgh of\n Virginia.\" Virginia's pig iron production rose from 9,000\n short tons in 1870 to 544,034 long tons in 1903. Judging\n from the Low Moor Company's correspondence, the most\n prosperous period for the company fell between the years\n 1895-1907. In the years between 1907-1917 problems befell\n the Virginia pig iron industry. In a letter from William W.\n Hearns, the president of the Virginia based Princess Pig\n Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n writes of the problems of the Virginia pig iron industry:\n \"There is not a blast furnace in Virginia that is making\n any money from the manufacture of pig iron. The cause of\n this is there is an exceedingly low price on pig iron in\n the country at the present time, and the increased cost of\n manufacturing is due to the increase in wages in all\n lines.\" With the outbreak of World War I prices rose\n dramatically, but in a market report to Low Moor dated\n November 11, 1916, it was stated that: \"In spite of the\n high prices, it is not a picnic to be in the iron industry.\n There is a desperate shortage of cars and equipment in the\n coal and iron districts, and in consequence there are\n troubles of all kinds to get materials shipped. The\n situation has grown serious.\"","When America became involved in the First World War, it\n meant a boost for the Low Moor Iron Company. The government\n helped it procure labor, and even helped it repair its\n furnaces. The problem of supplies and cars for their\n shipments, however, plagued the company more than ever. It\n had a good deal of trouble getting all the raw materials it\n needed due chiefly to the \"tight ship\" run by Harry F.\n Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n war very serious problems began to trouble the Low Moor\n Iron Company. The demand for iron fell precipitously and a\n short but severe depression ensued from 1919-1922. The\n depression seemed to hit the iron industry especially hard.\n Prices took a huge drop due to the lack of demand, and many\n pre-war contracts had to be revalued. To compound the\n company's problems, the Kay Moor Mines went on strike in\n 1919. This strike was quickly settled, as the market for\n coal was so good that the Low Moor Company ceased taking\n orders temporarily in 1921 as it could not fill the orders\n it had on hand.","The Low Moor Company furnaces lay idle for some twenty\n months. Finally, in November 1922 one of Low Moor's\n furnaces was finally fired up. While prosperity gradually\n returned to the rest of the country, the Low Moor Iron\n Company never recovered. Production of pig iron in the\n Virginia iron industry declined from 544,034 tons in 1903\n to 148,053 tons in 1923, considered a good year for the\n industry as a whole. In February 1926 Low Moor officials\n talked of merging with two other iron companies in order to\n revive the iron business for the three companies. The\n merger, however, never occurred. By late 1926 the company\n was in the process of liquidation. An advertisement in the\n Charleston, West Virginia, Daily Mail dated April 30, 1927,\n told of a huge warehouse sale at the Low Moor Iron Company.\n The advertisement noted \"thousands of screws, pipe\n fittings, valves, etc.\" The last piece of correspondence\n from the Low Moor Iron Company in the collection is dated\n 1929. It deals with the sale of a machine.","Why did the iron industry in Virginia decline as it did?\n Some say that lack of speed, efficiency, and a decent\n transportation system for Alleghany County caused it. In a\n letter from C. E. Bertie, secretary of the Virginia Pig\n Iron Association, to the \n Manufacturers Record dated 1925, Bertie claimed that it was the\n tremendous rise in the cost of transportation. Virginia, he\n claimed, had almost no home market. Over 80% of its normal\n production was shipped out to other states. The failure of\n the Interstate Commerce Commission to treat Virginia\n furnaces as southern furnaces was the cause of much of the\n trouble. From 1914-1925 there were four blanket increases\n in freight rates in the country, of which only one applied\n equally to all localities. Southern furnaces were received\n only two increases--a 25% increase in 1918 and a 25%\n increase in 1920--but northern furnaces had had 5%, 15%,\n 25%, and 40% increases in their transportation costs.\n Virginia furnaces, although recognized as southern\n furnaces, had had freight rates increased in line with the\n northern furnaces. Prior to the war Virginia iron reached\n all points in Ohio, Indiana, Michigan, and Illinois on a\n competitive basis with southern furnaces. After World War I\n the advantage was limited to a small portion of\n southeastern Ohio. All of Indiana, Illinois, and Michigan\n were now lost to the Virginia producers. The Virginia\n producer, according to Bertie, felt that the freight rates\n should be restored to a relationship with southern\n furnaces. If what Bertie said was true, the other southern\n states iron industries should not have been in the same\n desperate economic straits as Virginia's, and statistics\n should support this. In the 1920's production rose to new\n heights in Alabama. In Tennessee, however, iron production\n plunged to new lows during the 1920's. While the south\n accounted for 10.2% of the entire U. S. production in the\n years 1919-1924, Virginia accounted for less than 1% during\n those years. In 1915 Virginia accounted for over 6% of the\n U.S. iron production. One can see a decline in other areas\n of the south than Virginia. While the discrepancies in the\n freight rates may have helped cause the decline, clearly\n there are other reasons.","During the 1900's there was a discovery of extremely\n rich iron ore deposits in the mid-west. Much of this ore\n was on or near the surface, making the mining of it both\n easy and inexpensive. This in turn lowered production costs\n of the pig iron. This caused iron production to shift to\n that region, and resulted in a decline in the Virginia iron\n industry. There was a sharp increase in iron production in\n the mid-west through the 1920's. The iron ore in the\n mid-west may have been of better quality than Virginia, but\n the iron ore in Virginia was of sufficient quality to\n produce a good pig iron. The western ore deposits were not\n as conveniently located as Virginia deposits, but the\n inexpensiveness of production more than made up for it.","In examining the rise and fall of the Low Moor Iron\n Company, we can see a situation in which the conditions for\n the manufacture of iron were nearly ideal. There was plenty\n of land for expansion and resources for the manufacture of\n the iron. The major internal problem faced by the Low Moor\n Iron Company was that of transportation. External\n developments, however, caused the final demise of the Low\n Moor Iron Company.","Low Moor Iron Company Personnel:","Executive Staff: Managing Director, Colonel H. M.\n Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n 1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n 1915 (acting General Manager); F. U. Humbert: ca.\n 1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n 1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n 1918-1928.","Factory and Mine Supervisors: Kay Moor Superintendents:\n C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n J. W. Monteith: manager of mines. ca. 1918; promoted in\n 1925 to general superintendent in charge of mine plants,\n coke ovens, shops, repairs, and construction; A. L.\n Monteith: assistant superintendent of mines, ca. 1918;\n George T. Wickes: manager of Covington mines, ca.\n 1906-1917; Ross Howell, ca. 1918. Stack Mines\n Superintendents: J. H. Carpenter: ca. 1906; C. D.\n Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n Thompson: foreman, ca. 1906. Low Moor assorted other\n personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n assistant traffic manager, ca. 1919.","The Low Moor Iron Company ceased operations in 1930;\n what happened to the records of the company in the years\n immediately following is not known, but in 1939, the Green\n Bookman, a Charlottesville bookshop, sold the records to\n the University of Virginia Library.","The records arrived at the receiving room door of the\n new Alderman Library on October 16, 1939, in a trailer\n truck whose load was estimated to weigh about fourteen\n tons. As the manuscripts staff dug around in the piles of\n over 1200 account books, and countless boxes of papers they\n realized that the company had saved almost all of its\n papers including checks, invoices, vouchers, and receipts,\n and certain of these records were destroyed as their\n information was recorded in other records. Once the bulk of\n the collection had been reduced, the remaining records were\n transferred to the stack area of the Division of Rare Books\n and Manuscripts.","By 1958, little storage space remained in Alderman\n Library, and the Rare Books and Manuscripts Division was\n especially crowded because of the rapid growth of its\n collections. After an examination of its storage areas, the\n division's staff decided to move the Low Moor records to\n the attic of one of the student dormitories. The collection\n had had little use chiefly because there was no finding\n aid. There seemed little likelihood of extensive researcher\n use until the collection could be processed.","In preparation for the move, the old letter boxes in\n which much of the collection had arrived in the Library\n were discarded. The records from each box were placed\n between sheets of the heavy gray cardboard used to protect\n unbound newspapers in the Library's stacks, and the spine\n labels of the old letter boxes were copied onto the\n cardboard. The resulting bundles were wrapped with brown\n Kraft paper and tied up with string. The bundles were\n numbered. Whatever original order the letter boxes may have\n had was lost by the time they arrived in the Library, and\n after the bundling, removal to a dormitory attic, and\n subsequent return to the Library in 1976, all vestiges of\n the original order were lost.","The bundles remained in the dormitory attic for almost\n twenty years. Occasional visits were made by the division\n staff to check on their condition, and on very rare\n occasions, a researcher was brave enough to ask to be shown\n the collection. Once the researcher saw the imposing amount\n of material and the conditions in the attic, interest in\n using the collection invariably died.","In late 1976 a grant from the National Endowment for the\n Humanities was obtained to allow the Library to process the\n Low Moor Iron Company papers, and the papers of Edward L.\n Stone and the Borderland Coal Company, another large\n collection of records stored in the same dormitory attic.\n All of these records and papers were moved back to the\n Library where the bundles were cleaned and opened. The\n contents of each were placed in a Hollinger storage box,\n and all notes on the paper wrappings and on the gray\n cardboard sheets were recorded.","The more than 1200 bound accounting records of the Low\n Moor Iron Company were surveyed by the grant project staff.\n The contents of each volume were noted on a mimeographed\n form, and later typed on 3 x 5\" cards to create a\n readily-accessible file for the Manuscripts Reading Room.\n This information was also typed on pages to be added to\n this guide.","The Low Moor Iron Company papers consist of\n approximately 280 four-inch Hollinger archives boxes (ca.\n 95 linear feet) of records, ca. 1885-1927, and some 1200\n bound volumes of the company's accounting records,\n 1873-1927, of this iron producing company located in Low\n Moor (four miles southwest of Clifton Forge), Alleghany\n County, Virginia.","This material consists of records typical of those\n produced by a firm of this type in the period, but as the\n company owned its own coal and iron mines and limestone\n quarries, there is considerable information about the\n production of these raw materials. Large numbers of the\n records that deal with the company's employees have\n survived: time books, payroll books, hands ledgers, and the\n like. Because these books sometimes include information\n about the employee's trade or job with the company, and as\n race is indicated in some of the records, these books\n should provide date for studies of the structure and upward\n mobility within the labor force, patterns of\n ethnic--possibly racial--occupational penetration and\n mobility, material conditions of the workers, and so on.\n The papers should permit a range of studies detailing the\n pattern and evolution of industrial organization in the\n iron industry, and the evolution of markets and marketing\n structures for the entire period. Because the company was\n dependent upon railroads to move its raw materials to the\n furnaces, and for the marketing of its products, there is\n considerable information about railroads and their\n relationship to their customers.","See the \n \n University of Virginia Library’s use policy.","English"],"unitid_tesim":["662"],"normalized_title_ssm":["Papers of the Low Moor Iron Company \n 1873-1927"],"collection_title_tesim":["Papers of the Low Moor Iron Company \n 1873-1927"],"collection_ssim":["Papers of the Low Moor Iron Company \n 1873-1927"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["This collection was purchased from Green Bookman in\n 1939."],"has_online_content_ssim":["false"],"physdesc_tesim":["95 linear feer + 1200\n volumes"],"accessrestrict_html_tesm":["\u003cp\u003eStored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n"],"arrangement_html_tesm":["\u003cp\u003eThe word \"organization\" is used here with considerable\n diffidence, for any researcher studying the container list\n that follows will realize quickly that there is no\n organization in the usual sense of the word.\u003c/p\u003e","\u003cp\u003eAs noted under \"Provenance,\" the Low Moor Iron Company\n papers were subjected to a number of moves; when processing\n began in the fall of 1976, no discernible scheme of\n organization could be determined.\u003c/p\u003e","\u003cp\u003eThe first step was to review the series of coded numbers\n placed on the bundles of papers before they were moved to\n the dormitory attic, but these did not provide any sort of\n useful organization. Next, the spine titles of the original\n letter boxes were reviewed (they had been copied onto the\n gray cardboard sheets before the move to the dormitory\n attic), but they, too, proved useless.\u003c/p\u003e","\u003cp\u003eThese steps having provided no scheme, and after a\n considerable hiatus due to a turnover in student processors\n on the collection, the new student processors were\n instructed to begin a box-by-box inventory of the contents\n of the collection. During this inventory, old folders were\n replaced with acid-free ones, and the original folder\n headings were copied onto the new ones. Some removal of\n paper clips was accomplished, and the materials were\n reviewed and notes taken for the guide.\u003c/p\u003e","\u003cp\u003eSome consolidation of materials was accomplished, and in\n other cases, materials were moved. This work has created\n some problems in the numbering of the boxes. Thus, the\n researchers will find boxes marked \"6A\" and \"23C\"; he will\n also discover that certain box numbers have been entirely\n omitted. As the box numbers exist only to aid in the\n location of material, it was not felt that the unusual\n numbers and the omissions would cause problems in working\n with the papers.\u003c/p\u003e","\u003cp\u003eA certain amount of movement of boxes within the\n collection, and of materials among boxes, probably would\n ease use of it. But what processing was accomplished on\n this project took far longer than had been anticipated, and\n there was no time in the late spring of 1978, when the\n processors had to complete their work with the project, to\n undertake a mass movement of material. Thus, they stand in\n the order in which we found them at the beginning of the\n project.\u003c/p\u003e"],"arrangement_heading_ssm":["Organization"],"arrangement_tesim":["The word \"organization\" is used here with considerable\n diffidence, for any researcher studying the container list\n that follows will realize quickly that there is no\n organization in the usual sense of the word.","As noted under \"Provenance,\" the Low Moor Iron Company\n papers were subjected to a number of moves; when processing\n began in the fall of 1976, no discernible scheme of\n organization could be determined.","The first step was to review the series of coded numbers\n placed on the bundles of papers before they were moved to\n the dormitory attic, but these did not provide any sort of\n useful organization. Next, the spine titles of the original\n letter boxes were reviewed (they had been copied onto the\n gray cardboard sheets before the move to the dormitory\n attic), but they, too, proved useless.","These steps having provided no scheme, and after a\n considerable hiatus due to a turnover in student processors\n on the collection, the new student processors were\n instructed to begin a box-by-box inventory of the contents\n of the collection. During this inventory, old folders were\n replaced with acid-free ones, and the original folder\n headings were copied onto the new ones. Some removal of\n paper clips was accomplished, and the materials were\n reviewed and notes taken for the guide.","Some consolidation of materials was accomplished, and in\n other cases, materials were moved. This work has created\n some problems in the numbering of the boxes. Thus, the\n researchers will find boxes marked \"6A\" and \"23C\"; he will\n also discover that certain box numbers have been entirely\n omitted. As the box numbers exist only to aid in the\n location of material, it was not felt that the unusual\n numbers and the omissions would cause problems in working\n with the papers.","A certain amount of movement of boxes within the\n collection, and of materials among boxes, probably would\n ease use of it. But what processing was accomplished on\n this project took far longer than had been anticipated, and\n there was no time in the late spring of 1978, when the\n processors had to complete their work with the project, to\n undertake a mass movement of material. Thus, they stand in\n the order in which we found them at the beginning of the\n project."],"bioghist_html_tesm":["\u003cp\u003eThe Low Moor Iron Company, the first producer of pig\n iron in Virginia according to the company's claims, was a\n self-contained manufacturing unit producing from its own\n mines the coal, limestone, and iron ore needed for its iron\n production. Located in Low Moor near Clifton Forge in\n Alleghany County in western Virginia, an area rich in\n mineral deposits, the company was in operation from\n 1872-1930, producing only pig iron; it never attempted to\n produce finished iron products.\u003c/p\u003e","\u003cp\u003eCoal came to the Low Moor furnaces from the Kay Moor\n Mines at Kay Moor, West Virginia, about thirty miles from\n Low Moor; limestone was produced from the Low Moor\n limestone quarries; and iron ore came from the Fenwick,\n Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n Mines, most of them within twenty miles of Low Moor at\n Covington or Clifton Forge.\u003c/p\u003e","\u003cp\u003eThe towns of Low Moor and Kay Moor were company towns in\n every respect. Workers lived in company-owned houses,\n bought food in company stores, worshiped at the company\n church, saw movies in the company theater, were treated in\n the company hospital, and were buried in the company\n cemetery. Workers received part of their pay in scrip that\n they exchanged for goods and services. According to a\n statement from the Kay Moor Mines dated November 1904, Kay\n Moor then employed 338 people, paid them an average wage of\n $36.26 per month, and issued half of their pay in scrip.\n Kay Moor had four stores; Low Moor had seven or eight. All\n of these stores carried large inventories which are\n detailed in the collection. These inventories are valuable\n to anyone interested in determining the wants and needs of\n a coal miner and his family.\u003c/p\u003e","\u003cp\u003eIn the late 1910's and 1920's Kay Moor had a company\n theater called the Azure Theater which seated about 300\n people. There were also plans for a company-owned social\n center, to have pool tables, a soda fountain, and\n provisions for dancing and skating. The company was in\n tough economic straits by the 1920's, however, and there is\n no evidence that the social center was built. The town of\n Low Moor was so completely under the company's influence\n that one of Low Moor Iron Company's assistant managers\n served as the town sheriff. He often foreclosed on people\n who did not pay their debts, and drove troublesome people\n \"out of town on a rail\" as he put it.\u003c/p\u003e","\u003cp\u003eThe Low Moor Iron Company's fortunes fluctuated during\n the various business cycles between the years 1880-1930.\n Low Moor was one of the larger pig iron producers in\n Virginia, but Virginia pig iron production was not\n important nationally. Low Moor officials sometimes sold\n their product themselves, but more often they used agents,\n the prevalent method at the time. Low Moor Iron Company\n used a variety of agents through the 1900's. James F. Bryan\n acted as the exclusive agent for the sale of Kay Moor Coal\n from September 21, 1903 to September, 1905. From about 1890\n until about 1910 Dalton Nash and Company were the exclusive\n eastern agents of Low Moor Iron. After that time the\n exclusive agency went to Philips Isham and Company located\n in New York. From about 1890 the western agency was handled\n chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n and Company underwent a name change, becoming Walter\n Wallingford and Company, with offices located in\n Cincinnati, Pittsburgh, and Chicago.\u003c/p\u003e","\u003cp\u003ePerhaps the Low Moor Iron Company's biggest problem over\n the years was obtaining railroad cars for the\n transportation of its finished product. Low Moor Iron\n Company had its own cars for transporting its raw materials\n among its various facilities. For the long haul necessary\n for its finished goods, however, it depended upon the\n services of the Chesapeake and Ohio Railroad, and the\n relationship was not always a happy one. The Low Moor\n Company complained many times to the C \u0026amp; O Railroad\n about the discrepancies between long-and shorthaul freight\n rates. Low Moor also had trouble getting cars from the C\n \u0026amp; O. In a letter to one of Low Moor Company's agents\n from an irate customer dated 1898, the customer wrote: \"We\n wrote you on Saturday and endeavored to question upon your\n mind the necessity of taking care of us with Low Moor iron.\n We are on our uppers--there is not a pound of Low Moor iron\n in the yard. Of the one hundred tons ordered some time ago,\n not one pound of it has been received.\" This was, according\n to the Low Moor Iron Company, because they could not get\n the railroad cars. In a letter from Thomas Mack and Company\n dated November 26, 1901, to General Manager E. C. Means:\n \"We are hopeful that the car supply will get better because\n of the number of orders you have of ours for prompt\n shipment. Our customers are complaining that they are not\n getting the iron fast enough. . . . We hope that the\n railroad will be able to supply you with empty cars.\" In\n another letter dated 1916 to John B. Guernsey, then acting\n General Manager of the Low Moor Iron Company, \"We were not\n supplied with coke cars for today's loading, and\n consequently we have been practically down of Kay Moor\n ovens all day.\"\u003c/p\u003e","\u003cp\u003eThe problem of procuring labor also plagued the Low Moor\n Company. The company sometimes tried to hire immigrant\n laborers and send the men directly to Low Moor from New\n York City. There were problems with this, as is explained\n in the following letter dated April 7, 1906: \n \u003cblockquote\u003e\n\u003cp\u003eTo Mr. George Wickes \n \u003clb\u003e\u003c/lb\u003eSupt. of Mines \n \u003clb\u003e\u003c/lb\u003eKay Moor, Virginia \n \u003clb\u003e\u003c/lb\u003e\u003c/p\u003e\n\u003cp\u003eDear George, \n \u003clb\u003e\u003c/lb\u003eTony arrived with twenty one men last night. One\n got away in Jersey two in Washington D.C., four in\n Charlottesville. Some of the men are very good looking,\n but taken as a whole they are the worst lot I have ever\n seen: Irish, German-Jews, and Italians. . . . Our New\n York transportations to this place have never been a\n success.\u003c/p\u003e\n\u003cp\u003eSigned, \n \u003clb\u003e\u003c/lb\u003eEd D. Wickes Supt. of Mines\u003c/p\u003e\n\u003c/blockquote\u003eLow Moor usually employed labor agencies, one\n of which was Atwood's Employment Agency. Often the Low Moor\n Company would request certain nationalities, believing them\n to be better workers than others. Sometimes the company\n would request a gang of twenty made up of \"ten Greeks and\n ten Italians.\" Many of the immigrants fled Low Moor and Kay\n Moor when they learned that they would have to work\n underground. There is a fair amount of material on\n immigrant labor and its procurement in the collection, and\n it is noted in the description of the box contents.\u003c/p\u003e","\u003cp\u003eLow Moor Iron Company not only had trouble procuring\n labor, but it also had trouble with labor already employed\n in the mines and at the factory. Labor dissension and\n strikes troubled the Kay Moor Mines through the 1900's. The\n great coal strike of 1902 hurt the Low Moor Company's coal\n mining operation, but by 1903 things were \"nearly back to\n normal\" according to the mine superintendent. There was\n still trouble at Kay Moor Mines, however. In a letter dated\n April 26, 1906, to the treasurer of Low Moor Company, the\n manager of the mines wrote about the trouble in \"trying to\n get the agitators out.\" The mines were seventy-five men\n short of the total labor force needed because many of the\n coal miners returned to their farms during the spring.\n There were rumblings of another strike at Kay Moor, the\n result of which was to be a fourteen percent increase in\n wages for the Kay Moor Mine workers via an agreement with\n the United Mine Workers Union in December.\u003c/p\u003e","\u003cp\u003eThe Low Moor Iron Company grew along with the rest of\n Virginia industry in the 1890's and 1900's. Starting with\n only one furnace in the 1870's, it opened a second furnace\n at Covington, Virginia, in 1891. In 1911 it opened a third\n furnace, this time at Low Moor. Covington, with its heavy\n industry, soon became known as the \"Pittsburgh of\n Virginia.\" Virginia's pig iron production rose from 9,000\n short tons in 1870 to 544,034 long tons in 1903. Judging\n from the Low Moor Company's correspondence, the most\n prosperous period for the company fell between the years\n 1895-1907. In the years between 1907-1917 problems befell\n the Virginia pig iron industry. In a letter from William W.\n Hearns, the president of the Virginia based Princess Pig\n Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n writes of the problems of the Virginia pig iron industry:\n \"There is not a blast furnace in Virginia that is making\n any money from the manufacture of pig iron. The cause of\n this is there is an exceedingly low price on pig iron in\n the country at the present time, and the increased cost of\n manufacturing is due to the increase in wages in all\n lines.\" With the outbreak of World War I prices rose\n dramatically, but in a market report to Low Moor dated\n November 11, 1916, it was stated that: \"In spite of the\n high prices, it is not a picnic to be in the iron industry.\n There is a desperate shortage of cars and equipment in the\n coal and iron districts, and in consequence there are\n troubles of all kinds to get materials shipped. The\n situation has grown serious.\"\u003c/p\u003e","\u003cp\u003eWhen America became involved in the First World War, it\n meant a boost for the Low Moor Iron Company. The government\n helped it procure labor, and even helped it repair its\n furnaces. The problem of supplies and cars for their\n shipments, however, plagued the company more than ever. It\n had a good deal of trouble getting all the raw materials it\n needed due chiefly to the \"tight ship\" run by Harry F.