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This image is the same as 188.015, but is zoomed in a little closer","A Professor and a student pose, professor looking at a sheet of paper while the student types on a typewriter.","Looks like the girl might be opening a door, but photo is very dark and is very foggy","This photo was likely used in a yearbook. The Girls are seated around the fountain in the hidden garden.","Photo has creases and damage on one side. This is the original print of 188.023","This is a reprint of 188.022, and also has crease lines in the center of the photograph","Can see a view of the back of the Library, Grainger and students doing an activity or event on the grass outside the library. Written on the back \"Christmas Greetings 1952, Douglas W. Fraser)","Student pose to represent each year of college, Freshman student wears a Freshman Beanie, while Senior wears her cap and gown.","Written on back \" Maybe circus 1955 Freshman Class\"","Many of the students are looking away or got disc"],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection date from 1818 to 1970 and consist of historical memorabilia, ephemera, documents, and photographs collected by members of Pi Gamma Mu, as well as materials related specifically to the organization itself.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and content"],"scopecontent_tesim":["The materials in this collection date from 1818 to 1970 and consist of historical memorabilia, ephemera, documents, and photographs collected by members of Pi Gamma Mu, as well as materials related specifically to the organization itself."],"names_coll_ssim":["Longwood College -- : History.","State Teachers College (Farmville, Va.) -- : History.","Longwood College -- : Students."],"names_ssim":["Greenwood Library Archives and Special Collections","Pi Gamma Mu","Pi Gamma Mu ","Longwood College -- : History.","State Teachers College (Farmville, Va.) -- : History.","Longwood College -- : Students."],"corpname_ssim":["Greenwood Library Archives and Special Collections","Pi Gamma Mu","Pi Gamma Mu ","Longwood College -- : History.","State Teachers College (Farmville, Va.) -- : History.","Longwood College -- : Students."],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":302,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T19:32:29.062Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifarl_repositories_2_resources_107_c04_c07"}},{"id":"vifrem_repositories_2_resources_27_c03_c01","type":"Subseries","attributes":{"title":"Classes","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifrem_repositories_2_resources_27_c03_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifrem_repositories_2_resources_27_c03_c01","ref_ssm":["vifrem_repositories_2_resources_27_c03_c01"],"id":"vifrem_repositories_2_resources_27_c03_c01","ead_ssi":"vifrem_repositories_2_resources_27","_root_":"vifrem_repositories_2_resources_27","_nest_parent_":"vifrem_repositories_2_resources_27_c03","parent_ssi":"vifrem_repositories_2_resources_27_c03","parent_ssim":["vifrem_repositories_2_resources_27","vifrem_repositories_2_resources_27_c03"],"parent_ids_ssim":["vifrem_repositories_2_resources_27","vifrem_repositories_2_resources_27_c03"],"parent_unittitles_ssm":["Scrapbooks","Alumni groups"],"parent_unittitles_tesim":["Scrapbooks","Alumni groups"],"text":["Scrapbooks","Alumni groups","Classes"],"title_filing_ssi":"Classes","title_ssm":["Classes"],"title_tesim":["Classes"],"unitdate_inclusive_ssm":["1915-1964"],"normalized_date_ssm":["1915/1964"],"normalized_title_ssm":["Classes"],"component_level_isim":[2],"repository_ssim":["University of Mary Washington"],"collection_ssim":["Scrapbooks"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":77,"date_range_isim":[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],"_nest_path_":"/components#2/components#0","timestamp":"2026-05-21T14:28:49.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifrem_repositories_2_resources_27","ead_ssi":"vifrem_repositories_2_resources_27","_root_":"vifrem_repositories_2_resources_27","_nest_parent_":"vifrem_repositories_2_resources_27","ead_source_url_ssi":"data/oai/MW/repositories_2_resources_27.xml","title_ssm":["Scrapbooks"],"title_tesim":["Scrapbooks"],"unitdate_ssm":["1914-2011"],"unitdate_inclusive_ssm":["1914-2011"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS.0010","/repositories/2/resources/27"],"text":["MSS.0010","/repositories/2/resources/27","Scrapbooks","Digital copy only. Please contact Special Collections to arrange access.","Material is available as digital content only. Contact Special Collections staff to arrange access.","Digital copy only. Please contact Special Collections for access.","Digitized version available.","Digitized version available.","Digitized version available","Digitized version available.","A group of students in Digital History (HIST 428), Spring 2022 digitized and transcribed the scrapbook to create a  digital exhibit , \"The Life of Private Schwartz.