\n Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n war very serious problems began to trouble the Low Moor\n Iron Company. The demand for iron fell precipitously and a\n short but severe depression ensued from 1919-1922. The\n depression seemed to hit the iron industry especially hard.\n Prices took a huge drop due to the lack of demand, and many\n pre-war contracts had to be revalued. To compound the\n company's problems, the Kay Moor Mines went on strike in\n 1919. This strike was quickly settled, as the market for\n coal was so good that the Low Moor Company ceased taking\n orders temporarily in 1921 as it could not fill the orders\n it had on hand.\u003c/p\u003e","\u003cp\u003eThe Low Moor Company furnaces lay idle for some twenty\n months. Finally, in November 1922 one of Low Moor's\n furnaces was finally fired up. While prosperity gradually\n returned to the rest of the country, the Low Moor Iron\n Company never recovered. Production of pig iron in the\n Virginia iron industry declined from 544,034 tons in 1903\n to 148,053 tons in 1923, considered a good year for the\n industry as a whole. In February 1926 Low Moor officials\n talked of merging with two other iron companies in order to\n revive the iron business for the three companies. The\n merger, however, never occurred. By late 1926 the company\n was in the process of liquidation. An advertisement in the\n Charleston, West Virginia, Daily Mail dated April 30, 1927,\n told of a huge warehouse sale at the Low Moor Iron Company.\n The advertisement noted \"thousands of screws, pipe\n fittings, valves, etc.\" The last piece of correspondence\n from the Low Moor Iron Company in the collection is dated\n 1929. It deals with the sale of a machine.\u003c/p\u003e","\u003cp\u003eWhy did the iron industry in Virginia decline as it did?\n Some say that lack of speed, efficiency, and a decent\n transportation system for Alleghany County caused it. In a\n letter from C. E. Bertie, secretary of the Virginia Pig\n Iron Association, to the \n \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eManufacturers Record\u003c/title\u003e\u003c/bibref\u003edated 1925, Bertie claimed that it was the\n tremendous rise in the cost of transportation. Virginia, he\n claimed, had almost no home market. Over 80% of its normal\n production was shipped out to other states. The failure of\n the Interstate Commerce Commission to treat Virginia\n furnaces as southern furnaces was the cause of much of the\n trouble. From 1914-1925 there were four blanket increases\n in freight rates in the country, of which only one applied\n equally to all localities. Southern furnaces were received\n only two increases--a 25% increase in 1918 and a 25%\n increase in 1920--but northern furnaces had had 5%, 15%,\n 25%, and 40% increases in their transportation costs.\n Virginia furnaces, although recognized as southern\n furnaces, had had freight rates increased in line with the\n northern furnaces. Prior to the war Virginia iron reached\n all points in Ohio, Indiana, Michigan, and Illinois on a\n competitive basis with southern furnaces. After World War I\n the advantage was limited to a small portion of\n southeastern Ohio. All of Indiana, Illinois, and Michigan\n were now lost to the Virginia producers. The Virginia\n producer, according to Bertie, felt that the freight rates\n should be restored to a relationship with southern\n furnaces. If what Bertie said was true, the other southern\n states iron industries should not have been in the same\n desperate economic straits as Virginia's, and statistics\n should support this. In the 1920's production rose to new\n heights in Alabama. In Tennessee, however, iron production\n plunged to new lows during the 1920's. While the south\n accounted for 10.2% of the entire U. S. production in the\n years 1919-1924, Virginia accounted for less than 1% during\n those years. In 1915 Virginia accounted for over 6% of the\n U.S. iron production. One can see a decline in other areas\n of the south than Virginia. While the discrepancies in the\n freight rates may have helped cause the decline, clearly\n there are other reasons.\u003c/p\u003e","\u003cp\u003eDuring the 1900's there was a discovery of extremely\n rich iron ore deposits in the mid-west. Much of this ore\n was on or near the surface, making the mining of it both\n easy and inexpensive. This in turn lowered production costs\n of the pig iron. This caused iron production to shift to\n that region, and resulted in a decline in the Virginia iron\n industry. There was a sharp increase in iron production in\n the mid-west through the 1920's. The iron ore in the\n mid-west may have been of better quality than Virginia, but\n the iron ore in Virginia was of sufficient quality to\n produce a good pig iron. The western ore deposits were not\n as conveniently located as Virginia deposits, but the\n inexpensiveness of production more than made up for it.\u003c/p\u003e","\u003cp\u003eIn examining the rise and fall of the Low Moor Iron\n Company, we can see a situation in which the conditions for\n the manufacture of iron were nearly ideal. There was plenty\n of land for expansion and resources for the manufacture of\n the iron. The major internal problem faced by the Low Moor\n Iron Company was that of transportation. External\n developments, however, caused the final demise of the Low\n Moor Iron Company.\u003c/p\u003e","\u003cp\u003eLow Moor Iron Company Personnel:\u003c/p\u003e","\u003cp\u003eExecutive Staff: Managing Director, Colonel H. M.\n Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n 1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n 1915 (acting General Manager); F. U. Humbert: ca.\n 1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n 1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n 1918-1928.\u003c/p\u003e","\u003cp\u003eFactory and Mine Supervisors: Kay Moor Superintendents:\n C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n J. W. Monteith: manager of mines. ca. 1918; promoted in\n 1925 to general superintendent in charge of mine plants,\n coke ovens, shops, repairs, and construction; A. L.\n Monteith: assistant superintendent of mines, ca. 1918;\n George T. Wickes: manager of Covington mines, ca.\n 1906-1917; Ross Howell, ca. 1918. Stack Mines\n Superintendents: J. H. Carpenter: ca. 1906; C. D.\n Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n Thompson: foreman, ca. 1906. Low Moor assorted other\n personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n assistant traffic manager, ca. 1919.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Information"],"bioghist_tesim":["The Low Moor Iron Company, the first producer of pig\n iron in Virginia according to the company's claims, was a\n self-contained manufacturing unit producing from its own\n mines the coal, limestone, and iron ore needed for its iron\n production. Located in Low Moor near Clifton Forge in\n Alleghany County in western Virginia, an area rich in\n mineral deposits, the company was in operation from\n 1872-1930, producing only pig iron; it never attempted to\n produce finished iron products.","Coal came to the Low Moor furnaces from the Kay Moor\n Mines at Kay Moor, West Virginia, about thirty miles from\n Low Moor; limestone was produced from the Low Moor\n limestone quarries; and iron ore came from the Fenwick,\n Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n Mines, most of them within twenty miles of Low Moor at\n Covington or Clifton Forge.","The towns of Low Moor and Kay Moor were company towns in\n every respect. Workers lived in company-owned houses,\n bought food in company stores, worshiped at the company\n church, saw movies in the company theater, were treated in\n the company hospital, and were buried in the company\n cemetery. Workers received part of their pay in scrip that\n they exchanged for goods and services. According to a\n statement from the Kay Moor Mines dated November 1904, Kay\n Moor then employed 338 people, paid them an average wage of\n $36.26 per month, and issued half of their pay in scrip.\n Kay Moor had four stores; Low Moor had seven or eight. All\n of these stores carried large inventories which are\n detailed in the collection. These inventories are valuable\n to anyone interested in determining the wants and needs of\n a coal miner and his family.","In the late 1910's and 1920's Kay Moor had a company\n theater called the Azure Theater which seated about 300\n people. There were also plans for a company-owned social\n center, to have pool tables, a soda fountain, and\n provisions for dancing and skating. The company was in\n tough economic straits by the 1920's, however, and there is\n no evidence that the social center was built. The town of\n Low Moor was so completely under the company's influence\n that one of Low Moor Iron Company's assistant managers\n served as the town sheriff. He often foreclosed on people\n who did not pay their debts, and drove troublesome people\n \"out of town on a rail\" as he put it.","The Low Moor Iron Company's fortunes fluctuated during\n the various business cycles between the years 1880-1930.\n Low Moor was one of the larger pig iron producers in\n Virginia, but Virginia pig iron production was not\n important nationally. Low Moor officials sometimes sold\n their product themselves, but more often they used agents,\n the prevalent method at the time. Low Moor Iron Company\n used a variety of agents through the 1900's. James F. Bryan\n acted as the exclusive agent for the sale of Kay Moor Coal\n from September 21, 1903 to September, 1905. From about 1890\n until about 1910 Dalton Nash and Company were the exclusive\n eastern agents of Low Moor Iron. After that time the\n exclusive agency went to Philips Isham and Company located\n in New York. From about 1890 the western agency was handled\n chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n and Company underwent a name change, becoming Walter\n Wallingford and Company, with offices located in\n Cincinnati, Pittsburgh, and Chicago.","Perhaps the Low Moor Iron Company's biggest problem over\n the years was obtaining railroad cars for the\n transportation of its finished product. Low Moor Iron\n Company had its own cars for transporting its raw materials\n among its various facilities. For the long haul necessary\n for its finished goods, however, it depended upon the\n services of the Chesapeake and Ohio Railroad, and the\n relationship was not always a happy one. The Low Moor\n Company complained many times to the C \u0026 O Railroad\n about the discrepancies between long-and shorthaul freight\n rates. Low Moor also had trouble getting cars from the C\n \u0026 O. In a letter to one of Low Moor Company's agents\n from an irate customer dated 1898, the customer wrote: \"We\n wrote you on Saturday and endeavored to question upon your\n mind the necessity of taking care of us with Low Moor iron.\n We are on our uppers--there is not a pound of Low Moor iron\n in the yard. Of the one hundred tons ordered some time ago,\n not one pound of it has been received.\" This was, according\n to the Low Moor Iron Company, because they could not get\n the railroad cars. In a letter from Thomas Mack and Company\n dated November 26, 1901, to General Manager E. C. Means:\n \"We are hopeful that the car supply will get better because\n of the number of orders you have of ours for prompt\n shipment. Our customers are complaining that they are not\n getting the iron fast enough. . . . We hope that the\n railroad will be able to supply you with empty cars.\" In\n another letter dated 1916 to John B. Guernsey, then acting\n General Manager of the Low Moor Iron Company, \"We were not\n supplied with coke cars for today's loading, and\n consequently we have been practically down of Kay Moor\n ovens all day.\"","The problem of procuring labor also plagued the Low Moor\n Company. The company sometimes tried to hire immigrant\n laborers and send the men directly to Low Moor from New\n York City. There were problems with this, as is explained\n in the following letter dated April 7, 1906: \n To Mr. George Wickes \n Supt. of Mines \n Kay Moor, Virginia \n Dear George, \n Tony arrived with twenty one men last night. One\n got away in Jersey two in Washington D.C., four in\n Charlottesville. Some of the men are very good looking,\n but taken as a whole they are the worst lot I have ever\n seen: Irish, German-Jews, and Italians. . . . Our New\n York transportations to this place have never been a\n success. Signed, \n Ed D. Wickes Supt. of Mines Low Moor usually employed labor agencies, one\n of which was Atwood's Employment Agency. Often the Low Moor\n Company would request certain nationalities, believing them\n to be better workers than others. Sometimes the company\n would request a gang of twenty made up of \"ten Greeks and\n ten Italians.\" Many of the immigrants fled Low Moor and Kay\n Moor when they learned that they would have to work\n underground. There is a fair amount of material on\n immigrant labor and its procurement in the collection, and\n it is noted in the description of the box contents.","Low Moor Iron Company not only had trouble procuring\n labor, but it also had trouble with labor already employed\n in the mines and at the factory. Labor dissension and\n strikes troubled the Kay Moor Mines through the 1900's. The\n great coal strike of 1902 hurt the Low Moor Company's coal\n mining operation, but by 1903 things were \"nearly back to\n normal\" according to the mine superintendent. There was\n still trouble at Kay Moor Mines, however. In a letter dated\n April 26, 1906, to the treasurer of Low Moor Company, the\n manager of the mines wrote about the trouble in \"trying to\n get the agitators out.\" The mines were seventy-five men\n short of the total labor force needed because many of the\n coal miners returned to their farms during the spring.\n There were rumblings of another strike at Kay Moor, the\n result of which was to be a fourteen percent increase in\n wages for the Kay Moor Mine workers via an agreement with\n the United Mine Workers Union in December.","The Low Moor Iron Company grew along with the rest of\n Virginia industry in the 1890's and 1900's. Starting with\n only one furnace in the 1870's, it opened a second furnace\n at Covington, Virginia, in 1891. In 1911 it opened a third\n furnace, this time at Low Moor. Covington, with its heavy\n industry, soon became known as the \"Pittsburgh of\n Virginia.\" Virginia's pig iron production rose from 9,000\n short tons in 1870 to 544,034 long tons in 1903. Judging\n from the Low Moor Company's correspondence, the most\n prosperous period for the company fell between the years\n 1895-1907. In the years between 1907-1917 problems befell\n the Virginia pig iron industry. In a letter from William W.\n Hearns, the president of the Virginia based Princess Pig\n Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n writes of the problems of the Virginia pig iron industry:\n \"There is not a blast furnace in Virginia that is making\n any money from the manufacture of pig iron. The cause of\n this is there is an exceedingly low price on pig iron in\n the country at the present time, and the increased cost of\n manufacturing is due to the increase in wages in all\n lines.\" With the outbreak of World War I prices rose\n dramatically, but in a market report to Low Moor dated\n November 11, 1916, it was stated that: \"In spite of the\n high prices, it is not a picnic to be in the iron industry.\n There is a desperate shortage of cars and equipment in the\n coal and iron districts, and in consequence there are\n troubles of all kinds to get materials shipped. The\n situation has grown serious.\"","When America became involved in the First World War, it\n meant a boost for the Low Moor Iron Company. The government\n helped it procure labor, and even helped it repair its\n furnaces. The problem of supplies and cars for their\n shipments, however, plagued the company more than ever. It\n had a good deal of trouble getting all the raw materials it\n needed due chiefly to the \"tight ship\" run by Harry F.\n Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n war very serious problems began to trouble the Low Moor\n Iron Company. The demand for iron fell precipitously and a\n short but severe depression ensued from 1919-1922. The\n depression seemed to hit the iron industry especially hard.\n Prices took a huge drop due to the lack of demand, and many\n pre-war contracts had to be revalued. To compound the\n company's problems, the Kay Moor Mines went on strike in\n 1919. This strike was quickly settled, as the market for\n coal was so good that the Low Moor Company ceased taking\n orders temporarily in 1921 as it could not fill the orders\n it had on hand.","The Low Moor Company furnaces lay idle for some twenty\n months. Finally, in November 1922 one of Low Moor's\n furnaces was finally fired up. While prosperity gradually\n returned to the rest of the country, the Low Moor Iron\n Company never recovered. Production of pig iron in the\n Virginia iron industry declined from 544,034 tons in 1903\n to 148,053 tons in 1923, considered a good year for the\n industry as a whole. In February 1926 Low Moor officials\n talked of merging with two other iron companies in order to\n revive the iron business for the three companies. The\n merger, however, never occurred. By late 1926 the company\n was in the process of liquidation. An advertisement in the\n Charleston, West Virginia, Daily Mail dated April 30, 1927,\n told of a huge warehouse sale at the Low Moor Iron Company.\n The advertisement noted \"thousands of screws, pipe\n fittings, valves, etc.\" The last piece of correspondence\n from the Low Moor Iron Company in the collection is dated\n 1929. It deals with the sale of a machine.","Why did the iron industry in Virginia decline as it did?\n Some say that lack of speed, efficiency, and a decent\n transportation system for Alleghany County caused it. In a\n letter from C. E. Bertie, secretary of the Virginia Pig\n Iron Association, to the \n Manufacturers Record dated 1925, Bertie claimed that it was the\n tremendous rise in the cost of transportation. Virginia, he\n claimed, had almost no home market. Over 80% of its normal\n production was shipped out to other states. The failure of\n the Interstate Commerce Commission to treat Virginia\n furnaces as southern furnaces was the cause of much of the\n trouble. From 1914-1925 there were four blanket increases\n in freight rates in the country, of which only one applied\n equally to all localities. Southern furnaces were received\n only two increases--a 25% increase in 1918 and a 25%\n increase in 1920--but northern furnaces had had 5%, 15%,\n 25%, and 40% increases in their transportation costs.\n Virginia furnaces, although recognized as southern\n furnaces, had had freight rates increased in line with the\n northern furnaces. Prior to the war Virginia iron reached\n all points in Ohio, Indiana, Michigan, and Illinois on a\n competitive basis with southern furnaces. After World War I\n the advantage was limited to a small portion of\n southeastern Ohio. All of Indiana, Illinois, and Michigan\n were now lost to the Virginia producers. The Virginia\n producer, according to Bertie, felt that the freight rates\n should be restored to a relationship with southern\n furnaces. If what Bertie said was true, the other southern\n states iron industries should not have been in the same\n desperate economic straits as Virginia's, and statistics\n should support this. In the 1920's production rose to new\n heights in Alabama. In Tennessee, however, iron production\n plunged to new lows during the 1920's. While the south\n accounted for 10.2% of the entire U. S. production in the\n years 1919-1924, Virginia accounted for less than 1% during\n those years. In 1915 Virginia accounted for over 6% of the\n U.S. iron production. One can see a decline in other areas\n of the south than Virginia. While the discrepancies in the\n freight rates may have helped cause the decline, clearly\n there are other reasons.","During the 1900's there was a discovery of extremely\n rich iron ore deposits in the mid-west. Much of this ore\n was on or near the surface, making the mining of it both\n easy and inexpensive. This in turn lowered production costs\n of the pig iron. This caused iron production to shift to\n that region, and resulted in a decline in the Virginia iron\n industry. There was a sharp increase in iron production in\n the mid-west through the 1920's. The iron ore in the\n mid-west may have been of better quality than Virginia, but\n the iron ore in Virginia was of sufficient quality to\n produce a good pig iron. The western ore deposits were not\n as conveniently located as Virginia deposits, but the\n inexpensiveness of production more than made up for it.","In examining the rise and fall of the Low Moor Iron\n Company, we can see a situation in which the conditions for\n the manufacture of iron were nearly ideal. There was plenty\n of land for expansion and resources for the manufacture of\n the iron. The major internal problem faced by the Low Moor\n Iron Company was that of transportation. External\n developments, however, caused the final demise of the Low\n Moor Iron Company.","Low Moor Iron Company Personnel:","Executive Staff: Managing Director, Colonel H. M.\n Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n 1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n 1915 (acting General Manager); F. U. Humbert: ca.\n 1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n 1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n 1918-1928.","Factory and Mine Supervisors: Kay Moor Superintendents:\n C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n J. W. Monteith: manager of mines. ca. 1918; promoted in\n 1925 to general superintendent in charge of mine plants,\n coke ovens, shops, repairs, and construction; A. L.\n Monteith: assistant superintendent of mines, ca. 1918;\n George T. Wickes: manager of Covington mines, ca.\n 1906-1917; Ross Howell, ca. 1918. Stack Mines\n Superintendents: J. H. Carpenter: ca. 1906; C. D.\n Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n Thompson: foreman, ca. 1906. Low Moor assorted other\n personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n assistant traffic manager, ca. 1919."],"custodhist_html_tesm":["\u003cp\u003eThe Low Moor Iron Company ceased operations in 1930;\n what happened to the records of the company in the years\n immediately following is not known, but in 1939, the Green\n Bookman, a Charlottesville bookshop, sold the records to\n the University of Virginia Library.\u003c/p\u003e","\u003cp\u003eThe records arrived at the receiving room door of the\n new Alderman Library on October 16, 1939, in a trailer\n truck whose load was estimated to weigh about fourteen\n tons. As the manuscripts staff dug around in the piles of\n over 1200 account books, and countless boxes of papers they\n realized that the company had saved almost all of its\n papers including checks, invoices, vouchers, and receipts,\n and certain of these records were destroyed as their\n information was recorded in other records. Once the bulk of\n the collection had been reduced, the remaining records were\n transferred to the stack area of the Division of Rare Books\n and Manuscripts.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The Low Moor Iron Company ceased operations in 1930;\n what happened to the records of the company in the years\n immediately following is not known, but in 1939, the Green\n Bookman, a Charlottesville bookshop, sold the records to\n the University of Virginia Library.","The records arrived at the receiving room door of the\n new Alderman Library on October 16, 1939, in a trailer\n truck whose load was estimated to weigh about fourteen\n tons. As the manuscripts staff dug around in the piles of\n over 1200 account books, and countless boxes of papers they\n realized that the company had saved almost all of its\n papers including checks, invoices, vouchers, and receipts,\n and certain of these records were destroyed as their\n information was recorded in other records. Once the bulk of\n the collection had been reduced, the remaining records were\n transferred to the stack area of the Division of Rare Books\n and Manuscripts."],"otherfindaid_html_tesm":["\u003cp\u003eSome 1200 bound accounting record books of the Low Moor\n Iron Company came into the custody of the Library with the\n loose papers. When the project staff investigated these\n volumes in the dormitory attic where they were stored, they\n found that the volumes had been shelved by size rather than\n by series. Thus, a letterbook may stand next to a stock\n report book for a furnace, which is, in turn, next to a\n store account book for the Kay Moor Mines' store. No series\n are shelved in order.\u003c/p\u003e","\u003cp\u003eMembers of the project staff surveyed the volumes,\n completing for each volume two copies of a mimeographed\n survey form, and assigning to each volume a number. One\n copy of the survey report form was placed in the volume,\n and the second was returned to the Library.\u003c/p\u003e","\u003cp\u003eFrom the survey report forms, 3 x 5 inch index\n cards--with a carbon copy of each--were typed. One set of\n index cards has been kept in order by the numbers assigned\n to the volumes as they stand on the shelves. This provides\n a shelf list for the use of the library staff. The other\n set of cards was sorted into categories as a finding aid.\n On the list that follows, the researcher will find a number\n of major headings such as \"Accounts,\" \"Inventories,\"\n \"Letter Books,\" and \"Shipments-Outgoing.\"\u003c/p\u003e","\u003cp\u003eInsofar as it has been possible to determine from the\n data on the survey report forms, the volumes have been\n assigned to categories. Most of the major categories, or\n headings, have sub-headings. Within those sub-headings, the\n volumes have been arranged chronologically. The\n investigators realize that after careful study of some of\n these volumes, they will be revealed as belonging to other\n categories than those in which they have initially been\n placed. The card index will allow such movement.\u003c/p\u003e","\u003cp\u003eAvailable in the Manuscripts/Archives Reading Room in\n the Library is the sorted card index file. There is a card\n for every volume in this file whereas, on the pages that\n follow, volumes have been summarized under the headings and\n sub-headings. In each case, the number of volumes has been\n given in the summarized list; the date ranges given are\n inclusive in most cases, and do not reveal the many gaps in\n sequences unless the number of volumes is small and the\n date range wide. Occasional remarks about the content of\n volumes have been supplied if the contents are not obvious\n from the heading or sub-heading.\u003c/p\u003e","\u003cp\u003eResearchers wishing to examine any of these volumes will\n have to use the card index file in order to be able to give\n to the staff the volume number assigned to the individual\n volumes that are to be inspected.\u003c/p\u003e"],"otherfindaid_heading_ssm":["Other Finding Aid"],"otherfindaid_tesim":["Some 1200 bound accounting record books of the Low Moor\n Iron Company came into the custody of the Library with the\n loose papers. When the project staff investigated these\n volumes in the dormitory attic where they were stored, they\n found that the volumes had been shelved by size rather than\n by series. Thus, a letterbook may stand next to a stock\n report book for a furnace, which is, in turn, next to a\n store account book for the Kay Moor Mines' store. No series\n are shelved in order.","Members of the project staff surveyed the volumes,\n completing for each volume two copies of a mimeographed\n survey form, and assigning to each volume a number. One\n copy of the survey report form was placed in the volume,\n and the second was returned to the Library.","From the survey report forms, 3 x 5 inch index\n cards--with a carbon copy of each--were typed. One set of\n index cards has been kept in order by the numbers assigned\n to the volumes as they stand on the shelves. This provides\n a shelf list for the use of the library staff. The other\n set of cards was sorted into categories as a finding aid.\n On the list that follows, the researcher will find a number\n of major headings such as \"Accounts,\" \"Inventories,\"\n \"Letter Books,\" and \"Shipments-Outgoing.\"","Insofar as it has been possible to determine from the\n data on the survey report forms, the volumes have been\n assigned to categories. Most of the major categories, or\n headings, have sub-headings. Within those sub-headings, the\n volumes have been arranged chronologically. The\n investigators realize that after careful study of some of\n these volumes, they will be revealed as belonging to other\n categories than those in which they have initially been\n placed. The card index will allow such movement.","Available in the Manuscripts/Archives Reading Room in\n the Library is the sorted card index file. There is a card\n for every volume in this file whereas, on the pages that\n follow, volumes have been summarized under the headings and\n sub-headings. In each case, the number of volumes has been\n given in the summarized list; the date ranges given are\n inclusive in most cases, and do not reveal the many gaps in\n sequences unless the number of volumes is small and the\n date range wide. Occasional remarks about the content of\n volumes have been supplied if the contents are not obvious\n from the heading or sub-heading.","Researchers wishing to examine any of these volumes will\n have to use the card index file in order to be able to give\n to the staff the volume number assigned to the individual\n volumes that are to be inspected."],"prefercite_html_tesm":["\u003cp\u003ePapers of the Low Moor Iron Company, Accession #662,\n Special Collections, University of Virginia Library,\n Charlottesville, Va.\u003c/p\u003e"],"prefercite_tesim":["Papers of the Low Moor Iron Company, Accession #662,\n Special Collections, University of Virginia Library,\n Charlottesville, Va."],"processinfo_html_tesm":["\u003cp\u003eBy 1958, little storage space remained in Alderman\n Library, and the Rare Books and Manuscripts Division was\n especially crowded because of the rapid growth of its\n collections. After an examination of its storage areas, the\n division's staff decided to move the Low Moor records to\n the attic of one of the student dormitories. The collection\n had had little use chiefly because there was no finding\n aid. There seemed little likelihood of extensive researcher\n use until the collection could be processed.\u003c/p\u003e","\u003cp\u003eIn preparation for the move, the old letter boxes in\n which much of the collection had arrived in the Library\n were discarded. The records from each box were placed\n between sheets of the heavy gray cardboard used to protect\n unbound newspapers in the Library's stacks, and the spine\n labels of the old letter boxes were copied onto the\n cardboard. The resulting bundles were wrapped with brown\n Kraft paper and tied up with string. The bundles were\n numbered. Whatever original order the letter boxes may have\n had was lost by the time they arrived in the Library, and\n after the bundling, removal to a dormitory attic, and\n subsequent return to the Library in 1976, all vestiges of\n the original order were lost.\u003c/p\u003e","\u003cp\u003eThe bundles remained in the dormitory attic for almost\n twenty years. Occasional visits were made by the division\n staff to check on their condition, and on very rare\n occasions, a researcher was brave enough to ask to be shown\n the collection. Once the researcher saw the imposing amount\n of material and the conditions in the attic, interest in\n using the collection invariably died.\u003c/p\u003e","\u003cp\u003eIn late 1976 a grant from the National Endowment for the\n Humanities was obtained to allow the Library to process the\n Low Moor Iron Company papers, and the papers of Edward L.\n Stone and the Borderland Coal Company, another large\n collection of records stored in the same dormitory attic.\n All of these records and papers were moved back to the\n Library where the bundles were cleaned and opened. The\n contents of each were placed in a Hollinger storage box,\n and all notes on the paper wrappings and on the gray\n cardboard sheets were recorded.\u003c/p\u003e","\u003cp\u003eThe more than 1200 bound accounting records of the Low\n Moor Iron Company were surveyed by the grant project staff.\n The contents of each volume were noted on a mimeographed\n form, and later typed on 3 x 5\" cards to create a\n readily-accessible file for the Manuscripts Reading Room.\n This information was also typed on pages to be added to\n this guide.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["By 1958, little storage space remained in Alderman\n Library, and the Rare Books and Manuscripts Division was\n especially crowded because of the rapid growth of its\n collections. After an examination of its storage areas, the\n division's staff decided to move the Low Moor records to\n the attic of one of the student dormitories. The collection\n had had little use chiefly because there was no finding\n aid. There seemed little likelihood of extensive researcher\n use until the collection could be processed.","In preparation for the move, the old letter boxes in\n which much of the collection had arrived in the Library\n were discarded. The records from each box were placed\n between sheets of the heavy gray cardboard used to protect\n unbound newspapers in the Library's stacks, and the spine\n labels of the old letter boxes were copied onto the\n cardboard. The resulting bundles were wrapped with brown\n Kraft paper and tied up with string. The bundles were\n numbered. Whatever original order the letter boxes may have\n had was lost by the time they arrived in the Library, and\n after the bundling, removal to a dormitory attic, and\n subsequent return to the Library in 1976, all vestiges of\n the original order were lost.","The bundles remained in the dormitory attic for almost\n twenty years. Occasional visits were made by the division\n staff to check on their condition, and on very rare\n occasions, a researcher was brave enough to ask to be shown\n the collection. Once the researcher saw the imposing amount\n of material and the conditions in the attic, interest in\n using the collection invariably died.","In late 1976 a grant from the National Endowment for the\n Humanities was obtained to allow the Library to process the\n Low Moor Iron Company papers, and the papers of Edward L.\n Stone and the Borderland Coal Company, another large\n collection of records stored in the same dormitory attic.\n All of these records and papers were moved back to the\n Library where the bundles were cleaned and opened. The\n contents of each were placed in a Hollinger storage box,\n and all notes on the paper wrappings and on the gray\n cardboard sheets were recorded.","The more than 1200 bound accounting records of the Low\n Moor Iron Company were surveyed by the grant project staff.\n The contents of each volume were noted on a mimeographed\n form, and later typed on 3 x 5\" cards to create a\n readily-accessible file for the Manuscripts Reading Room.\n This information was also typed on pages to be added to\n this guide."],"scopecontent_html_tesm":["\u003cp\u003eThe Low Moor Iron Company papers consist of\n approximately 280 four-inch Hollinger archives boxes (ca.\n 95 linear feet) of records, ca. 1885-1927, and some 1200\n bound volumes of the company's accounting records,\n 1873-1927, of this iron producing company located in Low\n Moor (four miles southwest of Clifton Forge), Alleghany\n County, Virginia.\u003c/p\u003e","\u003cp\u003eThis material consists of records typical of those\n produced by a firm of this type in the period, but as the\n company owned its own coal and iron mines and limestone\n quarries, there is considerable information about the\n production of these raw materials. Large numbers of the\n records that deal with the company's employees have\n survived: time books, payroll books, hands ledgers, and the\n like. Because these books sometimes include information\n about the employee's trade or job with the company, and as\n race is indicated in some of the records, these books\n should provide date for studies of the structure and upward\n mobility within the labor force, patterns of\n ethnic--possibly racial--occupational penetration and\n mobility, material conditions of the workers, and so on.\n The papers should permit a range of studies detailing the\n pattern and evolution of industrial organization in the\n iron industry, and the evolution of markets and marketing\n structures for the entire period. Because the company was\n dependent upon railroads to move its raw materials to the\n furnaces, and for the marketing of its products, there is\n considerable information about railroads and their\n relationship to their customers.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Information"],"scopecontent_tesim":["The Low Moor Iron Company papers consist of\n approximately 280 four-inch Hollinger archives boxes (ca.\n 95 linear feet) of records, ca. 1885-1927, and some 1200\n bound volumes of the company's accounting records,\n 1873-1927, of this iron producing company located in Low\n Moor (four miles southwest of Clifton Forge), Alleghany\n County, Virginia.","This material consists of records typical of those\n produced by a firm of this type in the period, but as the\n company owned its own coal and iron mines and limestone\n quarries, there is considerable information about the\n production of these raw materials. Large numbers of the\n records that deal with the company's employees have\n survived: time books, payroll books, hands ledgers, and the\n like. Because these books sometimes include information\n about the employee's trade or job with the company, and as\n race is indicated in some of the records, these books\n should provide date for studies of the structure and upward\n mobility within the labor force, patterns of\n ethnic--possibly racial--occupational penetration and\n mobility, material conditions of the workers, and so on.\n The papers should permit a range of studies detailing the\n pattern and evolution of industrial organization in the\n iron industry, and the evolution of markets and marketing\n structures for the entire period. Because the company was\n dependent upon railroads to move its raw materials to the\n furnaces, and for the marketing of its products, there is\n considerable information about railroads and their\n relationship to their customers."],"userestrict_html_tesm":["\u003cp\u003eSee the \n \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["See the \n \n University of Virginia Library’s use policy."],"language_ssim":["English"],"total_component_count_is":1879,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T12:10:02.328Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu00917_c01_c25_c03"}},{"id":"viu_viu00917_c01_c26_c03","type":"Subseries","attributes":{"title":"C. Covington Stock Receipts,\n 3-5","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu00917_c01_c26_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu00917_c01_c26_c03","ref_ssm":["viu_viu00917_c01_c26_c03"],"id":"viu_viu00917_c01_c26_c03","ead_ssi":"viu_viu00917","_root_":"viu_viu00917","_nest_parent_":"viu_viu00917_c01_c26","parent_ssi":"viu_viu00917_c01_c26","parent_ssim":["viu_viu00917","viu_viu00917_c01","viu_viu00917_c01_c26"],"parent_ids_ssim":["viu_viu00917","viu_viu00917_c01","viu_viu00917_c01_c26"],"parent_unittitles_ssm":["Papers of the Low Moor Iron Company \n 1873-1927","Bound Volumes","Shipments-Incoming"],"parent_unittitles_tesim":["Papers of the Low Moor Iron Company \n 1873-1927","Bound Volumes","Shipments-Incoming"],"text":["Papers of the Low Moor Iron Company \n 1873-1927","Bound Volumes","Shipments-Incoming","C. Covington Stock Receipts,\n 3-5","3 volumes"],"title_filing_ssi":"C. Covington Stock Receipts,\n 3-5","title_ssm":["C. Covington Stock Receipts,\n 3-5"],"title_tesim":["C. Covington Stock Receipts,\n 3-5"],"unitdate_other_ssim":["1901-1914"],"normalized_date_ssm":["1901/1914"],"normalized_title_ssm":["C. Covington Stock Receipts,\n 3-5"],"component_level_isim":[3],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Papers of the Low Moor Iron Company \n 1873-1927"],"physdesc_tesim":["3 volumes"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":141,"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914],"_nest_path_":"/components#0/components#25/components#2","timestamp":"2026-05-21T12:10:02.328Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu00917","ead_ssi":"viu_viu00917","_root_":"viu_viu00917","_nest_parent_":"viu_viu00917","ead_source_url_ssi":"data/uva-sc/viu00917.xml","title_ssm":["Papers of the Low Moor Iron Company \n 1873-1927"],"title_tesim":["Papers of the Low Moor Iron Company \n 1873-1927"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["662"],"text":["662","Papers of the Low Moor Iron Company \n 1873-1927","95 linear feer + 1200\n volumes","Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n","The word \"organization\" is used here with considerable\n diffidence, for any researcher studying the container list\n that follows will realize quickly that there is no\n organization in the usual sense of the word.","As noted under \"Provenance,\" the Low Moor Iron Company\n papers were subjected to a number of moves; when processing\n began in the fall of 1976, no discernible scheme of\n organization could be determined.","The first step was to review the series of coded numbers\n placed on the bundles of papers before they were moved to\n the dormitory attic, but these did not provide any sort of\n useful organization. Next, the spine titles of the original\n letter boxes were reviewed (they had been copied onto the\n gray cardboard sheets before the move to the dormitory\n attic), but they, too, proved useless.","These steps having provided no scheme, and after a\n considerable hiatus due to a turnover in student processors\n on the collection, the new student processors were\n instructed to begin a box-by-box inventory of the contents\n of the collection. During this inventory, old folders were\n replaced with acid-free ones, and the original folder\n headings were copied onto the new ones. Some removal of\n paper clips was accomplished, and the materials were\n reviewed and notes taken for the guide.","Some consolidation of materials was accomplished, and in\n other cases, materials were moved. This work has created\n some problems in the numbering of the boxes. Thus, the\n researchers will find boxes marked \"6A\" and \"23C\"; he will\n also discover that certain box numbers have been entirely\n omitted. As the box numbers exist only to aid in the\n location of material, it was not felt that the unusual\n numbers and the omissions would cause problems in working\n with the papers.","A certain amount of movement of boxes within the\n collection, and of materials among boxes, probably would\n ease use of it. But what processing was accomplished on\n this project took far longer than had been anticipated, and\n there was no time in the late spring of 1978, when the\n processors had to complete their work with the project, to\n undertake a mass movement of material. Thus, they stand in\n the order in which we found them at the beginning of the\n project.","The Low Moor Iron Company, the first producer of pig\n iron in Virginia according to the company's claims, was a\n self-contained manufacturing unit producing from its own\n mines the coal, limestone, and iron ore needed for its iron\n production. Located in Low Moor near Clifton Forge in\n Alleghany County in western Virginia, an area rich in\n mineral deposits, the company was in operation from\n 1872-1930, producing only pig iron; it never attempted to\n produce finished iron products.","Coal came to the Low Moor furnaces from the Kay Moor\n Mines at Kay Moor, West Virginia, about thirty miles from\n Low Moor; limestone was produced from the Low Moor\n limestone quarries; and iron ore came from the Fenwick,\n Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n Mines, most of them within twenty miles of Low Moor at\n Covington or Clifton Forge.","The towns of Low Moor and Kay Moor were company towns in\n every respect. Workers lived in company-owned houses,\n bought food in company stores, worshiped at the company\n church, saw movies in the company theater, were treated in\n the company hospital, and were buried in the company\n cemetery. Workers received part of their pay in scrip that\n they exchanged for goods and services. According to a\n statement from the Kay Moor Mines dated November 1904, Kay\n Moor then employed 338 people, paid them an average wage of\n $36.26 per month, and issued half of their pay in scrip.\n Kay Moor had four stores; Low Moor had seven or eight. All\n of these stores carried large inventories which are\n detailed in the collection. These inventories are valuable\n to anyone interested in determining the wants and needs of\n a coal miner and his family.","In the late 1910's and 1920's Kay Moor had a company\n theater called the Azure Theater which seated about 300\n people. There were also plans for a company-owned social\n center, to have pool tables, a soda fountain, and\n provisions for dancing and skating. The company was in\n tough economic straits by the 1920's, however, and there is\n no evidence that the social center was built. The town of\n Low Moor was so completely under the company's influence\n that one of Low Moor Iron Company's assistant managers\n served as the town sheriff. He often foreclosed on people\n who did not pay their debts, and drove troublesome people\n \"out of town on a rail\" as he put it.","The Low Moor Iron Company's fortunes fluctuated during\n the various business cycles between the years 1880-1930.\n Low Moor was one of the larger pig iron producers in\n Virginia, but Virginia pig iron production was not\n important nationally. Low Moor officials sometimes sold\n their product themselves, but more often they used agents,\n the prevalent method at the time. Low Moor Iron Company\n used a variety of agents through the 1900's. James F. Bryan\n acted as the exclusive agent for the sale of Kay Moor Coal\n from September 21, 1903 to September, 1905. From about 1890\n until about 1910 Dalton Nash and Company were the exclusive\n eastern agents of Low Moor Iron. After that time the\n exclusive agency went to Philips Isham and Company located\n in New York. From about 1890 the western agency was handled\n chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n and Company underwent a name change, becoming Walter\n Wallingford and Company, with offices located in\n Cincinnati, Pittsburgh, and Chicago.","Perhaps the Low Moor Iron Company's biggest problem over\n the years was obtaining railroad cars for the\n transportation of its finished product. Low Moor Iron\n Company had its own cars for transporting its raw materials\n among its various facilities. For the long haul necessary\n for its finished goods, however, it depended upon the\n services of the Chesapeake and Ohio Railroad, and the\n relationship was not always a happy one. The Low Moor\n Company complained many times to the C \u0026 O Railroad\n about the discrepancies between long-and shorthaul freight\n rates. Low Moor also had trouble getting cars from the C\n \u0026 O. In a letter to one of Low Moor Company's agents\n from an irate customer dated 1898, the customer wrote: \"We\n wrote you on Saturday and endeavored to question upon your\n mind the necessity of taking care of us with Low Moor iron.\n We are on our uppers--there is not a pound of Low Moor iron\n in the yard. Of the one hundred tons ordered some time ago,\n not one pound of it has been received.\" This was, according\n to the Low Moor Iron Company, because they could not get\n the railroad cars. In a letter from Thomas Mack and Company\n dated November 26, 1901, to General Manager E. C. Means:\n \"We are hopeful that the car supply will get better because\n of the number of orders you have of ours for prompt\n shipment. Our customers are complaining that they are not\n getting the iron fast enough. . . . We hope that the\n railroad will be able to supply you with empty cars.\" In\n another letter dated 1916 to John B. Guernsey, then acting\n General Manager of the Low Moor Iron Company, \"We were not\n supplied with coke cars for today's loading, and\n consequently we have been practically down of Kay Moor\n ovens all day.\"","The problem of procuring labor also plagued the Low Moor\n Company. The company sometimes tried to hire immigrant\n laborers and send the men directly to Low Moor from New\n York City. There were problems with this, as is explained\n in the following letter dated April 7, 1906: \n To Mr. George Wickes \n Supt. of Mines \n Kay Moor, Virginia \n Dear George, \n Tony arrived with twenty one men last night. One\n got away in Jersey two in Washington D.C., four in\n Charlottesville. Some of the men are very good looking,\n but taken as a whole they are the worst lot I have ever\n seen: Irish, German-Jews, and Italians. . . . Our New\n York transportations to this place have never been a\n success. Signed, \n Ed D. Wickes Supt. of Mines Low Moor usually employed labor agencies, one\n of which was Atwood's Employment Agency. Often the Low Moor\n Company would request certain nationalities, believing them\n to be better workers than others. Sometimes the company\n would request a gang of twenty made up of \"ten Greeks and\n ten Italians.\" Many of the immigrants fled Low Moor and Kay\n Moor when they learned that they would have to work\n underground. There is a fair amount of material on\n immigrant labor and its procurement in the collection, and\n it is noted in the description of the box contents.","Low Moor Iron Company not only had trouble procuring\n labor, but it also had trouble with labor already employed\n in the mines and at the factory. Labor dissension and\n strikes troubled the Kay Moor Mines through the 1900's. The\n great coal strike of 1902 hurt the Low Moor Company's coal\n mining operation, but by 1903 things were \"nearly back to\n normal\" according to the mine superintendent. There was\n still trouble at Kay Moor Mines, however. In a letter dated\n April 26, 1906, to the treasurer of Low Moor Company, the\n manager of the mines wrote about the trouble in \"trying to\n get the agitators out.\" The mines were seventy-five men\n short of the total labor force needed because many of the\n coal miners returned to their farms during the spring.\n There were rumblings of another strike at Kay Moor, the\n result of which was to be a fourteen percent increase in\n wages for the Kay Moor Mine workers via an agreement with\n the United Mine Workers Union in December.","The Low Moor Iron Company grew along with the rest of\n Virginia industry in the 1890's and 1900's. Starting with\n only one furnace in the 1870's, it opened a second furnace\n at Covington, Virginia, in 1891. In 1911 it opened a third\n furnace, this time at Low Moor. Covington, with its heavy\n industry, soon became known as the \"Pittsburgh of\n Virginia.\" Virginia's pig iron production rose from 9,000\n short tons in 1870 to 544,034 long tons in 1903. Judging\n from the Low Moor Company's correspondence, the most\n prosperous period for the company fell between the years\n 1895-1907. In the years between 1907-1917 problems befell\n the Virginia pig iron industry. In a letter from William W.\n Hearns, the president of the Virginia based Princess Pig\n Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n writes of the problems of the Virginia pig iron industry:\n \"There is not a blast furnace in Virginia that is making\n any money from the manufacture of pig iron. The cause of\n this is there is an exceedingly low price on pig iron in\n the country at the present time, and the increased cost of\n manufacturing is due to the increase in wages in all\n lines.\" With the outbreak of World War I prices rose\n dramatically, but in a market report to Low Moor dated\n November 11, 1916, it was stated that: \"In spite of the\n high prices, it is not a picnic to be in the iron industry.\n There is a desperate shortage of cars and equipment in the\n coal and iron districts, and in consequence there are\n troubles of all kinds to get materials shipped. The\n situation has grown serious.\"","When America became involved in the First World War, it\n meant a boost for the Low Moor Iron Company. The government\n helped it procure labor, and even helped it repair its\n furnaces. The problem of supplies and cars for their\n shipments, however, plagued the company more than ever. It\n had a good deal of trouble getting all the raw materials it\n needed due chiefly to the \"tight ship\" run by Harry F.\n Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n war very serious problems began to trouble the Low Moor\n Iron Company. The demand for iron fell precipitously and a\n short but severe depression ensued from 1919-1922. The\n depression seemed to hit the iron industry especially hard.\n Prices took a huge drop due to the lack of demand, and many\n pre-war contracts had to be revalued. To compound the\n company's problems, the Kay Moor Mines went on strike in\n 1919. This strike was quickly settled, as the market for\n coal was so good that the Low Moor Company ceased taking\n orders temporarily in 1921 as it could not fill the orders\n it had on hand.","The Low Moor Company furnaces lay idle for some twenty\n months. Finally, in November 1922 one of Low Moor's\n furnaces was finally fired up. While prosperity gradually\n returned to the rest of the country, the Low Moor Iron\n Company never recovered. Production of pig iron in the\n Virginia iron industry declined from 544,034 tons in 1903\n to 148,053 tons in 1923, considered a good year for the\n industry as a whole. In February 1926 Low Moor officials\n talked of merging with two other iron companies in order to\n revive the iron business for the three companies. The\n merger, however, never occurred. By late 1926 the company\n was in the process of liquidation. An advertisement in the\n Charleston, West Virginia, Daily Mail dated April 30, 1927,\n told of a huge warehouse sale at the Low Moor Iron Company.\n The advertisement noted \"thousands of screws, pipe\n fittings, valves, etc.\" The last piece of correspondence\n from the Low Moor Iron Company in the collection is dated\n 1929. It deals with the sale of a machine.","Why did the iron industry in Virginia decline as it did?\n Some say that lack of speed, efficiency, and a decent\n transportation system for Alleghany County caused it. In a\n letter from C. E. Bertie, secretary of the Virginia Pig\n Iron Association, to the \n Manufacturers Record dated 1925, Bertie claimed that it was the\n tremendous rise in the cost of transportation. Virginia, he\n claimed, had almost no home market. Over 80% of its normal\n production was shipped out to other states. The failure of\n the Interstate Commerce Commission to treat Virginia\n furnaces as southern furnaces was the cause of much of the\n trouble. From 1914-1925 there were four blanket increases\n in freight rates in the country, of which only one applied\n equally to all localities. Southern furnaces were received\n only two increases--a 25% increase in 1918 and a 25%\n increase in 1920--but northern furnaces had had 5%, 15%,\n 25%, and 40% increases in their transportation costs.\n Virginia furnaces, although recognized as southern\n furnaces, had had freight rates increased in line with the\n northern furnaces. Prior to the war Virginia iron reached\n all points in Ohio, Indiana, Michigan, and Illinois on a\n competitive basis with southern furnaces. After World War I\n the advantage was limited to a small portion of\n southeastern Ohio. All of Indiana, Illinois, and Michigan\n were now lost to the Virginia producers. The Virginia\n producer, according to Bertie, felt that the freight rates\n should be restored to a relationship with southern\n furnaces. If what Bertie said was true, the other southern\n states iron industries should not have been in the same\n desperate economic straits as Virginia's, and statistics\n should support this. In the 1920's production rose to new\n heights in Alabama. In Tennessee, however, iron production\n plunged to new lows during the 1920's. While the south\n accounted for 10.2% of the entire U. S. production in the\n years 1919-1924, Virginia accounted for less than 1% during\n those years. In 1915 Virginia accounted for over 6% of the\n U.S. iron production. One can see a decline in other areas\n of the south than Virginia. While the discrepancies in the\n freight rates may have helped cause the decline, clearly\n there are other reasons.","During the 1900's there was a discovery of extremely\n rich iron ore deposits in the mid-west. Much of this ore\n was on or near the surface, making the mining of it both\n easy and inexpensive. This in turn lowered production costs\n of the pig iron. This caused iron production to shift to\n that region, and resulted in a decline in the Virginia iron\n industry. There was a sharp increase in iron production in\n the mid-west through the 1920's. The iron ore in the\n mid-west may have been of better quality than Virginia, but\n the iron ore in Virginia was of sufficient quality to\n produce a good pig iron. The western ore deposits were not\n as conveniently located as Virginia deposits, but the\n inexpensiveness of production more than made up for it.","In examining the rise and fall of the Low Moor Iron\n Company, we can see a situation in which the conditions for\n the manufacture of iron were nearly ideal. There was plenty\n of land for expansion and resources for the manufacture of\n the iron. The major internal problem faced by the Low Moor\n Iron Company was that of transportation. External\n developments, however, caused the final demise of the Low\n Moor Iron Company.","Low Moor Iron Company Personnel:","Executive Staff: Managing Director, Colonel H. M.\n Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n 1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n 1915 (acting General Manager); F. U. Humbert: ca.\n 1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n 1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n 1918-1928.","Factory and Mine Supervisors: Kay Moor Superintendents:\n C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n J. W. Monteith: manager of mines. ca. 1918; promoted in\n 1925 to general superintendent in charge of mine plants,\n coke ovens, shops, repairs, and construction; A. L.\n Monteith: assistant superintendent of mines, ca. 1918;\n George T. Wickes: manager of Covington mines, ca.\n 1906-1917; Ross Howell, ca. 1918. Stack Mines\n Superintendents: J. H. Carpenter: ca. 1906; C. D.\n Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n Thompson: foreman, ca. 1906. Low Moor assorted other\n personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n assistant traffic manager, ca. 1919.","The Low Moor Iron Company ceased operations in 1930;\n what happened to the records of the company in the years\n immediately following is not known, but in 1939, the Green\n Bookman, a Charlottesville bookshop, sold the records to\n the University of Virginia Library.","The records arrived at the receiving room door of the\n new Alderman Library on October 16, 1939, in a trailer\n truck whose load was estimated to weigh about fourteen\n tons. As the manuscripts staff dug around in the piles of\n over 1200 account books, and countless boxes of papers they\n realized that the company had saved almost all of its\n papers including checks, invoices, vouchers, and receipts,\n and certain of these records were destroyed as their\n information was recorded in other records. Once the bulk of\n the collection had been reduced, the remaining records were\n transferred to the stack area of the Division of Rare Books\n and Manuscripts.","By 1958, little storage space remained in Alderman\n Library, and the Rare Books and Manuscripts Division was\n especially crowded because of the rapid growth of its\n collections. After an examination of its storage areas, the\n division's staff decided to move the Low Moor records to\n the attic of one of the student dormitories. The collection\n had had little use chiefly because there was no finding\n aid. There seemed little likelihood of extensive researcher\n use until the collection could be processed.","In preparation for the move, the old letter boxes in\n which much of the collection had arrived in the Library\n were discarded. The records from each box were placed\n between sheets of the heavy gray cardboard used to protect\n unbound newspapers in the Library's stacks, and the spine\n labels of the old letter boxes were copied onto the\n cardboard. The resulting bundles were wrapped with brown\n Kraft paper and tied up with string. The bundles were\n numbered. Whatever original order the letter boxes may have\n had was lost by the time they arrived in the Library, and\n after the bundling, removal to a dormitory attic, and\n subsequent return to the Library in 1976, all vestiges of\n the original order were lost.","The bundles remained in the dormitory attic for almost\n twenty years. Occasional visits were made by the division\n staff to check on their condition, and on very rare\n occasions, a researcher was brave enough to ask to be shown\n the collection. Once the researcher saw the imposing amount\n of material and the conditions in the attic, interest in\n using the collection invariably died.","In late 1976 a grant from the National Endowment for the\n Humanities was obtained to allow the Library to process the\n Low Moor Iron Company papers, and the papers of Edward L.\n Stone and the Borderland Coal Company, another large\n collection of records stored in the same dormitory attic.\n All of these records and papers were moved back to the\n Library where the bundles were cleaned and opened. The\n contents of each were placed in a Hollinger storage box,\n and all notes on the paper wrappings and on the gray\n cardboard sheets were recorded.","The more than 1200 bound accounting records of the Low\n Moor Iron Company were surveyed by the grant project staff.\n The contents of each volume were noted on a mimeographed\n form, and later typed on 3 x 5\" cards to create a\n readily-accessible file for the Manuscripts Reading Room.\n This information was also typed on pages to be added to\n this guide.","The Low Moor Iron Company papers consist of\n approximately 280 four-inch Hollinger archives boxes (ca.\n 95 linear feet) of records, ca. 1885-1927, and some 1200\n bound volumes of the company's accounting records,\n 1873-1927, of this iron producing company located in Low\n Moor (four miles southwest of Clifton Forge), Alleghany\n County, Virginia.","This material consists of records typical of those\n produced by a firm of this type in the period, but as the\n company owned its own coal and iron mines and limestone\n quarries, there is considerable information about the\n production of these raw materials. Large numbers of the\n records that deal with the company's employees have\n survived: time books, payroll books, hands ledgers, and the\n like. Because these books sometimes include information\n about the employee's trade or job with the company, and as\n race is indicated in some of the records, these books\n should provide date for studies of the structure and upward\n mobility within the labor force, patterns of\n ethnic--possibly racial--occupational penetration and\n mobility, material conditions of the workers, and so on.\n The papers should permit a range of studies detailing the\n pattern and evolution of industrial organization in the\n iron industry, and the evolution of markets and marketing\n structures for the entire period. Because the company was\n dependent upon railroads to move its raw materials to the\n furnaces, and for the marketing of its products, there is\n considerable information about railroads and their\n relationship to their customers.","See the \n \n University of Virginia Library’s use policy.","English"],"unitid_tesim":["662"],"normalized_title_ssm":["Papers of the Low Moor Iron Company \n 1873-1927"],"collection_title_tesim":["Papers of the Low Moor Iron Company \n 1873-1927"],"collection_ssim":["Papers of the Low Moor Iron Company \n 1873-1927"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["This collection was purchased from Green Bookman in\n 1939."],"has_online_content_ssim":["false"],"physdesc_tesim":["95 linear feer + 1200\n volumes"],"accessrestrict_html_tesm":["\u003cp\u003eStored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n"],"arrangement_html_tesm":["\u003cp\u003eThe word \"organization\" is used here with considerable\n diffidence, for any researcher studying the container list\n that follows will realize quickly that there is no\n organization in the usual sense of the word.\u003c/p\u003e","\u003cp\u003eAs noted under \"Provenance,\" the Low Moor Iron Company\n papers were subjected to a number of moves; when processing\n began in the fall of 1976, no discernible scheme of\n organization could be determined.\u003c/p\u003e","\u003cp\u003eThe first step was to review the series of coded numbers\n placed on the bundles of papers before they were moved to\n the dormitory attic, but these did not provide any sort of\n useful organization. Next, the spine titles of the original\n letter boxes were reviewed (they had been copied onto the\n gray cardboard sheets before the move to the dormitory\n attic), but they, too, proved useless.\u003c/p\u003e","\u003cp\u003eThese steps having provided no scheme, and after a\n considerable hiatus due to a turnover in student processors\n on the collection, the new student processors were\n instructed to begin a box-by-box inventory of the contents\n of the collection. During this inventory, old folders were\n replaced with acid-free ones, and the original folder\n headings were copied onto the new ones. Some removal of\n paper clips was accomplished, and the materials were\n reviewed and notes taken for the guide.\u003c/p\u003e","\u003cp\u003eSome consolidation of materials was accomplished, and in\n other cases, materials were moved. This work has created\n some problems in the numbering of the boxes. Thus, the\n researchers will find boxes marked \"6A\" and \"23C\"; he will\n also discover that certain box numbers have been entirely\n omitted. As the box numbers exist only to aid in the\n location of material, it was not felt that the unusual\n numbers and the omissions would cause problems in working\n with the papers.\u003c/p\u003e","\u003cp\u003eA certain amount of movement of boxes within the\n collection, and of materials among boxes, probably would\n ease use of it. But what processing was accomplished on\n this project took far longer than had been anticipated, and\n there was no time in the late spring of 1978, when the\n processors had to complete their work with the project, to\n undertake a mass movement of material. Thus, they stand in\n the order in which we found them at the beginning of the\n project.\u003c/p\u003e"],"arrangement_heading_ssm":["Organization"],"arrangement_tesim":["The word \"organization\" is used here with considerable\n diffidence, for any researcher studying the container list\n that follows will realize quickly that there is no\n organization in the usual sense of the word.","As noted under \"Provenance,\" the Low Moor Iron Company\n papers were subjected to a number of moves; when processing\n began in the fall of 1976, no discernible scheme of\n organization could be determined.","The first step was to review the series of coded numbers\n placed on the bundles of papers before they were moved to\n the dormitory attic, but these did not provide any sort of\n useful organization. Next, the spine titles of the original\n letter boxes were reviewed (they had been copied onto the\n gray cardboard sheets before the move to the dormitory\n attic), but they, too, proved useless.","These steps having provided no scheme, and after a\n considerable hiatus due to a turnover in student processors\n on the collection, the new student processors were\n instructed to begin a box-by-box inventory of the contents\n of the collection. During this inventory, old folders were\n replaced with acid-free ones, and the original folder\n headings were copied onto the new ones. Some removal of\n paper clips was accomplished, and the materials were\n reviewed and notes taken for the guide.","Some consolidation of materials was accomplished, and in\n other cases, materials were moved. This work has created\n some problems in the numbering of the boxes. Thus, the\n researchers will find boxes marked \"6A\" and \"23C\"; he will\n also discover that certain box numbers have been entirely\n omitted. As the box numbers exist only to aid in the\n location of material, it was not felt that the unusual\n numbers and the omissions would cause problems in working\n with the papers.","A certain amount of movement of boxes within the\n collection, and of materials among boxes, probably would\n ease use of it. But what processing was accomplished on\n this project took far longer than had been anticipated, and\n there was no time in the late spring of 1978, when the\n processors had to complete their work with the project, to\n undertake a mass movement of material. Thus, they stand in\n the order in which we found them at the beginning of the\n project."],"bioghist_html_tesm":["\u003cp\u003eThe Low Moor Iron Company, the first producer of pig\n iron in Virginia according to the company's claims, was a\n self-contained manufacturing unit producing from its own\n mines the coal, limestone, and iron ore needed for its iron\n production. Located in Low Moor near Clifton Forge in\n Alleghany County in western Virginia, an area rich in\n mineral deposits, the company was in operation from\n 1872-1930, producing only pig iron; it never attempted to\n produce finished iron products.\u003c/p\u003e","\u003cp\u003eCoal came to the Low Moor furnaces from the Kay Moor\n Mines at Kay Moor, West Virginia, about thirty miles from\n Low Moor; limestone was produced from the Low Moor\n limestone quarries; and iron ore came from the Fenwick,\n Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n Mines, most of them within twenty miles of Low Moor at\n Covington or Clifton Forge.\u003c/p\u003e","\u003cp\u003eThe towns of Low Moor and Kay Moor were company towns in\n every respect. Workers lived in company-owned houses,\n bought food in company stores, worshiped at the company\n church, saw movies in the company theater, were treated in\n the company hospital, and were buried in the company\n cemetery. Workers received part of their pay in scrip that\n they exchanged for goods and services. According to a\n statement from the Kay Moor Mines dated November 1904, Kay\n Moor then employed 338 people, paid them an average wage of\n $36.26 per month, and issued half of their pay in scrip.\n Kay Moor had four stores; Low Moor had seven or eight. All\n of these stores carried large inventories which are\n detailed in the collection. These inventories are valuable\n to anyone interested in determining the wants and needs of\n a coal miner and his family.\u003c/p\u003e","\u003cp\u003eIn the late 1910's and 1920's Kay Moor had a company\n theater called the Azure Theater which seated about 300\n people. There were also plans for a company-owned social\n center, to have pool tables, a soda fountain, and\n provisions for dancing and skating. The company was in\n tough economic straits by the 1920's, however, and there is\n no evidence that the social center was built. The town of\n Low Moor was so completely under the company's influence\n that one of Low Moor Iron Company's assistant managers\n served as the town sheriff. He often foreclosed on people\n who did not pay their debts, and drove troublesome people\n \"out of town on a rail\" as he put it.\u003c/p\u003e","\u003cp\u003eThe Low Moor Iron Company's fortunes fluctuated during\n the various business cycles between the years 1880-1930.\n Low Moor was one of the larger pig iron producers in\n Virginia, but Virginia pig iron production was not\n important nationally. Low Moor officials sometimes sold\n their product themselves, but more often they used agents,\n the prevalent method at the time. Low Moor Iron Company\n used a variety of agents through the 1900's. James F. Bryan\n acted as the exclusive agent for the sale of Kay Moor Coal\n from September 21, 1903 to September, 1905. From about 1890\n until about 1910 Dalton Nash and Company were the exclusive\n eastern agents of Low Moor Iron. After that time the\n exclusive agency went to Philips Isham and Company located\n in New York. From about 1890 the western agency was handled\n chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n and Company underwent a name change, becoming Walter\n Wallingford and Company, with offices located in\n Cincinnati, Pittsburgh, and Chicago.\u003c/p\u003e","\u003cp\u003ePerhaps the Low Moor Iron Company's biggest problem over\n the years was obtaining railroad cars for the\n transportation of its finished product. Low Moor Iron\n Company had its own cars for transporting its raw materials\n among its various facilities. For the long haul necessary\n for its finished goods, however, it depended upon the\n services of the Chesapeake and Ohio Railroad, and the\n relationship was not always a happy one. The Low Moor\n Company complained many times to the C \u0026amp; O Railroad\n about the discrepancies between long-and shorthaul freight\n rates. Low Moor also had trouble getting cars from the C\n \u0026amp; O. In a letter to one of Low Moor Company's agents\n from an irate customer dated 1898, the customer wrote: \"We\n wrote you on Saturday and endeavored to question upon your\n mind the necessity of taking care of us with Low Moor iron.\n We are on our uppers--there is not a pound of Low Moor iron\n in the yard. Of the one hundred tons ordered some time ago,\n not one pound of it has been received.\" This was, according\n to the Low Moor Iron Company, because they could not get\n the railroad cars. In a letter from Thomas Mack and Company\n dated November 26, 1901, to General Manager E. C. Means:\n \"We are hopeful that the car supply will get better because\n of the number of orders you have of ours for prompt\n shipment. Our customers are complaining that they are not\n getting the iron fast enough. . . . We hope that the\n railroad will be able to supply you with empty cars.\" In\n another letter dated 1916 to John B. Guernsey, then acting\n General Manager of the Low Moor Iron Company, \"We were not\n supplied with coke cars for today's loading, and\n consequently we have been practically down of Kay Moor\n ovens all day.\"\u003c/p\u003e","\u003cp\u003eThe problem of procuring labor also plagued the Low Moor\n Company. The company sometimes tried to hire immigrant\n laborers and send the men directly to Low Moor from New\n York City. There were problems with this, as is explained\n in the following letter dated April 7, 1906: \n \u003cblockquote\u003e\n\u003cp\u003eTo Mr. George Wickes \n \u003clb\u003e\u003c/lb\u003eSupt. of Mines \n \u003clb\u003e\u003c/lb\u003eKay Moor, Virginia \n \u003clb\u003e\u003c/lb\u003e\u003c/p\u003e\n\u003cp\u003eDear George, \n \u003clb\u003e\u003c/lb\u003eTony arrived with twenty one men last night. One\n got away in Jersey two in Washington D.C., four in\n Charlottesville. Some of the men are very good looking,\n but taken as a whole they are the worst lot I have ever\n seen: Irish, German-Jews, and Italians. . . . Our New\n York transportations to this place have never been a\n success.\u003c/p\u003e\n\u003cp\u003eSigned, \n \u003clb\u003e\u003c/lb\u003eEd D. Wickes Supt. of Mines\u003c/p\u003e\n\u003c/blockquote\u003eLow Moor usually employed labor agencies, one\n of which was Atwood's Employment Agency. Often the Low Moor\n Company would request certain nationalities, believing them\n to be better workers than others. Sometimes the company\n would request a gang of twenty made up of \"ten Greeks and\n ten Italians.\" Many of the immigrants fled Low Moor and Kay\n Moor when they learned that they would have to work\n underground. There is a fair amount of material on\n immigrant labor and its procurement in the collection, and\n it is noted in the description of the box contents.\u003c/p\u003e","\u003cp\u003eLow Moor Iron Company not only had trouble procuring\n labor, but it also had trouble with labor already employed\n in the mines and at the factory. Labor dissension and\n strikes troubled the Kay Moor Mines through the 1900's. The\n great coal strike of 1902 hurt the Low Moor Company's coal\n mining operation, but by 1903 things were \"nearly back to\n normal\" according to the mine superintendent. There was\n still trouble at Kay Moor Mines, however. In a letter dated\n April 26, 1906, to the treasurer of Low Moor Company, the\n manager of the mines wrote about the trouble in \"trying to\n get the agitators out.\" The mines were seventy-five men\n short of the total labor force needed because many of the\n coal miners returned to their farms during the spring.\n There were rumblings of another strike at Kay Moor, the\n result of which was to be a fourteen percent increase in\n wages for the Kay Moor Mine workers via an agreement with\n the United Mine Workers Union in December.\u003c/p\u003e","\u003cp\u003eThe Low Moor Iron Company grew along with the rest of\n Virginia industry in the 1890's and 1900's. Starting with\n only one furnace in the 1870's, it opened a second furnace\n at Covington, Virginia, in 1891. In 1911 it opened a third\n furnace, this time at Low Moor. Covington, with its heavy\n industry, soon became known as the \"Pittsburgh of\n Virginia.\" Virginia's pig iron production rose from 9,000\n short tons in 1870 to 544,034 long tons in 1903. Judging\n from the Low Moor Company's correspondence, the most\n prosperous period for the company fell between the years\n 1895-1907. In the years between 1907-1917 problems befell\n the Virginia pig iron industry. In a letter from William W.\n Hearns, the president of the Virginia based Princess Pig\n Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n writes of the problems of the Virginia pig iron industry:\n \"There is not a blast furnace in Virginia that is making\n any money from the manufacture of pig iron. The cause of\n this is there is an exceedingly low price on pig iron in\n the country at the present time, and the increased cost of\n manufacturing is due to the increase in wages in all\n lines.\" With the outbreak of World War I prices rose\n dramatically, but in a market report to Low Moor dated\n November 11, 1916, it was stated that: \"In spite of the\n high prices, it is not a picnic to be in the iron industry.\n There is a desperate shortage of cars and equipment in the\n coal and iron districts, and in consequence there are\n troubles of all kinds to get materials shipped. The\n situation has grown serious.\"\u003c/p\u003e","\u003cp\u003eWhen America became involved in the First World War, it\n meant a boost for the Low Moor Iron Company. The government\n helped it procure labor, and even helped it repair its\n furnaces. The problem of supplies and cars for their\n shipments, however, plagued the company more than ever. It\n had a good deal of trouble getting all the raw materials it\n needed due chiefly to the \"tight ship\" run by Harry F.\n Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n war very serious problems began to trouble the Low Moor\n Iron Company. The demand for iron fell precipitously and a\n short but severe depression ensued from 1919-1922. The\n depression seemed to hit the iron industry especially hard.\n Prices took a huge drop due to the lack of demand, and many\n pre-war contracts had to be revalued. To compound the\n company's problems, the Kay Moor Mines went on strike in\n 1919. This strike was quickly settled, as the market for\n coal was so good that the Low Moor Company ceased taking\n orders temporarily in 1921 as it could not fill the orders\n it had on hand.\u003c/p\u003e","\u003cp\u003eThe Low Moor Company furnaces lay idle for some twenty\n months. Finally, in November 1922 one of Low Moor's\n furnaces was finally fired up. While prosperity gradually\n returned to the rest of the country, the Low Moor Iron\n Company never recovered. Production of pig iron in the\n Virginia iron industry declined from 544,034 tons in 1903\n to 148,053 tons in 1923, considered a good year for the\n industry as a whole. In February 1926 Low Moor officials\n talked of merging with two other iron companies in order to\n revive the iron business for the three companies. The\n merger, however, never occurred. By late 1926 the company\n was in the process of liquidation. An advertisement in the\n Charleston, West Virginia, Daily Mail dated April 30, 1927,\n told of a huge warehouse sale at the Low Moor Iron Company.\n The advertisement noted \"thousands of screws, pipe\n fittings, valves, etc.\" The last piece of correspondence\n from the Low Moor Iron Company in the collection is dated\n 1929. It deals with the sale of a machine.\u003c/p\u003e","\u003cp\u003eWhy did the iron industry in Virginia decline as it did?\n Some say that lack of speed, efficiency, and a decent\n transportation system for Alleghany County caused it. In a\n letter from C. E. Bertie, secretary of the Virginia Pig\n Iron Association, to the \n \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eManufacturers Record\u003c/title\u003e\u003c/bibref\u003edated 1925, Bertie claimed that it was the\n tremendous rise in the cost of transportation. Virginia, he\n claimed, had almost no home market. Over 80% of its normal\n production was shipped out to other states. The failure of\n the Interstate Commerce Commission to treat Virginia\n furnaces as southern furnaces was the cause of much of the\n trouble. From 1914-1925 there were four blanket increases\n in freight rates in the country, of which only one applied\n equally to all localities. Southern furnaces were received\n only two increases--a 25% increase in 1918 and a 25%\n increase in 1920--but northern furnaces had had 5%, 15%,\n 25%, and 40% increases in their transportation costs.\n Virginia furnaces, although recognized as southern\n furnaces, had had freight rates increased in line with the\n northern furnaces. Prior to the war Virginia iron reached\n all points in Ohio, Indiana, Michigan, and Illinois on a\n competitive basis with southern furnaces. After World War I\n the advantage was limited to a small portion of\n southeastern Ohio. All of Indiana, Illinois, and Michigan\n were now lost to the Virginia producers. The Virginia\n producer, according to Bertie, felt that the freight rates\n should be restored to a relationship with southern\n furnaces. If what Bertie said was true, the other southern\n states iron industries should not have been in the same\n desperate economic straits as Virginia's, and statistics\n should support this. In the 1920's production rose to new\n heights in Alabama. In Tennessee, however, iron production\n plunged to new lows during the 1920's. While the south\n accounted for 10.2% of the entire U. S. production in the\n years 1919-1924, Virginia accounted for less than 1% during\n those years. In 1915 Virginia accounted for over 6% of the\n U.S. iron production. One can see a decline in other areas\n of the south than Virginia. While the discrepancies in the\n freight rates may have helped cause the decline, clearly\n there are other reasons.\u003c/p\u003e","\u003cp\u003eDuring the 1900's there was a discovery of extremely\n rich iron ore deposits in the mid-west. Much of this ore\n was on or near the surface, making the mining of it both\n easy and inexpensive. This in turn lowered production costs\n of the pig iron. This caused iron production to shift to\n that region, and resulted in a decline in the Virginia iron\n industry. There was a sharp increase in iron production in\n the mid-west through the 1920's. The iron ore in the\n mid-west may have been of better quality than Virginia, but\n the iron ore in Virginia was of sufficient quality to\n produce a good pig iron. The western ore deposits were not\n as conveniently located as Virginia deposits, but the\n inexpensiveness of production more than made up for it.\u003c/p\u003e","\u003cp\u003eIn examining the rise and fall of the Low Moor Iron\n Company, we can see a situation in which the conditions for\n the manufacture of iron were nearly ideal. There was plenty\n of land for expansion and resources for the manufacture of\n the iron. The major internal problem faced by the Low Moor\n Iron Company was that of transportation. External\n developments, however, caused the final demise of the Low\n Moor Iron Company.\u003c/p\u003e","\u003cp\u003eLow Moor Iron Company Personnel:\u003c/p\u003e","\u003cp\u003eExecutive Staff: Managing Director, Colonel H. M.\n Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n 1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n 1915 (acting General Manager); F. U. Humbert: ca.\n 1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n 1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n 1918-1928.\u003c/p\u003e","\u003cp\u003eFactory and Mine Supervisors: Kay Moor Superintendents:\n C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n J. W. Monteith: manager of mines. ca. 1918; promoted in\n 1925 to general superintendent in charge of mine plants,\n coke ovens, shops, repairs, and construction; A. L.\n Monteith: assistant superintendent of mines, ca. 1918;\n George T. Wickes: manager of Covington mines, ca.\n 1906-1917; Ross Howell, ca. 1918. Stack Mines\n Superintendents: J. H. Carpenter: ca. 1906; C. D.\n Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n Thompson: foreman, ca. 1906. Low Moor assorted other\n personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n assistant traffic manager, ca. 1919.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Information"],"bioghist_tesim":["The Low Moor Iron Company, the first producer of pig\n iron in Virginia according to the company's claims, was a\n self-contained manufacturing unit producing from its own\n mines the coal, limestone, and iron ore needed for its iron\n production. Located in Low Moor near Clifton Forge in\n Alleghany County in western Virginia, an area rich in\n mineral deposits, the company was in operation from\n 1872-1930, producing only pig iron; it never attempted to\n produce finished iron products.","Coal came to the Low Moor furnaces from the Kay Moor\n Mines at Kay Moor, West Virginia, about thirty miles from\n Low Moor; limestone was produced from the Low Moor\n limestone quarries; and iron ore came from the Fenwick,\n Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n Mines, most of them within twenty miles of Low Moor at\n Covington or Clifton Forge.","The towns of Low Moor and Kay Moor were company towns in\n every respect. Workers lived in company-owned houses,\n bought food in company stores, worshiped at the company\n church, saw movies in the company theater, were treated in\n the company hospital, and were buried in the company\n cemetery. Workers received part of their pay in scrip that\n they exchanged for goods and services. According to a\n statement from the Kay Moor Mines dated November 1904, Kay\n Moor then employed 338 people, paid them an average wage of\n $36.26 per month, and issued half of their pay in scrip.\n Kay Moor had four stores; Low Moor had seven or eight. All\n of these stores carried large inventories which are\n detailed in the collection. These inventories are valuable\n to anyone interested in determining the wants and needs of\n a coal miner and his family.","In the late 1910's and 1920's Kay Moor had a company\n theater called the Azure Theater which seated about 300\n people. There were also plans for a company-owned social\n center, to have pool tables, a soda fountain, and\n provisions for dancing and skating. The company was in\n tough economic straits by the 1920's, however, and there is\n no evidence that the social center was built. The town of\n Low Moor was so completely under the company's influence\n that one of Low Moor Iron Company's assistant managers\n served as the town sheriff. He often foreclosed on people\n who did not pay their debts, and drove troublesome people\n \"out of town on a rail\" as he put it.","The Low Moor Iron Company's fortunes fluctuated during\n the various business cycles between the years 1880-1930.\n Low Moor was one of the larger pig iron producers in\n Virginia, but Virginia pig iron production was not\n important nationally. Low Moor officials sometimes sold\n their product themselves, but more often they used agents,\n the prevalent method at the time. Low Moor Iron Company\n used a variety of agents through the 1900's. James F. Bryan\n acted as the exclusive agent for the sale of Kay Moor Coal\n from September 21, 1903 to September, 1905. From about 1890\n until about 1910 Dalton Nash and Company were the exclusive\n eastern agents of Low Moor Iron. After that time the\n exclusive agency went to Philips Isham and Company located\n in New York. From about 1890 the western agency was handled\n chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n and Company underwent a name change, becoming Walter\n Wallingford and Company, with offices located in\n Cincinnati, Pittsburgh, and Chicago.","Perhaps the Low Moor Iron Company's biggest problem over\n the years was obtaining railroad cars for the\n transportation of its finished product. Low Moor Iron\n Company had its own cars for transporting its raw materials\n among its various facilities. For the long haul necessary\n for its finished goods, however, it depended upon the\n services of the Chesapeake and Ohio Railroad, and the\n relationship was not always a happy one. The Low Moor\n Company complained many times to the C \u0026 O Railroad\n about the discrepancies between long-and shorthaul freight\n rates. Low Moor also had trouble getting cars from the C\n \u0026 O. In a letter to one of Low Moor Company's agents\n from an irate customer dated 1898, the customer wrote: \"We\n wrote you on Saturday and endeavored to question upon your\n mind the necessity of taking care of us with Low Moor iron.\n We are on our uppers--there is not a pound of Low Moor iron\n in the yard. Of the one hundred tons ordered some time ago,\n not one pound of it has been received.\" This was, according\n to the Low Moor Iron Company, because they could not get\n the railroad cars. In a letter from Thomas Mack and Company\n dated November 26, 1901, to General Manager E. C. Means:\n \"We are hopeful that the car supply will get better because\n of the number of orders you have of ours for prompt\n shipment. Our customers are complaining that they are not\n getting the iron fast enough. . . . We hope that the\n railroad will be able to supply you with empty cars.\" In\n another letter dated 1916 to John B. Guernsey, then acting\n General Manager of the Low Moor Iron Company, \"We were not\n supplied with coke cars for today's loading, and\n consequently we have been practically down of Kay Moor\n ovens all day.\"","The problem of procuring labor also plagued the Low Moor\n Company. The company sometimes tried to hire immigrant\n laborers and send the men directly to Low Moor from New\n York City. There were problems with this, as is explained\n in the following letter dated April 7, 1906: \n To Mr. George Wickes \n Supt. of Mines \n Kay Moor, Virginia \n Dear George, \n Tony arrived with twenty one men last night. One\n got away in Jersey two in Washington D.C., four in\n Charlottesville. Some of the men are very good looking,\n but taken as a whole they are the worst lot I have ever\n seen: Irish, German-Jews, and Italians. . . . Our New\n York transportations to this place have never been a\n success. Signed, \n Ed D. Wickes Supt. of Mines Low Moor usually employed labor agencies, one\n of which was Atwood's Employment Agency. Often the Low Moor\n Company would request certain nationalities, believing them\n to be better workers than others. Sometimes the company\n would request a gang of twenty made up of \"ten Greeks and\n ten Italians.\" Many of the immigrants fled Low Moor and Kay\n Moor when they learned that they would have to work\n underground. There is a fair amount of material on\n immigrant labor and its procurement in the collection, and\n it is noted in the description of the box contents.","Low Moor Iron Company not only had trouble procuring\n labor, but it also had trouble with labor already employed\n in the mines and at the factory. Labor dissension and\n strikes troubled the Kay Moor Mines through the 1900's. The\n great coal strike of 1902 hurt the Low Moor Company's coal\n mining operation, but by 1903 things were \"nearly back to\n normal\" according to the mine superintendent. There was\n still trouble at Kay Moor Mines, however. In a letter dated\n April 26, 1906, to the treasurer of Low Moor Company, the\n manager of the mines wrote about the trouble in \"trying to\n get the agitators out.\" The mines were seventy-five men\n short of the total labor force needed because many of the\n coal miners returned to their farms during the spring.\n There were rumblings of another strike at Kay Moor, the\n result of which was to be a fourteen percent increase in\n wages for the Kay Moor Mine workers via an agreement with\n the United Mine Workers Union in December.","The Low Moor Iron Company grew along with the rest of\n Virginia industry in the 1890's and 1900's. Starting with\n only one furnace in the 1870's, it opened a second furnace\n at Covington, Virginia, in 1891. In 1911 it opened a third\n furnace, this time at Low Moor. Covington, with its heavy\n industry, soon became known as the \"Pittsburgh of\n Virginia.\" Virginia's pig iron production rose from 9,000\n short tons in 1870 to 544,034 long tons in 1903. Judging\n from the Low Moor Company's correspondence, the most\n prosperous period for the company fell between the years\n 1895-1907. In the years between 1907-1917 problems befell\n the Virginia pig iron industry. In a letter from William W.\n Hearns, the president of the Virginia based Princess Pig\n Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n writes of the problems of the Virginia pig iron industry:\n \"There is not a blast furnace in Virginia that is making\n any money from the manufacture of pig iron. The cause of\n this is there is an exceedingly low price on pig iron in\n the country at the present time, and the increased cost of\n manufacturing is due to the increase in wages in all\n lines.\" With the outbreak of World War I prices rose\n dramatically, but in a market report to Low Moor dated\n November 11, 1916, it was stated that: \"In spite of the\n high prices, it is not a picnic to be in the iron industry.\n There is a desperate shortage of cars and equipment in the\n coal and iron districts, and in consequence there are\n troubles of all kinds to get materials shipped. The\n situation has grown serious.\"","When America became involved in the First World War, it\n meant a boost for the Low Moor Iron Company. The government\n helped it procure labor, and even helped it repair its\n furnaces. The problem of supplies and cars for their\n shipments, however, plagued the company more than ever. It\n had a good deal of trouble getting all the raw materials it\n needed due chiefly to the \"tight ship\" run by Harry F.\n Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n war very serious problems began to trouble the Low Moor\n Iron Company. The demand for iron fell precipitously and a\n short but severe depression ensued from 1919-1922. The\n depression seemed to hit the iron industry especially hard.\n Prices took a huge drop due to the lack of demand, and many\n pre-war contracts had to be revalued. To compound the\n company's problems, the Kay Moor Mines went on strike in\n 1919. This strike was quickly settled, as the market for\n coal was so good that the Low Moor Company ceased taking\n orders temporarily in 1921 as it could not fill the orders\n it had on hand.","The Low Moor Company furnaces lay idle for some twenty\n months. Finally, in November 1922 one of Low Moor's\n furnaces was finally fired up. While prosperity gradually\n returned to the rest of the country, the Low Moor Iron\n Company never recovered. Production of pig iron in the\n Virginia iron industry declined from 544,034 tons in 1903\n to 148,053 tons in 1923, considered a good year for the\n industry as a whole. In February 1926 Low Moor officials\n talked of merging with two other iron companies in order to\n revive the iron business for the three companies. The\n merger, however, never occurred. By late 1926 the company\n was in the process of liquidation. An advertisement in the\n Charleston, West Virginia, Daily Mail dated April 30, 1927,\n told of a huge warehouse sale at the Low Moor Iron Company.\n The advertisement noted \"thousands of screws, pipe\n fittings, valves, etc.\" The last piece of correspondence\n from the Low Moor Iron Company in the collection is dated\n 1929. It deals with the sale of a machine.","Why did the iron industry in Virginia decline as it did?\n Some say that lack of speed, efficiency, and a decent\n transportation system for Alleghany County caused it. In a\n letter from C. E. Bertie, secretary of the Virginia Pig\n Iron Association, to the \n Manufacturers Record dated 1925, Bertie claimed that it was the\n tremendous rise in the cost of transportation. Virginia, he\n claimed, had almost no home market. Over 80% of its normal\n production was shipped out to other states. The failure of\n the Interstate Commerce Commission to treat Virginia\n furnaces as southern furnaces was the cause of much of the\n trouble. From 1914-1925 there were four blanket increases\n in freight rates in the country, of which only one applied\n equally to all localities. Southern furnaces were received\n only two increases--a 25% increase in 1918 and a 25%\n increase in 1920--but northern furnaces had had 5%, 15%,\n 25%, and 40% increases in their transportation costs.\n Virginia furnaces, although recognized as southern\n furnaces, had had freight rates increased in line with the\n northern furnaces. Prior to the war Virginia iron reached\n all points in Ohio, Indiana, Michigan, and Illinois on a\n competitive basis with southern furnaces. After World War I\n the advantage was limited to a small portion of\n southeastern Ohio. All of Indiana, Illinois, and Michigan\n were now lost to the Virginia producers. The Virginia\n producer, according to Bertie, felt that the freight rates\n should be restored to a relationship with southern\n furnaces. If what Bertie said was true, the other southern\n states iron industries should not have been in the same\n desperate economic straits as Virginia's, and statistics\n should support this. In the 1920's production rose to new\n heights in Alabama. In Tennessee, however, iron production\n plunged to new lows during the 1920's. While the south\n accounted for 10.2% of the entire U. S. production in the\n years 1919-1924, Virginia accounted for less than 1% during\n those years. In 1915 Virginia accounted for over 6% of the\n U.S. iron production. One can see a decline in other areas\n of the south than Virginia. While the discrepancies in the\n freight rates may have helped cause the decline, clearly\n there are other reasons.","During the 1900's there was a discovery of extremely\n rich iron ore deposits in the mid-west. Much of this ore\n was on or near the surface, making the mining of it both\n easy and inexpensive. This in turn lowered production costs\n of the pig iron. This caused iron production to shift to\n that region, and resulted in a decline in the Virginia iron\n industry. There was a sharp increase in iron production in\n the mid-west through the 1920's. The iron ore in the\n mid-west may have been of better quality than Virginia, but\n the iron ore in Virginia was of sufficient quality to\n produce a good pig iron. The western ore deposits were not\n as conveniently located as Virginia deposits, but the\n inexpensiveness of production more than made up for it.","In examining the rise and fall of the Low Moor Iron\n Company, we can see a situation in which the conditions for\n the manufacture of iron were nearly ideal. There was plenty\n of land for expansion and resources for the manufacture of\n the iron. The major internal problem faced by the Low Moor\n Iron Company was that of transportation. External\n developments, however, caused the final demise of the Low\n Moor Iron Company.","Low Moor Iron Company Personnel:","Executive Staff: Managing Director, Colonel H. M.\n Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n 1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n 1915 (acting General Manager); F. U. Humbert: ca.\n 1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n 1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n 1918-1928.","Factory and Mine Supervisors: Kay Moor Superintendents:\n C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n J. W. Monteith: manager of mines. ca. 1918; promoted in\n 1925 to general superintendent in charge of mine plants,\n coke ovens, shops, repairs, and construction; A. L.\n Monteith: assistant superintendent of mines, ca. 1918;\n George T. Wickes: manager of Covington mines, ca.\n 1906-1917; Ross Howell, ca. 1918. Stack Mines\n Superintendents: J. H. Carpenter: ca. 1906; C. D.\n Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n Thompson: foreman, ca. 1906. Low Moor assorted other\n personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n assistant traffic manager, ca. 1919."],"custodhist_html_tesm":["\u003cp\u003eThe Low Moor Iron Company ceased operations in 1930;\n what happened to the records of the company in the years\n immediately following is not known, but in 1939, the Green\n Bookman, a Charlottesville bookshop, sold the records to\n the University of Virginia Library.\u003c/p\u003e","\u003cp\u003eThe records arrived at the receiving room door of the\n new Alderman Library on October 16, 1939, in a trailer\n truck whose load was estimated to weigh about fourteen\n tons. As the manuscripts staff dug around in the piles of\n over 1200 account books, and countless boxes of papers they\n realized that the company had saved almost all of its\n papers including checks, invoices, vouchers, and receipts,\n and certain of these records were destroyed as their\n information was recorded in other records. Once the bulk of\n the collection had been reduced, the remaining records were\n transferred to the stack area of the Division of Rare Books\n and Manuscripts.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The Low Moor Iron Company ceased operations in 1930;\n what happened to the records of the company in the years\n immediately following is not known, but in 1939, the Green\n Bookman, a Charlottesville bookshop, sold the records to\n the University of Virginia Library.","The records arrived at the receiving room door of the\n new Alderman Library on October 16, 1939, in a trailer\n truck whose load was estimated to weigh about fourteen\n tons. As the manuscripts staff dug around in the piles of\n over 1200 account books, and countless boxes of papers they\n realized that the company had saved almost all of its\n papers including checks, invoices, vouchers, and receipts,\n and certain of these records were destroyed as their\n information was recorded in other records. Once the bulk of\n the collection had been reduced, the remaining records were\n transferred to the stack area of the Division of Rare Books\n and Manuscripts."],"otherfindaid_html_tesm":["\u003cp\u003eSome 1200 bound accounting record books of the Low Moor\n Iron Company came into the custody of the Library with the\n loose papers. When the project staff investigated these\n volumes in the dormitory attic where they were stored, they\n found that the volumes had been shelved by size rather than\n by series. Thus, a letterbook may stand next to a stock\n report book for a furnace, which is, in turn, next to a\n store account book for the Kay Moor Mines' store. No series\n are shelved in order.\u003c/p\u003e","\u003cp\u003eMembers of the project staff surveyed the volumes,\n completing for each volume two copies of a mimeographed\n survey form, and assigning to each volume a number. One\n copy of the survey report form was placed in the volume,\n and the second was returned to the Library.\u003c/p\u003e","\u003cp\u003eFrom the survey report forms, 3 x 5 inch index\n cards--with a carbon copy of each--were typed. One set of\n index cards has been kept in order by the numbers assigned\n to the volumes as they stand on the shelves. This provides\n a shelf list for the use of the library staff. The other\n set of cards was sorted into categories as a finding aid.\n On the list that follows, the researcher will find a number\n of major headings such as \"Accounts,\" \"Inventories,\"\n \"Letter Books,\" and \"Shipments-Outgoing.\"\u003c/p\u003e","\u003cp\u003eInsofar as it has been possible to determine from the\n data on the survey report forms, the volumes have been\n assigned to categories. Most of the major categories, or\n headings, have sub-headings. Within those sub-headings, the\n volumes have been arranged chronologically. The\n investigators realize that after careful study of some of\n these volumes, they will be revealed as belonging to other\n categories than those in which they have initially been\n placed. The card index will allow such movement.\u003c/p\u003e","\u003cp\u003eAvailable in the Manuscripts/Archives Reading Room in\n the Library is the sorted card index file. There is a card\n for every volume in this file whereas, on the pages that\n follow, volumes have been summarized under the headings and\n sub-headings. In each case, the number of volumes has been\n given in the summarized list; the date ranges given are\n inclusive in most cases, and do not reveal the many gaps in\n sequences unless the number of volumes is small and the\n date range wide. Occasional remarks about the content of\n volumes have been supplied if the contents are not obvious\n from the heading or sub-heading.\u003c/p\u003e","\u003cp\u003eResearchers wishing to examine any of these volumes will\n have to use the card index file in order to be able to give\n to the staff the volume number assigned to the individual\n volumes that are to be inspected.\u003c/p\u003e"],"otherfindaid_heading_ssm":["Other Finding Aid"],"otherfindaid_tesim":["Some 1200 bound accounting record books of the Low Moor\n Iron Company came into the custody of the Library with the\n loose papers. When the project staff investigated these\n volumes in the dormitory attic where they were stored, they\n found that the volumes had been shelved by size rather than\n by series. Thus, a letterbook may stand next to a stock\n report book for a furnace, which is, in turn, next to a\n store account book for the Kay Moor Mines' store. No series\n are shelved in order.","Members of the project staff surveyed the volumes,\n completing for each volume two copies of a mimeographed\n survey form, and assigning to each volume a number. One\n copy of the survey report form was placed in the volume,\n and the second was returned to the Library.","From the survey report forms, 3 x 5 inch index\n cards--with a carbon copy of each--were typed. One set of\n index cards has been kept in order by the numbers assigned\n to the volumes as they stand on the shelves. This provides\n a shelf list for the use of the library staff. The other\n set of cards was sorted into categories as a finding aid.\n On the list that follows, the researcher will find a number\n of major headings such as \"Accounts,\" \"Inventories,\"\n \"Letter Books,\" and \"Shipments-Outgoing.\"","Insofar as it has been possible to determine from the\n data on the survey report forms, the volumes have been\n assigned to categories. Most of the major categories, or\n headings, have sub-headings. Within those sub-headings, the\n volumes have been arranged chronologically. The\n investigators realize that after careful study of some of\n these volumes, they will be revealed as belonging to other\n categories than those in which they have initially been\n placed. The card index will allow such movement.","Available in the Manuscripts/Archives Reading Room in\n the Library is the sorted card index file. There is a card\n for every volume in this file whereas, on the pages that\n follow, volumes have been summarized under the headings and\n sub-headings. In each case, the number of volumes has been\n given in the summarized list; the date ranges given are\n inclusive in most cases, and do not reveal the many gaps in\n sequences unless the number of volumes is small and the\n date range wide. Occasional remarks about the content of\n volumes have been supplied if the contents are not obvious\n from the heading or sub-heading.","Researchers wishing to examine any of these volumes will\n have to use the card index file in order to be able to give\n to the staff the volume number assigned to the individual\n volumes that are to be inspected."],"prefercite_html_tesm":["\u003cp\u003ePapers of the Low Moor Iron Company, Accession #662,\n Special Collections, University of Virginia Library,\n Charlottesville, Va.\u003c/p\u003e"],"prefercite_tesim":["Papers of the Low Moor Iron Company, Accession #662,\n Special Collections, University of Virginia Library,\n Charlottesville, Va."],"processinfo_html_tesm":["\u003cp\u003eBy 1958, little storage space remained in Alderman\n Library, and the Rare Books and Manuscripts Division was\n especially crowded because of the rapid growth of its\n collections. After an examination of its storage areas, the\n division's staff decided to move the Low Moor records to\n the attic of one of the student dormitories. The collection\n had had little use chiefly because there was no finding\n aid. There seemed little likelihood of extensive researcher\n use until the collection could be processed.\u003c/p\u003e","\u003cp\u003eIn preparation for the move, the old letter boxes in\n which much of the collection had arrived in the Library\n were discarded. The records from each box were placed\n between sheets of the heavy gray cardboard used to protect\n unbound newspapers in the Library's stacks, and the spine\n labels of the old letter boxes were copied onto the\n cardboard. The resulting bundles were wrapped with brown\n Kraft paper and tied up with string. The bundles were\n numbered. Whatever original order the letter boxes may have\n had was lost by the time they arrived in the Library, and\n after the bundling, removal to a dormitory attic, and\n subsequent return to the Library in 1976, all vestiges of\n the original order were lost.\u003c/p\u003e","\u003cp\u003eThe bundles remained in the dormitory attic for almost\n twenty years. Occasional visits were made by the division\n staff to check on their condition, and on very rare\n occasions, a researcher was brave enough to ask to be shown\n the collection. Once the researcher saw the imposing amount\n of material and the conditions in the attic, interest in\n using the collection invariably died.\u003c/p\u003e","\u003cp\u003eIn late 1976 a grant from the National Endowment for the\n Humanities was obtained to allow the Library to process the\n Low Moor Iron Company papers, and the papers of Edward L.\n Stone and the Borderland Coal Company, another large\n collection of records stored in the same dormitory attic.\n All of these records and papers were moved back to the\n Library where the bundles were cleaned and opened. The\n contents of each were placed in a Hollinger storage box,\n and all notes on the paper wrappings and on the gray\n cardboard sheets were recorded.\u003c/p\u003e","\u003cp\u003eThe more than 1200 bound accounting records of the Low\n Moor Iron Company were surveyed by the grant project staff.\n The contents of each volume were noted on a mimeographed\n form, and later typed on 3 x 5\" cards to create a\n readily-accessible file for the Manuscripts Reading Room.\n This information was also typed on pages to be added to\n this guide.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["By 1958, little storage space remained in Alderman\n Library, and the Rare Books and Manuscripts Division was\n especially crowded because of the rapid growth of its\n collections. After an examination of its storage areas, the\n division's staff decided to move the Low Moor records to\n the attic of one of the student dormitories. The collection\n had had little use chiefly because there was no finding\n aid. There seemed little likelihood of extensive researcher\n use until the collection could be processed.","In preparation for the move, the old letter boxes in\n which much of the collection had arrived in the Library\n were discarded. The records from each box were placed\n between sheets of the heavy gray cardboard used to protect\n unbound newspapers in the Library's stacks, and the spine\n labels of the old letter boxes were copied onto the\n cardboard. The resulting bundles were wrapped with brown\n Kraft paper and tied up with string. The bundles were\n numbered. Whatever original order the letter boxes may have\n had was lost by the time they arrived in the Library, and\n after the bundling, removal to a dormitory attic, and\n subsequent return to the Library in 1976, all vestiges of\n the original order were lost.","The bundles remained in the dormitory attic for almost\n twenty years. Occasional visits were made by the division\n staff to check on their condition, and on very rare\n occasions, a researcher was brave enough to ask to be shown\n the collection. Once the researcher saw the imposing amount\n of material and the conditions in the attic, interest in\n using the collection invariably died.","In late 1976 a grant from the National Endowment for the\n Humanities was obtained to allow the Library to process the\n Low Moor Iron Company papers, and the papers of Edward L.\n Stone and the Borderland Coal Company, another large\n collection of records stored in the same dormitory attic.\n All of these records and papers were moved back to the\n Library where the bundles were cleaned and opened. The\n contents of each were placed in a Hollinger storage box,\n and all notes on the paper wrappings and on the gray\n cardboard sheets were recorded.","The more than 1200 bound accounting records of the Low\n Moor Iron Company were surveyed by the grant project staff.\n The contents of each volume were noted on a mimeographed\n form, and later typed on 3 x 5\" cards to create a\n readily-accessible file for the Manuscripts Reading Room.\n This information was also typed on pages to be added to\n this guide."],"scopecontent_html_tesm":["\u003cp\u003eThe Low Moor Iron Company papers consist of\n approximately 280 four-inch Hollinger archives boxes (ca.\n 95 linear feet) of records, ca. 1885-1927, and some 1200\n bound volumes of the company's accounting records,\n 1873-1927, of this iron producing company located in Low\n Moor (four miles southwest of Clifton Forge), Alleghany\n County, Virginia.\u003c/p\u003e","\u003cp\u003eThis material consists of records typical of those\n produced by a firm of this type in the period, but as the\n company owned its own coal and iron mines and limestone\n quarries, there is considerable information about the\n production of these raw materials. Large numbers of the\n records that deal with the company's employees have\n survived: time books, payroll books, hands ledgers, and the\n like. Because these books sometimes include information\n about the employee's trade or job with the company, and as\n race is indicated in some of the records, these books\n should provide date for studies of the structure and upward\n mobility within the labor force, patterns of\n ethnic--possibly racial--occupational penetration and\n mobility, material conditions of the workers, and so on.\n The papers should permit a range of studies detailing the\n pattern and evolution of industrial organization in the\n iron industry, and the evolution of markets and marketing\n structures for the entire period. Because the company was\n dependent upon railroads to move its raw materials to the\n furnaces, and for the marketing of its products, there is\n considerable information about railroads and their\n relationship to their customers.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Information"],"scopecontent_tesim":["The Low Moor Iron Company papers consist of\n approximately 280 four-inch Hollinger archives boxes (ca.\n 95 linear feet) of records, ca. 1885-1927, and some 1200\n bound volumes of the company's accounting records,\n 1873-1927, of this iron producing company located in Low\n Moor (four miles southwest of Clifton Forge), Alleghany\n County, Virginia.","This material consists of records typical of those\n produced by a firm of this type in the period, but as the\n company owned its own coal and iron mines and limestone\n quarries, there is considerable information about the\n production of these raw materials. Large numbers of the\n records that deal with the company's employees have\n survived: time books, payroll books, hands ledgers, and the\n like. Because these books sometimes include information\n about the employee's trade or job with the company, and as\n race is indicated in some of the records, these books\n should provide date for studies of the structure and upward\n mobility within the labor force, patterns of\n ethnic--possibly racial--occupational penetration and\n mobility, material conditions of the workers, and so on.\n The papers should permit a range of studies detailing the\n pattern and evolution of industrial organization in the\n iron industry, and the evolution of markets and marketing\n structures for the entire period. Because the company was\n dependent upon railroads to move its raw materials to the\n furnaces, and for the marketing of its products, there is\n considerable information about railroads and their\n relationship to their customers."],"userestrict_html_tesm":["\u003cp\u003eSee the \n \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["See the \n \n University of Virginia Library’s use policy."],"language_ssim":["English"],"total_component_count_is":1879,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T12:10:02.328Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu00917_c01_c26_c03"}},{"id":"vihart_repositories_4_resources_552_c01_c02","type":"Subseries","attributes":{"title":"Charles Pinkey Rexrode Papers","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_552_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vihart_repositories_4_resources_552_c01_c02","ref_ssm":["vihart_repositories_4_resources_552_c01_c02"],"id":"vihart_repositories_4_resources_552_c01_c02","ead_ssi":"vihart_repositories_4_resources_552","_root_":"vihart_repositories_4_resources_552","_nest_parent_":"vihart_repositories_4_resources_552_c01","parent_ssi":"vihart_repositories_4_resources_552_c01","parent_ssim":["vihart_repositories_4_resources_552","vihart_repositories_4_resources_552_c01"],"parent_ids_ssim":["vihart_repositories_4_resources_552","vihart_repositories_4_resources_552_c01"],"parent_unittitles_ssm":["Dudley and Rexrode Family Papers","Family Papers"],"parent_unittitles_tesim":["Dudley and Rexrode Family Papers","Family Papers"],"text":["Dudley and Rexrode Family Papers","Family Papers","Charles Pinkey Rexrode Papers"],"title_filing_ssi":"Charles Pinkey Rexrode Papers","title_ssm":["Charles Pinkey Rexrode Papers"],"title_tesim":["Charles Pinkey Rexrode Papers"],"unitdate_inclusive_ssm":["1902-1959"],"normalized_date_ssm":["1902/1959"],"normalized_title_ssm":["Charles Pinkey Rexrode Papers"],"component_level_isim":[2],"repository_ssim":["James Madison University"],"collection_ssim":["Dudley and Rexrode Family Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":7,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":9,"parent_access_restrict_tesm":["Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"parent_access_terms_tesm":["The copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959],"_nest_path_":"/components#0/components#1","timestamp":"2026-05-21T00:25:48.758Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_552","ead_ssi":"vihart_repositories_4_resources_552","_root_":"vihart_repositories_4_resources_552","_nest_parent_":"vihart_repositories_4_resources_552","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_552.xml","title_ssm":["Dudley and Rexrode Family Papers"],"title_tesim":["Dudley and Rexrode Family Papers"],"unitdate_ssm":["1873-2005"],"unitdate_inclusive_ssm":["1873-2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0213","/repositories/4/resources/552"],"text":["SC 0213","/repositories/4/resources/552","Dudley and Rexrode Family Papers","Rockingham County (Va.) -- History","Highland County (Va.) -- History","Virginia -- History, Local","Physicians -- Virginia -- Records and correspondence","Merchants -- Virginia -- Records and correspondence","Business records -- Virginia -- Sources","Ledgers (account books)","Letters (correspondence)","Family papers","Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","The collection is arranged into four series. Series 1: Family Papers is arranged further into subseries.","Family Papers, 1873-1984 Photographs, 1923-1969 Community Organizations and Events, 1939-1998 Ephemera, 1913-2005","\"Attempted Suicide\" Highland Recorder . 1903 December 18. p.3.","Blair, Charles William. A History of Mossy Creek Presbyterian Church . Bridgewater Beacon Printing, Inc. Bridgewater, VA. 2000.","\"Edward A. Dudley\" Staunton News Leader . 1927 May 31. p.4.","\"History\" Kwangju Christian Hospital Website. Accessed 2012 Dec. 5. http://kch.or.kr/eng/history.html.","\"M.Dudley Rexrode\" Daily News-Record . 2006 January 30. p.10.","\"Nonagenarian Rexrode is Ruritans' Citizen of Year.\" Daily News-Record . 1995 October 23. p.16","\"Staunton Man Dies in Korea\" Daily News-Record . 1938 March 2. p.8.","The papers were acquired from the estate of Marshall Dudley Rexrode (1905-2006). Rexrode graduated from Bridgewater College and attended Virginia Tech. He was a prominent farmer and member of the community in Mt. Solon, Virginia. He was a charter member of the North River Ruritan Club and served as their treasurer for 45 years. Rexrode was an elder, deacon, and chairman of the board of trustees for Mossy Creek Presbyterian Church (a historic church established in 1768 in Augusta County). Rexrode was also the secretary-treasurer of the Rockingham County Land Bank Association and assistant secretary-treasurer of Staunton Production Credit Association. He served on the Augusta County Planning Commission three times. Additionally, he was director and president of the Augusta County Farm Bureau Federation, as well as director and president of the Augusta County Petroleum Co-op. His work on various boards, social organizations, and church related activities is evidence of his active community involvement.","Marshall Dudley Rexrode was in possession of his family's papers including those of his father, Dr. Charles Pinkey Rexrode (1871-1929), and his maternal grandfather, Edward Alexander Dudley (1850-1927), and Arthur B. Dudley (1870-1946). Charles P. Rexrode, M.D. was a physician and pharmacist in Crab Bottom, Highland County, Virginia (now Blue Grass, Virginia). The Highland Recorder contains references to Dr. Rexrode treating patients and making house calls during times of emergency. Edward A. Dudley was a prominent farmer and cattle raiser in Highland County and Augusta County, Virginia. Dudley was living in the Churchville area of Augusta County at the time of his death in May 1927.","Also included in this collection are photographs and correspondence relating to Marshall Dudley Rexrode's aunt, Mary Alberta Dudley Brand (1894-1973). Brand and her husband Dr. Louis Christian Brand were Presbyterian Missionaries in Korea from 1924-1938, during the time that Korea was occupied by Japan. Dr. Brand was a physician and third director of the Ellen-Lavine Graham Hospital (now the Kwangju Christian Hospital) in Kwangju, Korea, where he was devoted to the elimination of tuberculosis. The Brand's daughter, Mary Alice Brand Boyle 1924-2006), and son-in-law, Lewis Venable Boyle (1923-2005), are also documented in this collection.","In order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in 2017-2018. This collection was previously cataloged as SC 5039. During this time, the collection was minimally reprocessed in order to simplify the arrangement and description, and rehoused to remove unnecessary oversize boxes. The collection was originally processed in 2012 and described in minute detail, often at the item-level (e.g. obituaries). Some of this description was retained. Description that was deemed irrelevant or superfluous was not retained during reprocessing. Photographs were grouped according to identifications made by the original processor and were housed in plastic sleeves. During reprocessing in 2019, the photographs were removed and housed in archival folders.","The Dudley and Rexrode Family Papers contain personal and financial records, photographs, and ephemera related to the Dudely and Rexrode families of Augusta County, Virginia, as well as the related Brand and Boyle families. Tax records, insurance records, and ledgers of family businesses, including C.P. Rexrode's medical practice and A.B and E.A. Dudley's agricultural business, are present. This collection also includes Rexrode, Dudley, and Brand family photographs including photographs of Virginia Tech and the Dudley-Brand family in Korea in the 1930s. Many are unidentified or presumed to be identified. Additionally, the collection contains documents related to community organizations including local ruritan clubs and the Mossy Creek Presbyterian Church in Mt. Solon, Virginia where M. Dudley Rexrode served as a deacon and elder. Printed ephemera in the collection includes a postcard with the label \"The summer resort of foreigner at Katsuma Peninsula (Korea),\" newspaper clippings of local interest articles and obituaries, and ticket stubs for Magic Kingdom and Disney World.","Luther Charles Fultz, 1947; J. Wayne Fairburn, January 1993; Agnes Rexrode, October 1993 (2 copies); Maggie Elizabeth Props, 1995; Richard Craig Dudley, 1998","John H. Earhart (undated), Mabel Rexrode, 1986 March 23; Earl J. Shiflet, 1995 December 14; S. Newton Karicofe, 1996 March 5; Earl T. Swink, 1996 September 10; Clarence E. May, 1997 April 15; Kathleen C. McFall, 1997 December 7; Richard C. Dudley, 1998 May 23; Nancy R. Lewis, 1998 August 25; Garland Miller, 1998 September 7; Rudolph B. Alexander, 1999 June 6; William A. Brooks, 1999 November 16; Francis Dudley, 2000 April 8; Hiram C. Arey, 2000 April 30; Hiwana C. Crompton, 2000 May 4; Richard J. Hevener, 2000 June 12; Roy R. Smith, 2000 November 28 (2); Arthur V. Bartenslayer, 2002 August 11; William J. Moffett Jr., 2002 August 20; Dr. John H. Guss, 2004 September 28; John A. Horn, 2005 May 15","The copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Personal papers and ledgers relating to the Dudley and Rexrode families of Augusta County, Virginia. Included in this collection are the receipts, invoices, and tax documents of Edward Alexander Dudley; ledgers from the practice and pharmacy of Dr. Charles Pinkey Rexrode; ledgers from the agricultural business of Arthur B. Dudley; family photographs; and documents from the Mossy Creek Presbyterian Church in Mt. Solon, Virginia.","James Madison University Libraries Special Collections","Mossy Creek Presbyterian Church (Mr. Solon, Va.) -- Records and correspondence","Dudley family","Rexrode family","Whetzel, Charlie, 1940-2021","Rexrode, M. Dudley (Marshall Dudley), 1905-2006","English"],"unitid_tesim":["SC 0213","/repositories/4/resources/552"],"normalized_title_ssm":["Dudley and Rexrode Family Papers"],"collection_title_tesim":["Dudley and Rexrode Family Papers"],"collection_ssim":["Dudley and Rexrode Family Papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"geogname_ssm":["Rockingham County (Va.) -- History","Highland County (Va.) -- History","Virginia -- History, Local"],"geogname_ssim":["Rockingham County (Va.) -- History","Highland County (Va.) -- History","Virginia -- History, Local"],"creator_ssm":["Dudley family","Rexrode family","Whetzel, Charlie, 1940-2021"],"creator_ssim":["Dudley family","Rexrode family","Whetzel, Charlie, 1940-2021"],"creator_persname_ssim":["Whetzel, Charlie, 1940-2021"],"creator_famname_ssim":["Dudley family","Rexrode family"],"creators_ssim":["Whetzel, Charlie, 1940-2021","Dudley family","Rexrode family"],"places_ssim":["Rockingham County (Va.) -- History","Highland County (Va.) -- History","Virginia -- History, Local"],"access_terms_ssm":["The copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["The materials in this collection were purchased by Special Collections at the March 24, 2008 estate sale of Marshall Dudley Rexrode. The sale took place in Mt. Solon, Virginia and was auctioneered by Charley Whetzel."],"access_subjects_ssim":["Physicians -- Virginia -- Records and correspondence","Merchants -- Virginia -- Records and correspondence","Business records -- Virginia -- Sources","Ledgers (account books)","Letters (correspondence)","Family papers"],"access_subjects_ssm":["Physicians -- Virginia -- Records and correspondence","Merchants -- Virginia -- Records and correspondence","Business records -- Virginia -- Sources","Ledgers (account books)","Letters (correspondence)","Family papers"],"has_online_content_ssim":["false"],"extent_ssm":["1.26 cubic feet 4 boxes"],"extent_tesim":["1.26 cubic feet 4 boxes"],"genreform_ssim":["Ledgers (account books)","Letters (correspondence)","Family papers"],"date_range_isim":[1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eCollection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. Series 1: Family Papers is arranged further into subseries.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n \u003citem\u003eFamily Papers, 1873-1984\u003c/item\u003e\n \u003citem\u003ePhotographs, 1923-1969\u003c/item\u003e\n \u003citem\u003eCommunity Organizations and Events, 1939-1998\u003c/item\u003e\n \u003citem\u003eEphemera, 1913-2005\u003c/item\u003e\n \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into four series. Series 1: Family Papers is arranged further into subseries.","Family Papers, 1873-1984 Photographs, 1923-1969 Community Organizations and Events, 1939-1998 Ephemera, 1913-2005"],"bibliography_html_tesm":["\u003cbibref\u003e\"Attempted Suicide\" \u003cemph render=\"italic\"\u003eHighland Recorder\u003c/emph\u003e. 1903 December 18. p.3.\u003c/bibref\u003e","\u003cbibref\u003eBlair, Charles William. \u003cemph render=\"italic\"\u003eA History of Mossy Creek Presbyterian Church\u003c/emph\u003e. Bridgewater Beacon Printing, Inc. Bridgewater, VA. 2000.\u003c/bibref\u003e","\u003cbibref\u003e\"Edward A. Dudley\" \u003cemph render=\"italic\"\u003eStaunton News Leader\u003c/emph\u003e. 1927 May 31. p.4.\u003c/bibref\u003e","\u003cbibref\u003e\"History\" Kwangju Christian Hospital Website. Accessed 2012 Dec. 5. http://kch.or.kr/eng/history.html.\u003c/bibref\u003e","\u003cbibref\u003e\"M.Dudley Rexrode\" \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e. 2006 January 30. p.10.\u003c/bibref\u003e","\u003cbibref\u003e\"Nonagenarian Rexrode is Ruritans' Citizen of Year.\" \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e. 1995 October 23. p.16\u003c/bibref\u003e","\u003cbibref\u003e\"Staunton Man Dies in Korea\" \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e. 1938 March 2. p.8.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Attempted Suicide\" Highland Recorder . 1903 December 18. p.3.","Blair, Charles William. A History of Mossy Creek Presbyterian Church . Bridgewater Beacon Printing, Inc. Bridgewater, VA. 2000.","\"Edward A. Dudley\" Staunton News Leader . 1927 May 31. p.4.","\"History\" Kwangju Christian Hospital Website. Accessed 2012 Dec. 5. http://kch.or.kr/eng/history.html.","\"M.Dudley Rexrode\" Daily News-Record . 2006 January 30. p.10.","\"Nonagenarian Rexrode is Ruritans' Citizen of Year.\" Daily News-Record . 1995 October 23. p.16","\"Staunton Man Dies in Korea\" Daily News-Record . 1938 March 2. p.8."],"bioghist_html_tesm":["\u003cp\u003eThe papers were acquired from the estate of Marshall Dudley Rexrode (1905-2006). Rexrode graduated from Bridgewater College and attended Virginia Tech. He was a prominent farmer and member of the community in Mt. Solon, Virginia. He was a charter member of the North River Ruritan Club and served as their treasurer for 45 years. Rexrode was an elder, deacon, and chairman of the board of trustees for Mossy Creek Presbyterian Church (a historic church established in 1768 in Augusta County). Rexrode was also the secretary-treasurer of the Rockingham County Land Bank Association and assistant secretary-treasurer of Staunton Production Credit Association. He served on the Augusta County Planning Commission three times. Additionally, he was director and president of the Augusta County Farm Bureau Federation, as well as director and president of the Augusta County Petroleum Co-op. His work on various boards, social organizations, and church related activities is evidence of his active community involvement.\u003c/p\u003e\n","\u003cp\u003eMarshall Dudley Rexrode was in possession of his family's papers including those of his father, Dr. Charles Pinkey Rexrode (1871-1929), and his maternal grandfather, Edward Alexander Dudley (1850-1927), and Arthur B. Dudley (1870-1946). Charles P. Rexrode, M.D. was a physician and pharmacist in Crab Bottom, Highland County, Virginia (now Blue Grass, Virginia). The Highland Recorder contains references to Dr. Rexrode treating patients and making house calls during times of emergency. Edward A. Dudley was a prominent farmer and cattle raiser in Highland County and Augusta County, Virginia. Dudley was living in the Churchville area of Augusta County at the time of his death in May 1927.\u003c/p\u003e\n","\u003cp\u003eAlso included in this collection are photographs and correspondence relating to Marshall Dudley Rexrode's aunt, Mary Alberta Dudley Brand (1894-1973). Brand and her husband Dr. Louis Christian Brand were Presbyterian Missionaries in Korea from 1924-1938, during the time that Korea was occupied by Japan. Dr. Brand was a physician and third director of the Ellen-Lavine Graham Hospital (now the Kwangju Christian Hospital) in Kwangju, Korea, where he was devoted to the elimination of tuberculosis. The Brand's daughter, Mary Alice Brand Boyle 1924-2006), and son-in-law, Lewis Venable Boyle (1923-2005), are also documented in this collection.\u003c/p\u003e"],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["The papers were acquired from the estate of Marshall Dudley Rexrode (1905-2006). Rexrode graduated from Bridgewater College and attended Virginia Tech. He was a prominent farmer and member of the community in Mt. Solon, Virginia. He was a charter member of the North River Ruritan Club and served as their treasurer for 45 years. Rexrode was an elder, deacon, and chairman of the board of trustees for Mossy Creek Presbyterian Church (a historic church established in 1768 in Augusta County). Rexrode was also the secretary-treasurer of the Rockingham County Land Bank Association and assistant secretary-treasurer of Staunton Production Credit Association. He served on the Augusta County Planning Commission three times. Additionally, he was director and president of the Augusta County Farm Bureau Federation, as well as director and president of the Augusta County Petroleum Co-op. His work on various boards, social organizations, and church related activities is evidence of his active community involvement.","Marshall Dudley Rexrode was in possession of his family's papers including those of his father, Dr. Charles Pinkey Rexrode (1871-1929), and his maternal grandfather, Edward Alexander Dudley (1850-1927), and Arthur B. Dudley (1870-1946). Charles P. Rexrode, M.D. was a physician and pharmacist in Crab Bottom, Highland County, Virginia (now Blue Grass, Virginia). The Highland Recorder contains references to Dr. Rexrode treating patients and making house calls during times of emergency. Edward A. Dudley was a prominent farmer and cattle raiser in Highland County and Augusta County, Virginia. Dudley was living in the Churchville area of Augusta County at the time of his death in May 1927.","Also included in this collection are photographs and correspondence relating to Marshall Dudley Rexrode's aunt, Mary Alberta Dudley Brand (1894-1973). Brand and her husband Dr. Louis Christian Brand were Presbyterian Missionaries in Korea from 1924-1938, during the time that Korea was occupied by Japan. Dr. Brand was a physician and third director of the Ellen-Lavine Graham Hospital (now the Kwangju Christian Hospital) in Kwangju, Korea, where he was devoted to the elimination of tuberculosis. The Brand's daughter, Mary Alice Brand Boyle 1924-2006), and son-in-law, Lewis Venable Boyle (1923-2005), are also documented in this collection."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Dudley and Rexrode Family Papers, SC 0213, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Dudley and Rexrode Family Papers, SC 0213, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eIn order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in 2017-2018. \u003cemph render=\"bold\"\u003eThis collection was previously cataloged as SC 5039.\u003c/emph\u003e During this time, the collection was minimally reprocessed in order to simplify the arrangement and description, and rehoused to remove unnecessary oversize boxes. The collection was originally processed in 2012 and described in minute detail, often at the item-level (e.g. obituaries). Some of this description was retained. Description that was deemed irrelevant or superfluous was not retained during reprocessing. Photographs were grouped according to identifications made by the original processor and were housed in plastic sleeves. During reprocessing in 2019, the photographs were removed and housed in archival folders.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in 2017-2018. This collection was previously cataloged as SC 5039. During this time, the collection was minimally reprocessed in order to simplify the arrangement and description, and rehoused to remove unnecessary oversize boxes. The collection was originally processed in 2012 and described in minute detail, often at the item-level (e.g. obituaries). Some of this description was retained. Description that was deemed irrelevant or superfluous was not retained during reprocessing. Photographs were grouped according to identifications made by the original processor and were housed in plastic sleeves. During reprocessing in 2019, the photographs were removed and housed in archival folders."],"scopecontent_html_tesm":["\u003cp\u003eThe Dudley and Rexrode Family Papers contain personal and financial records, photographs, and ephemera related to the Dudely and Rexrode families of Augusta County, Virginia, as well as the related Brand and Boyle families. Tax records, insurance records, and ledgers of family businesses, including C.P. Rexrode's medical practice and A.B and E.A. Dudley's agricultural business, are present. This collection also includes Rexrode, Dudley, and Brand family photographs including photographs of Virginia Tech and the Dudley-Brand family in Korea in the 1930s. Many are unidentified or presumed to be identified. Additionally, the collection contains documents related to community organizations including local ruritan clubs and the Mossy Creek Presbyterian Church in Mt. Solon, Virginia where M. Dudley Rexrode served as a deacon and elder. Printed ephemera in the collection includes a postcard with the label \"The summer resort of foreigner at Katsuma Peninsula (Korea),\" newspaper clippings of local interest articles and obituaries, and ticket stubs for Magic Kingdom and Disney World.\u003c/p\u003e","\u003cp\u003eLuther Charles Fultz, 1947; J. Wayne Fairburn, January 1993; Agnes Rexrode, October 1993 (2 copies); Maggie Elizabeth Props, 1995; Richard Craig Dudley, 1998\u003c/p\u003e","\u003cp\u003eJohn H. Earhart (undated), Mabel Rexrode, 1986 March 23; Earl J. Shiflet, 1995 December 14; S. Newton Karicofe, 1996 March 5; Earl T. Swink, 1996 September 10; Clarence E. May, 1997 April 15; Kathleen C. McFall, 1997 December 7; Richard C. Dudley, 1998 May 23; Nancy R. Lewis, 1998 August 25; Garland Miller, 1998 September 7; Rudolph B. Alexander, 1999 June 6; William A. Brooks, 1999 November 16; Francis Dudley, 2000 April 8; Hiram C. Arey, 2000 April 30; Hiwana C. Crompton, 2000 May 4; Richard J. Hevener, 2000 June 12; Roy R. Smith, 2000 November 28 (2); Arthur V. Bartenslayer, 2002 August 11; William J. Moffett Jr., 2002 August 20; Dr. John H. Guss, 2004 September 28; John A. Horn, 2005 May 15\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Dudley and Rexrode Family Papers contain personal and financial records, photographs, and ephemera related to the Dudely and Rexrode families of Augusta County, Virginia, as well as the related Brand and Boyle families. Tax records, insurance records, and ledgers of family businesses, including C.P. Rexrode's medical practice and A.B and E.A. Dudley's agricultural business, are present. This collection also includes Rexrode, Dudley, and Brand family photographs including photographs of Virginia Tech and the Dudley-Brand family in Korea in the 1930s. Many are unidentified or presumed to be identified. Additionally, the collection contains documents related to community organizations including local ruritan clubs and the Mossy Creek Presbyterian Church in Mt. Solon, Virginia where M. Dudley Rexrode served as a deacon and elder. Printed ephemera in the collection includes a postcard with the label \"The summer resort of foreigner at Katsuma Peninsula (Korea),\" newspaper clippings of local interest articles and obituaries, and ticket stubs for Magic Kingdom and Disney World.","Luther Charles Fultz, 1947; J. Wayne Fairburn, January 1993; Agnes Rexrode, October 1993 (2 copies); Maggie Elizabeth Props, 1995; Richard Craig Dudley, 1998","John H. Earhart (undated), Mabel Rexrode, 1986 March 23; Earl J. Shiflet, 1995 December 14; S. Newton Karicofe, 1996 March 5; Earl T. Swink, 1996 September 10; Clarence E. May, 1997 April 15; Kathleen C. McFall, 1997 December 7; Richard C. Dudley, 1998 May 23; Nancy R. Lewis, 1998 August 25; Garland Miller, 1998 September 7; Rudolph B. Alexander, 1999 June 6; William A. Brooks, 1999 November 16; Francis Dudley, 2000 April 8; Hiram C. Arey, 2000 April 30; Hiwana C. Crompton, 2000 May 4; Richard J. Hevener, 2000 June 12; Roy R. Smith, 2000 November 28 (2); Arthur V. Bartenslayer, 2002 August 11; William J. Moffett Jr., 2002 August 20; Dr. John H. Guss, 2004 September 28; John A. Horn, 2005 May 15"],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_c13e03ea522acc67ad26287ff1de9f0c\"\u003ePersonal papers and ledgers relating to the Dudley and Rexrode families of Augusta County, Virginia. Included in this collection are the receipts, invoices, and tax documents of Edward Alexander Dudley; ledgers from the practice and pharmacy of Dr. Charles Pinkey Rexrode; ledgers from the agricultural business of Arthur B. Dudley; family photographs; and documents from the Mossy Creek Presbyterian Church in Mt. Solon, Virginia.\u003c/abstract\u003e"],"abstract_tesim":["Personal papers and ledgers relating to the Dudley and Rexrode families of Augusta County, Virginia. Included in this collection are the receipts, invoices, and tax documents of Edward Alexander Dudley; ledgers from the practice and pharmacy of Dr. Charles Pinkey Rexrode; ledgers from the agricultural business of Arthur B. Dudley; family photographs; and documents from the Mossy Creek Presbyterian Church in Mt. Solon, Virginia."],"names_coll_ssim":["Mossy Creek Presbyterian Church (Mr. Solon, Va.) -- Records and correspondence","Rexrode, M. Dudley (Marshall Dudley), 1905-2006","Whetzel, Charlie, 1940-2021"],"names_ssim":["James Madison University Libraries Special Collections","Mossy Creek Presbyterian Church (Mr. Solon, Va.) -- Records and correspondence","Dudley family","Rexrode family","Whetzel, Charlie, 1940-2021","Rexrode, M. Dudley (Marshall Dudley), 1905-2006"],"corpname_ssim":["James Madison University Libraries Special Collections","Mossy Creek Presbyterian Church (Mr. Solon, Va.) -- Records and correspondence"],"famname_ssim":["Dudley family","Rexrode family"],"persname_ssim":["Whetzel, Charlie, 1940-2021","Rexrode, M. Dudley (Marshall Dudley), 1905-2006"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":57,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:25:48.758Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_552_c01_c02"}},{"id":"wvmturhc_repositories_2_resources_1202_c13_c01","type":"Subseries","attributes":{"title":"Charleston Gazette Scrapbooks","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1202_c13_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1202_c13_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_1202_c13_c01","ref_ssm":["wvmturhc_repositories_2_resources_1202_c13_c01"],"id":"wvmturhc_repositories_2_resources_1202_c13_c01","ead_ssi":"wvmturhc_repositories_2_resources_1202","_root_":"wvmturhc_repositories_2_resources_1202","_nest_parent_":"wvmturhc_repositories_2_resources_1202_c13","parent_ssi":"wvmturhc_repositories_2_resources_1202_c13","parent_ssim":["wvmturhc_repositories_2_resources_1202","wvmturhc_repositories_2_resources_1202_c13"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_1202","wvmturhc_repositories_2_resources_1202_c13"],"parent_unittitles_ssm":["Charleston Gazette Publishing Company Records and Chilton Family Papers","Addendum of 2018 July 24 -- Charleston Gazette Business and Commemorative Materials"],"parent_unittitles_tesim":["Charleston Gazette Publishing Company Records and Chilton Family Papers","Addendum of 2018 July 24 -- Charleston Gazette Business and Commemorative Materials"],"text":["Charleston Gazette Publishing Company Records and Chilton Family Papers","Addendum of 2018 July 24 -- Charleston Gazette Business and Commemorative Materials","Charleston Gazette Scrapbooks","This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date."],"title_filing_ssi":"Charleston Gazette Scrapbooks","title_ssm":["Charleston Gazette Scrapbooks"],"title_tesim":["Charleston Gazette Scrapbooks"],"unitdate_inclusive_ssm":["1900-2017"],"normalized_date_ssm":["1900/2017"],"normalized_title_ssm":["Charleston Gazette Scrapbooks"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":443,"parent_access_restrict_tesm":["The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"scopecontent_html_tesm":["\u003cp\u003eThis sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date."],"_nest_path_":"/components#12/components#0","timestamp":"2026-05-21T01:00:05.012Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1202","ead_ssi":"wvmturhc_repositories_2_resources_1202","_root_":"wvmturhc_repositories_2_resources_1202","_nest_parent_":"wvmturhc_repositories_2_resources_1202","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1202.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195570","title_ssm":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"title_tesim":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"unitdate_ssm":["1884-2018"],"unitdate_inclusive_ssm":["1884-2018"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202"],"text":["A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202","Charleston Gazette Publishing Company Records and Chilton Family Papers","Braxton County (W. Va.)","Webster County (W. Va.)","World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors","The coloring book in box 23 is restricted until it can be cleaned. \nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","The coloring book in box 23 is restricted until it can be cleaned.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","William Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia. Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16. He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893. He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs. He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917. He was recognized as an orator and writer of unusual power and force. After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette. He married Mary Louise Tarr in 1892, and had four children: William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray. Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.","William Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia. He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia. He became managing editor of the Charleston Gazette in 1924. He married Louise Schoonmaker in 1920, and had two children: William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.","Source: West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.","\nWilliam Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr. He grew up in Charleston, West Virginia, and was educated in the public schools. After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950. Chilton married Elizabeth \"Betty\" Early in 1952. They have one daughter, Susan Carroll. He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958. He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee. In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature. After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987. The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International. He also served as a member of the Pulitzer Prize Awards committee. Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations. ","Source: State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.","\nElizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University. ","Source: \"Charleston Gazette Co. president to receive WVU Distinguished Service Award,\" WVU Today, May 1, 2000. http://wvutoday-archive.wvu.edu/n/2000/05/01/2862.htm.","Scrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette. There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III. The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.","The initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for: general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts. For details see inventory in control folder at the library.","Rare signatures in the initial acquisition of W. E. Chilton, Sr., include: Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.","The addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for: biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize. For details see inventory in control folder at the library.","The addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.","The addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office. ","The addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items. ","The addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","This series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.] As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.","This series includes signatures of prominent celebrities and historical figures collected by the Chiltons. (Access to rare signatures requires the permission of a WVC curator.)","This series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.","This series includes land papers for coal and timber lands in Braxton and Webster counties.","This series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.","This series includes copies of the Yale Daily News for 1914-1915.","This series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.","This series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.","This series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century. The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.","All boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.","This series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985. These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..","This series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.","This series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy. More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.","This series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos. This series also contains autographed photos collected by Chilton.","This series includes a variety of artifacts collected by Ned Chilton.","This series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics. Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.","This series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.","This series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.","This series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.","This series includes oversize photos, drawings, cartoons, blueprints and certificates.","This addendum includes one folder containing a book owned by Ned Chilton titled Mr. Dooley: In Peace and in War by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.","This addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","This sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.","This sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.","This sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.","This addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.","This box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.","This box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.","This sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.","This box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.","This partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.","This partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.","This partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.","This sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.","This sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.","This sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.","This partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.","This partial box includes court case documentation, correspondence, and other Gazette related materials.","This partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.","This addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Pearson, Drew.","Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010","English \n. "],"unitid_tesim":["A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202"],"normalized_title_ssm":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"collection_title_tesim":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"collection_ssim":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Braxton County (W. Va.)","Webster County (W. Va.)"],"geogname_ssim":["Braxton County (W. Va.)","Webster County (W. Va.)"],"creator_ssm":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty"],"creator_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty"],"creator_persname_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty"],"creators_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty"],"places_ssim":["Braxton County (W. Va.)","Webster County (W. Va.)"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Multiple gifts of Chilton, Elizabeth \"Betty\" Early, 1992 April 9, 2001 July 24, 2004 November 16, 2018 April 4, 2018 July 24, and 2018 November 29."],"access_subjects_ssim":["World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors"],"access_subjects_ssm":["World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors"],"has_online_content_ssim":["false"],"extent_ssm":["18.75 Linear Feet 18 ft. 9 in. (5 document cases, 5 in. each); (2 document case, 2 1/2 in.); (8 records cartons, 15 in. each); (3 records carton, 17 in. each); (4 flat storage boxes, 3 in. each); (2 flat storage boxes, 4 in. each); (1 flat storage box, 1 in.); (1 clamshell box, 3 in.)"],"extent_tesim":["18.75 Linear Feet 18 ft. 9 in. (5 document cases, 5 in. each); (2 document case, 2 1/2 in.); (8 records cartons, 15 in. each); (3 records carton, 17 in. each); (4 flat storage boxes, 3 in. each); (2 flat storage boxes, 4 in. each); (1 flat storage box, 1 in.); (1 clamshell box, 3 in.)"],"date_range_isim":[1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018],"accessrestrict_html_tesm":["\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003clb\u003e\u003c/lb\u003e\n\u003clb\u003e\u003c/lb\u003e\nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e\n","\u003cp\u003eResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e","\u003cp\u003eResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access","Conditions Governing Access","Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["The coloring book in box 23 is restricted until it can be cleaned. \nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","The coloring book in box 23 is restricted until it can be cleaned.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"bioghist_html_tesm":["\u003cp\u003eWilliam Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia. Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16. He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893. He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs. He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917. He was recognized as an orator and writer of unusual power and force. After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette. He married Mary Louise Tarr in 1892, and had four children: William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray. Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.\u003c/p\u003e\n","\u003cp\u003eWilliam Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia. He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia. He became managing editor of the Charleston Gazette in 1924. He married Louise Schoonmaker in 1920, and had two children: William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.\u003c/p\u003e\n","\u003cp\u003eSource: West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.\u003c/p\u003e\n","\u003cp\u003e\nWilliam Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr. He grew up in Charleston, West Virginia, and was educated in the public schools. After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950. Chilton married Elizabeth \"Betty\" Early in 1952. They have one daughter, Susan Carroll. He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958. He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee. In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature. After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987. The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International. He also served as a member of the Pulitzer Prize Awards committee. Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations. \u003c/p\u003e\n","\u003cp\u003eSource: State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.\u003c/p\u003e\n","\u003cp\u003e\nElizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University. \u003c/p\u003e\n","\u003cp\u003eSource: \"Charleston Gazette Co. president to receive WVU Distinguished Service Award,\" WVU Today, May 1, 2000. http://wvutoday-archive.wvu.edu/n/2000/05/01/2862.htm.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia. Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16. He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893. He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs. He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917. He was recognized as an orator and writer of unusual power and force. After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette. He married Mary Louise Tarr in 1892, and had four children: William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray. Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.","William Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia. He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia. He became managing editor of the Charleston Gazette in 1924. He married Louise Schoonmaker in 1920, and had two children: William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.","Source: West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.","\nWilliam Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr. He grew up in Charleston, West Virginia, and was educated in the public schools. After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950. Chilton married Elizabeth \"Betty\" Early in 1952. They have one daughter, Susan Carroll. He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958. He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee. In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature. After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987. The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International. He also served as a member of the Pulitzer Prize Awards committee. Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations. ","Source: State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.","\nElizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University. ","Source: \"Charleston Gazette Co. president to receive WVU Distinguished Service Award,\" WVU Today, May 1, 2000. http://wvutoday-archive.wvu.edu/n/2000/05/01/2862.htm."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Charleston Gazette Publishing Company Records and Chilton Family Papers, A\u0026amp;M 3020, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Charleston Gazette Publishing Company Records and Chilton Family Papers, A\u0026M 3020, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eScrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette. There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III. The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.\u003c/p\u003e\n","\u003cp\u003eThe initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for: general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts. For details see inventory in control folder at the library.\u003c/p\u003e\n","\u003cp\u003eRare signatures in the initial acquisition of W. E. Chilton, Sr., include: Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.\u003c/p\u003e\n","\u003cp\u003eThe addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for: biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize. For details see inventory in control folder at the library.\u003c/p\u003e\n","\u003cp\u003eThe addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.\u003c/p\u003e\n","\u003cp\u003eThe addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office. \u003c/p\u003e\n","\u003cp\u003eThe addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items. \u003c/p\u003e\n","\u003cp\u003eThe addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.\u003c/p\u003e","\u003cp\u003eThis series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.] As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.\u003c/p\u003e","\u003cp\u003eThis series includes signatures of prominent celebrities and historical figures collected by the Chiltons. (Access to rare signatures requires the permission of a WVC curator.)\u003c/p\u003e","\u003cp\u003eThis series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.\u003c/p\u003e","\u003cp\u003eThis series includes land papers for coal and timber lands in Braxton and Webster counties.\u003c/p\u003e","\u003cp\u003eThis series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.\u003c/p\u003e","\u003cp\u003eThis series includes copies of the Yale Daily News for 1914-1915.\u003c/p\u003e","\u003cp\u003eThis series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.\u003c/p\u003e","\u003cp\u003eThis series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.\u003c/p\u003e","\u003cp\u003eThis series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century. The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.\u003c/p\u003e\n","\u003cp\u003eAll boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.\u003c/p\u003e","\u003cp\u003eThis series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985. These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..\u003c/p\u003e","\u003cp\u003eThis series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.\u003c/p\u003e","\u003cp\u003eThis series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026amp;T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy. More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.\u003c/p\u003e","\u003cp\u003eThis series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos. This series also contains autographed photos collected by Chilton.\u003c/p\u003e","\u003cp\u003eThis series includes a variety of artifacts collected by Ned Chilton.\u003c/p\u003e","\u003cp\u003eThis series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics. Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.\u003c/p\u003e","\u003cp\u003eThis series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.\u003c/p\u003e","\u003cp\u003eThis series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.\u003c/p\u003e","\u003cp\u003eThis series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.\u003c/p\u003e","\u003cp\u003eThis series includes oversize photos, drawings, cartoons, blueprints and certificates.\u003c/p\u003e","\u003cp\u003eThis addendum includes one folder containing a book owned by Ned Chilton titled \u003ctitle\u003e\u003cpart\u003eMr. Dooley: In Peace and in War\u003c/part\u003e\u003c/title\u003e by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.\u003c/p\u003e","\u003cp\u003eThis addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.\u003c/p\u003e","\u003cp\u003eThis sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.\u003c/p\u003e","\u003cp\u003eThis sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.\u003c/p\u003e","\u003cp\u003eThis sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.\u003c/p\u003e","\u003cp\u003eThis addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.\u003c/p\u003e","\u003cp\u003eThis box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.\u003c/p\u003e","\u003cp\u003eThis box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.\u003c/p\u003e","\u003cp\u003eThis box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.\u003c/p\u003e","\u003cp\u003eThis partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.\u003c/p\u003e","\u003cp\u003eThis partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.\u003c/p\u003e","\u003cp\u003eThis partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.\u003c/p\u003e","\u003cp\u003eThis partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.\u003c/p\u003e","\u003cp\u003eThis sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.\u003c/p\u003e","\u003cp\u003eThis box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.\u003c/p\u003e","\u003cp\u003eThis partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.\u003c/p\u003e","\u003cp\u003eThis sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.\u003c/p\u003e","\u003cp\u003eThis partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.\u003c/p\u003e","\u003cp\u003eThis partial box includes court case documentation, correspondence, and other Gazette related materials.\u003c/p\u003e","\u003cp\u003eThis partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.\u003c/p\u003e","\u003cp\u003eThis partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.\u003c/p\u003e","\u003cp\u003eThis addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.\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","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","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":["Scrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette. There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III. The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.","The initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for: general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts. For details see inventory in control folder at the library.","Rare signatures in the initial acquisition of W. E. Chilton, Sr., include: Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.","The addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for: biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize. For details see inventory in control folder at the library.","The addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.","The addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office. ","The addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items. ","The addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","This series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.] As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.","This series includes signatures of prominent celebrities and historical figures collected by the Chiltons. (Access to rare signatures requires the permission of a WVC curator.)","This series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.","This series includes land papers for coal and timber lands in Braxton and Webster counties.","This series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.","This series includes copies of the Yale Daily News for 1914-1915.","This series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.","This series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.","This series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century. The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.","All boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.","This series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985. These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..","This series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.","This series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy. More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.","This series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos. This series also contains autographed photos collected by Chilton.","This series includes a variety of artifacts collected by Ned Chilton.","This series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics. Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.","This series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.","This series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.","This series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.","This series includes oversize photos, drawings, cartoons, blueprints and certificates.","This addendum includes one folder containing a book owned by Ned Chilton titled Mr. Dooley: In Peace and in War by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.","This addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","This sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.","This sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.","This sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.","This addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.","This box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.","This box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.","This sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.","This box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.","This partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.","This partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.","This partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.","This sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.","This sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.","This sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.","This partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.","This partial box includes court case documentation, correspondence, and other Gazette related materials.","This partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.","This addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4833b10941e14ac77c2df571c3b6fe38\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Pearson, Drew.","Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Pearson, Drew.","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1858-1939","Chilton, William E. (William Edwin), 1858-1939","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010","Chilton, Betty","Chilton, Betty"],"famname_ssim":["Pearson, Drew."],"persname_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010"],"language_ssim":["English \n. "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":461,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T01:00:05.012Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1202_c13_c01"}},{"id":"viblbv_repositories_2_resources_4151_c03_c05","type":"Subseries","attributes":{"title":"Church Offerings","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_4151_c03_c05#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_4151_c03_c05","ref_ssm":["viblbv_repositories_2_resources_4151_c03_c05"],"id":"viblbv_repositories_2_resources_4151_c03_c05","ead_ssi":"viblbv_repositories_2_resources_4151","_root_":"viblbv_repositories_2_resources_4151","_nest_parent_":"viblbv_repositories_2_resources_4151_c03","parent_ssi":"viblbv_repositories_2_resources_4151_c03","parent_ssim":["viblbv_repositories_2_resources_4151","viblbv_repositories_2_resources_4151_c03"],"parent_ids_ssim":["viblbv_repositories_2_resources_4151","viblbv_repositories_2_resources_4151_c03"],"parent_unittitles_ssm":["Shaver and Schaeffer Family Collection","Series III: Family Papers"],"parent_unittitles_tesim":["Shaver and Schaeffer Family Collection","Series III: Family Papers"],"text":["Shaver and Schaeffer Family Collection","Series III: Family Papers","Church Offerings","box 1","folder 22"],"title_filing_ssi":"Church Offerings","title_ssm":["Church Offerings"],"title_tesim":["Church Offerings"],"unitdate_inclusive_ssm":["1903-1919"],"normalized_date_ssm":["1903/1919"],"normalized_title_ssm":["Church Offerings"],"component_level_isim":[2],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Shaver and Schaeffer Family Collection"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":26,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["The copyright status of individual items in this collection may vary. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. ","Reproduction or digitization 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 be requested using our publication/exhibition form: 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."],"date_range_isim":[1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919],"containers_ssim":["box 1","folder 22"],"_nest_path_":"/components#2/components#4","timestamp":"2026-05-21T02:08:49.219Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_4151","ead_ssi":"viblbv_repositories_2_resources_4151","_root_":"viblbv_repositories_2_resources_4151","_nest_parent_":"viblbv_repositories_2_resources_4151","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_4151.xml","title_filing_ssi":"Shaver and Schaeffer Family Collection","title_ssm":["Shaver and Schaeffer Family Collection"],"title_tesim":["Shaver and Schaeffer Family Collection"],"unitdate_ssm":["1872-1977"],"unitdate_other_ssim":["1872-1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2023.097"],"text":["Ms.2023.097","Shaver and Schaeffer Family Collection","Montgomery County (Va.)","Local/Regional History and Appalachian South","University History","Religion","Confederate States of America","Correspondence","Pamphlets","Advertisements","Advertising cards","Trade cards","Postcards","Photographs","The collection is open for research.","The collection is organized by material type and in chronological order, if applicable.","Buttons","Caffeine tablet container","Cuffs","Cufflinks","Ink tablets","Embroidered and crocheted VPI football player, ca. 1918 (placed in Oversized-Box 5, Folder 1)","Fan","Fare Coins for Johnson City, Tennessee","Keys","Straight razors","Thimble","VPI Glass","Additional items","Dog License Card","Dog License Tag","Future Homemakers of America Card","Traveling Scrapbook (postcards, brochures)","Poems Old and New Scrapbook (clippings of poems)","Classmate Album (cards with classmates' names)","Arm \u0026 Hammer Soda \"Receipt Book\" ","Conservation by the use of Advertised Food Products","Coupon","Dana's Stock Labels","Earle Chemical Co. Coupon","Esterbrook's Little Gem Pen","Fountain Pen - G. R. Clare Company","Mendets","Milkmaid Receive One From Cow","National Traiways Nationwide Service","People's Supply Company","The Roanoke Cook, J. W. Chapman \u0026 Co. ","Star Super Edge Blades","Stonewall Distilling Co.","Sub-Rosa Tobacco and Cigarettes","Turner's Penetrating Balm","The Youth's Companion","The Thrice-A-Week World, Friday, April 2, 1906 ","Blacksburg News, Thursday, December 3, 1908","Blacksburg News, Thursday, December 16, 1909","The Co-Ordinator. Published by Smokeless Code Authority Bureau (1934)","Information About Your Reemployment Rights Under the Selective Service Act of 1948. Published by the U. S. Department of Labor (1948)","Virginia Tech vs. Texas A\u0026M: Lane Stadium: Septembner 17, 1977: Official program $1.00","The guide to the Shaver and Schaeffer Family Collection 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 Shaver and Schaeffer Family Collection was completed in September 2023.","This collection also included more than 10 books. As part of processing, these were removed and cataloged for the Rare Book Collection. Catalog records include the manuscript collection name and number (Shaver and Schaeffer Family Collection, Ms2023-097) and can be located by searching for that phrase","The copyright status of individual items in this collection may vary. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. ","Reproduction or digitization 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 be requested using our publication/exhibition form: 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.","The Shaver and Schaeffer Family Collection consists of a variety of materials, which range in dates from 1872 to 1977. The collection includes photographs, Virginia Polytechnic Institute memorabilia, printed materials, such as coupons, advertisements, and pamphlets, ledgers, scrapbooks, correspondences, diplomas, certificates, family papers, ephemera, publications, newspaper pages, newspaper clippings, calling cards, pay stubs, church offering stubs, and additional materials collected by the family. The collection also has a copied written piece by Dewey M. Shaver recalling her life in Blacksburg, Virginia. \n\nThe collection includes five series: Correspondences, Ephemera, Family Papers, Photographs, and Printed Materials.","Special Collections and University Archives, Virginia Tech","Materials in this collection are in English."],"unitid_tesim":["Ms.2023.097"],"normalized_title_ssm":["Shaver and Schaeffer Family Collection"],"collection_title_tesim":["Shaver and Schaeffer Family Collection"],"collection_ssim":["Shaver and Schaeffer Family Collection"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of individual items in this collection may vary. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. ","Reproduction or digitization 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 be requested using our publication/exhibition form: 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":["The collection was gifted to Special Collections in May 2016."],"access_subjects_ssim":["Montgomery County (Va.)","Local/Regional History and Appalachian South","University History","Religion","Confederate States of America","Correspondence","Pamphlets","Advertisements","Advertising cards","Trade cards","Postcards","Photographs"],"access_subjects_ssm":["Montgomery County (Va.)","Local/Regional History and Appalachian South","University History","Religion","Confederate States of America","Correspondence","Pamphlets","Advertisements","Advertising cards","Trade cards","Postcards","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Cubic Feet 5 boxes"],"extent_tesim":["3.5 Cubic Feet 5 boxes"],"genreform_ssim":["Correspondence","Pamphlets","Advertisements","Advertising cards","Trade cards","Postcards","Photographs"],"date_range_isim":[1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977],"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 by material type and in chronological order, if applicable.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized by material type and in chronological order, if applicable."],"bibliography_html_tesm":["\u003cbibref\u003eButtons\u003c/bibref\u003e","\u003cbibref\u003eCaffeine tablet container\u003c/bibref\u003e","\u003cbibref\u003eCuffs\u003c/bibref\u003e","\u003cbibref\u003eCufflinks\u003c/bibref\u003e","\u003cbibref\u003eInk tablets\u003c/bibref\u003e","\u003cbibref\u003eEmbroidered and crocheted VPI football player, ca. 1918 (placed in Oversized-Box 5, Folder 1)\u003c/bibref\u003e","\u003cbibref\u003eFan\u003c/bibref\u003e","\u003cbibref\u003eFare Coins for Johnson City, Tennessee\u003c/bibref\u003e","\u003cbibref\u003eKeys\u003c/bibref\u003e","\u003cbibref\u003eStraight razors\u003c/bibref\u003e","\u003cbibref\u003eThimble\u003c/bibref\u003e","\u003cbibref\u003eVPI Glass\u003c/bibref\u003e","\u003cbibref\u003eAdditional items\u003c/bibref\u003e","\u003cbibref\u003eDog License Card\u003c/bibref\u003e","\u003cbibref\u003eDog License Tag\u003c/bibref\u003e","\u003cbibref\u003eFuture Homemakers of America Card\u003c/bibref\u003e","\u003cbibref\u003eTraveling Scrapbook (postcards, brochures)\u003c/bibref\u003e","\u003cbibref\u003ePoems Old and New Scrapbook (clippings of poems)\u003c/bibref\u003e","\u003cbibref\u003eClassmate Album (cards with classmates' names)\u003c/bibref\u003e","\u003cbibref\u003eArm \u0026amp; Hammer Soda \"Receipt Book\" \u003c/bibref\u003e","\u003cbibref\u003eConservation by the use of Advertised Food Products\u003c/bibref\u003e","\u003cbibref\u003eCoupon\u003c/bibref\u003e","\u003cbibref\u003eDana's Stock Labels\u003c/bibref\u003e","\u003cbibref\u003eEarle Chemical Co. Coupon\u003c/bibref\u003e","\u003cbibref\u003eEsterbrook's Little Gem Pen\u003c/bibref\u003e","\u003cbibref\u003eFountain Pen - G. R. Clare Company\u003c/bibref\u003e","\u003cbibref\u003eMendets\u003c/bibref\u003e","\u003cbibref\u003eMilkmaid Receive One From Cow\u003c/bibref\u003e","\u003cbibref\u003eNational Traiways Nationwide Service\u003c/bibref\u003e","\u003cbibref\u003ePeople's Supply Company\u003c/bibref\u003e","\u003cbibref\u003eThe Roanoke Cook, J. W. Chapman \u0026amp; Co. \u003c/bibref\u003e","\u003cbibref\u003eStar Super Edge Blades\u003c/bibref\u003e","\u003cbibref\u003eStonewall Distilling Co.\u003c/bibref\u003e","\u003cbibref\u003eSub-Rosa Tobacco and Cigarettes\u003c/bibref\u003e","\u003cbibref\u003eTurner's Penetrating Balm\u003c/bibref\u003e","\u003cbibref\u003eThe Youth's Companion\u003c/bibref\u003e","\u003cbibref\u003eThe Thrice-A-Week World, Friday, April 2, 1906 \u003c/bibref\u003e","\u003cbibref\u003eBlacksburg News, Thursday, December 3, 1908\u003c/bibref\u003e","\u003cbibref\u003eBlacksburg News, Thursday, December 16, 1909\u003c/bibref\u003e","\u003cbibref\u003eThe Co-Ordinator. Published by Smokeless Code Authority Bureau (1934)\u003c/bibref\u003e","\u003cbibref\u003eInformation About Your Reemployment Rights Under the Selective Service Act of 1948. Published by the U. S. Department of Labor (1948)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Tech vs. Texas A\u0026amp;M: Lane Stadium: Septembner 17, 1977: Official program $1.00\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography","Bibliography","Bibliography","Bibliography","Bibliography","Bibliography","Bibliography","Bibliography"],"bibliography_tesim":["Buttons","Caffeine tablet container","Cuffs","Cufflinks","Ink tablets","Embroidered and crocheted VPI football player, ca. 1918 (placed in Oversized-Box 5, Folder 1)","Fan","Fare Coins for Johnson City, Tennessee","Keys","Straight razors","Thimble","VPI Glass","Additional items","Dog License Card","Dog License Tag","Future Homemakers of America Card","Traveling Scrapbook (postcards, brochures)","Poems Old and New Scrapbook (clippings of poems)","Classmate Album (cards with classmates' names)","Arm \u0026 Hammer Soda \"Receipt Book\" ","Conservation by the use of Advertised Food Products","Coupon","Dana's Stock Labels","Earle Chemical Co. Coupon","Esterbrook's Little Gem Pen","Fountain Pen - G. R. Clare Company","Mendets","Milkmaid Receive One From Cow","National Traiways Nationwide Service","People's Supply Company","The Roanoke Cook, J. W. Chapman \u0026 Co. ","Star Super Edge Blades","Stonewall Distilling Co.","Sub-Rosa Tobacco and Cigarettes","Turner's Penetrating Balm","The Youth's Companion","The Thrice-A-Week World, Friday, April 2, 1906 ","Blacksburg News, Thursday, December 3, 1908","Blacksburg News, Thursday, December 16, 1909","The Co-Ordinator. Published by Smokeless Code Authority Bureau (1934)","Information About Your Reemployment Rights Under the Selective Service Act of 1948. Published by the U. S. Department of Labor (1948)","Virginia Tech vs. Texas A\u0026M: Lane Stadium: Septembner 17, 1977: Official program $1.00"],"odd_html_tesm":["\u003cp\u003eThe guide to the Shaver and Schaeffer Family Collection 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 Shaver and Schaeffer Family Collection 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], Shaver and Schaeffer Family Collection, 1872-1977, Ms2023-097, 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], Shaver and Schaeffer Family Collection, 1872-1977, Ms2023-097, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Shaver and Schaeffer Family Collection was completed in September 2023.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Shaver and Schaeffer Family Collection was completed in September 2023."],"scopecontent_heading_ssm":["Scope and Content"],"separatedmaterial_html_tesm":["\u003cp\u003eThis collection also included more than 10 books. As part of processing, these were removed and cataloged for the Rare Book Collection. Catalog records include the manuscript collection name and number (Shaver and Schaeffer Family Collection, Ms2023-097) and can be located by searching for that phrase\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["This collection also included more than 10 books. As part of processing, these were removed and cataloged for the Rare Book Collection. Catalog records include the manuscript collection name and number (Shaver and Schaeffer Family Collection, Ms2023-097) and can be located by searching for that phrase"],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of individual items in this collection may vary. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. \u003c/p\u003e\n","\u003cp\u003eReproduction or digitization 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 be requested using our publication/exhibition form: \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 individual items in this collection may vary. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. ","Reproduction or digitization 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 be requested using our publication/exhibition form: 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_872eafafca4e69e80b449be2427b0dfc\" label=\"Abstract\"\u003eThe Shaver and Schaeffer Family Collection consists of a variety of materials, which range in dates from 1872 to 1977. The collection includes photographs, Virginia Polytechnic Institute memorabilia, printed materials, such as coupons, advertisements, and pamphlets, ledgers, scrapbooks, correspondences, diplomas, certificates, family papers, ephemera, publications, newspaper pages, newspaper clippings, calling cards, pay stubs, church offering stubs, and additional materials collected by the family. The collection also has a copied written piece by Dewey M. Shaver recalling her life in Blacksburg, Virginia. \n\nThe collection includes five series: Correspondences, Ephemera, Family Papers, Photographs, and Printed Materials.\u003c/abstract\u003e"],"abstract_tesim":["The Shaver and Schaeffer Family Collection consists of a variety of materials, which range in dates from 1872 to 1977. The collection includes photographs, Virginia Polytechnic Institute memorabilia, printed materials, such as coupons, advertisements, and pamphlets, ledgers, scrapbooks, correspondences, diplomas, certificates, family papers, ephemera, publications, newspaper pages, newspaper clippings, calling cards, pay stubs, church offering stubs, and additional materials collected by the family. The collection also has a copied written piece by Dewey M. Shaver recalling her life in Blacksburg, Virginia. \n\nThe collection includes five series: Correspondences, Ephemera, Family Papers, Photographs, and Printed Materials."],"names_ssim":["Special Collections and University Archives, Virginia Tech"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"language_ssim":["Materials in this collection are in English."],"total_component_count_is":47,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:08:49.219Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_4151_c03_c05"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c09","type":"Subseries","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c09#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c09","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c09"],"id":"viw_repositories_2_resources_9853_c01_c01_c09","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard","title_ssm":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"title_tesim":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"unitdate_inclusive_ssm":["1859-2012"],"normalized_date_ssm":["1859/2012"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":19,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"_nest_path_":"/components#0/components#0/components#8","timestamp":"2026-06-11T20:05:03.693Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright collection","title_ssm":["Richard Wright collection"],"title_tesim":["Richard Wright collection"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright collection","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright collection"],"collection_title_tesim":["Richard Wright collection"],"collection_ssim":["Richard Wright collection"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright collection, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThe Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-11T20:05:03.693Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c09"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c11","type":"Subseries","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c11#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c11","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c11"],"id":"viw_repositories_2_resources_9853_c01_c01_c11","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas","title_ssm":["\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas"],"title_tesim":["\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas"],"unitdate_inclusive_ssm":["1896-2013"],"normalized_date_ssm":["1896/2013"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1897-1914: Early Strips, Richard Outcault, Billy Marriner, Jimmy Swinnerton. 1915-1929: J.P. Alley \u0026 Son, Thomas A. Dorgan, Radical Artists, M. Covarrublas"],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection"],"has_online_content_ssim":["false"],"child_component_count_isi":10,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":38,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"_nest_path_":"/components#0/components#0/components#10","timestamp":"2026-06-11T20:05:03.693Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright collection","title_ssm":["Richard Wright collection"],"title_tesim":["Richard Wright collection"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright collection","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright collection"],"collection_title_tesim":["Richard Wright collection"],"collection_ssim":["Richard Wright collection"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright collection, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThe Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-11T20:05:03.693Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c11"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c12","type":"Subseries","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\"","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c12#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c12","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c12"],"id":"viw_repositories_2_resources_9853_c01_c01_c12","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\""],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\"","title_ssm":["\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\""],"title_tesim":["\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\""],"unitdate_inclusive_ssm":["1900-2011"],"normalized_date_ssm":["1900/2011"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\""],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection"],"has_online_content_ssim":["false"],"child_component_count_isi":9,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":49,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011],"_nest_path_":"/components#0/components#0/components#11","timestamp":"2026-06-11T20:05:03.693Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright collection","title_ssm":["Richard Wright collection"],"title_tesim":["Richard Wright collection"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright collection","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright collection"],"collection_title_tesim":["Richard Wright collection"],"collection_ssim":["Richard Wright collection"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright collection, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThe Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-11T20:05:03.693Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c12"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c19","type":"Subseries","attributes":{"title":"\"Clean Fun: Blacks in Comics,\" Untitled binder","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c19#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c19","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c19"],"id":"viw_repositories_2_resources_9853_c01_c01_c19","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Blacks in Comics,\" Untitled binder"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics,\" Untitled binder","title_ssm":["\"Clean Fun: Blacks in Comics,\" Untitled binder"],"title_tesim":["\"Clean Fun: Blacks in Comics,\" Untitled binder"],"unitdate_inclusive_ssm":["1900-2012"],"normalized_date_ssm":["1900/2012"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics,\" Untitled binder"],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection"],"has_online_content_ssim":["false"],"child_component_count_isi":21,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":103,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"_nest_path_":"/components#0/components#0/components#18","timestamp":"2026-06-11T20:05:03.693Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright collection","title_ssm":["Richard Wright collection"],"title_tesim":["Richard Wright collection"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright collection","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright collection"],"collection_title_tesim":["Richard Wright collection"],"collection_ssim":["Richard Wright collection"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright collection, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThe Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-11T20:05:03.693Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c19"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c18","type":"Subseries","attributes":{"title":"\"Clean Fun: Starring images of African-Americans in the Comic Art of America\"","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c18#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c18","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c18"],"id":"viw_repositories_2_resources_9853_c01_c01_c18","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"parent_unittitles_ssm":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"parent_unittitles_tesim":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\""],"text":["Richard Wright collection","Series 1: Research files","\"Clean Fun: Blacks in Comics\"","\"Clean Fun: Starring images of African-Americans in the Comic Art of America\""],"title_filing_ssi":"\"Clean Fun: Starring images of African-Americans in the Comic Art of America\"","title_ssm":["\"Clean Fun: Starring images of African-Americans in the Comic Art of America\""],"title_tesim":["\"Clean Fun: Starring images of African-Americans in the Comic Art of America\""],"unitdate_inclusive_ssm":["1804-2013"],"normalized_date_ssm":["1804/2013"],"normalized_title_ssm":["\"Clean Fun: Starring images of African-Americans in the Comic Art of America\""],"component_level_isim":[3],"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection"],"has_online_content_ssim":["false"],"child_component_count_isi":30,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":72,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"_nest_path_":"/components#0/components#0/components#17","timestamp":"2026-06-11T20:05:03.693Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright collection","title_ssm":["Richard Wright collection"],"title_tesim":["Richard Wright collection"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"text":["MS 00317","/repositories/2/resources/9853","Richard Wright collection","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"normalized_title_ssm":["Richard Wright collection"],"collection_title_tesim":["Richard Wright collection"],"collection_ssim":["Richard Wright collection"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e\n","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. ","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e\n","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e\n","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e\n","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e\n","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e\n","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. ","\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. ","\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e\n","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Richard Wright collection, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThe Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e\n","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Richard Wright collection, compiled by Richard Wright, focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. ","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. 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