\" The exhibit includes a map of many of the places mentioned in the scrapbook.","Catherine Ficklin was born in 1911. She attended high school in Aberdeen, MD, and then went to Fredericksburg State Normal School for 3 years and 2 summers, attending classes and working in the library until she graduated in 1930. From there she moved to Wicomico Church, where she taught at Wicomico School for 2 years. Catherine married John Robert Chilton Stephens and they had three children: John R, Jr., Jane Lyell S. Ayers Drummond (wrote for Times-Dispatch and has a journalism scholarship in her name), and Catherine (attended Stephen College and Boston Conservatory).","Mildred Lenore Burke entered MWC in 1939 but left in 1941 to study nursing and be of assistance during WWII.","Historical materials may contain offensive content. Simpson Library continues to make these sources available to provide an accurate and accessible record of the University's history. By providing an open and transparent historical record, we seek to uphold the University's ASPIRE values and provide a diverse and supportive learning environment.","Note that this scrapbook contains racist imagery and language, including programs and tickets to minstrel shows, a birthday card depicting \"baby Sambo,\" and an illustration of an auction taking place at the \"Old Slave Block\" in downtown Fredericksburg. Special Collections and Archives makes these materials available to researchers to provide an accurate and transparent record of the University's history.","Some images depict students in blackface.","Contains some images of white students depicting indigenous and East Asian people.","Outdated language used to describe Asian cultures.","Cover is brown paper and reads \"Memory Book\" in silver writing. The cover shows some tearing and scribbles. Black string used for binding removed for preservation but retained in the box. Inside the scrapbook contains notes, dried flowers, programs, napkins, menu, pamphlets, ticket stubs, newspaper clippings, postcards, and pencils, which have been glued in. Black paper used throughout for decoration. Some loose media/pages.","The pages depict student life on campus in the earliest years of the Fredericksburg Normal School. The photos show students playing in the snow, participating in May Queen events, going to class, and posing in different locations around the original three campus buildings. They also include Professor William Hamlet at his house (now Hamlet House) tending to his chickens that lived around back.","Scrapbook contains Fredericksburg State Normal School (FSNS) basketball uniform felt letter, photographs, newspaper, letters, program, Alumnae Association Treasurer report, bumper stickers, invitations. Includes materials from alumna's time as a student (Class of 1918) as well as content from her 50th anniversary class reunion.","A scrapbook created by Helen Davenport Smith, Class of 1919. It's titled \"Kodak Book\" after what was most likely the popular camera used at the time. The enclosed images depict the the campus in the early 20th century and its students engaging in various activities, such as gardening and socializing, as well as Smith's post-college life and rural teaching career.","Scrapbook with media dating from 1927-28, assembled by student Catherine Ficklin Stephens. The scrapbook is titled \"The Girl Graduate Her Own Book\" on the cover and is a premade scrapbook that the student added media to. Contents include photographs, newspaper, autographs, programs, notes, bus schedule, invitations, letters, candy wrappers, locks of hair, stamps, advertisements.","Students Handbook, 1928, 1929 ","\"Alma Mater\" – Music by Mildred P. Stewart '28, Words by Sallie B. Walker '28","\"America the Beautiful\" ","\"Program of activities opening week, September 18-22, 1928\" ","\"Faculty and Officers\" session 1929-30 ","Program: \"Memorial Service to Algernon Bertrand Chandler\" – Oct. 14, 1928","\"Program of the Ceremony Celebrating the Beginning of Work on the National Battlefields Park of Fredericksburg and Spotsylvania\" – Oct. 19, 1928 ","Program for a play: Peg O' My Heart presented by the YWCA ","Program for a play: The Color Line: A One Act Play of Present-Day China by Irene Taylor MacKair ","Convocation program, December 18, 1928 ","Comic - Devil-Goat day? ","Pamphlet: \"Folk-Plays of the Carolina Playmakers\", UNC Chapel Hill, 1928-1929 ","Program: \"'The Joy of Life' A Musical Romance Presented by Senior Class, Dec. 7, 1928\" ","Glee Club program, Jan. 31, 1929; March 15, 1929, Jan. 25 ","Program: \"The Boston Male Choir\" ","Program: \"Choral Festival: Virginia Federation of Music Clubs and Virginia Music Teachers State Ass'n\" – April 8-12, 1929 ","Program: \"John Powell Concert\", April 10, 1929 ","Song lyrics: \"Merrily, Merrily\"; \"Going to Shout All Over God's Heaven\"; \"Reuben and Rachel\"; \"Today is Monday\"; \"Nancy Lee\"; \"America the Beautiful\"; \"Swing Low, Sweet Chariot\"; \"Flow Gently, Sweet Afton\" ","Program: \"S. T. C. Dramatic Club presents Nathan Hale A Four Act Play\", April 26, 1929 ","May Day program, May 11, 1929, May 10, 1930 ","\"Class Day Exercises, June 1, 1929\"  ","Program: Baccalaureate Service, June 2, 1929 ","Commencement program, June 3, 1929 ","Image and article on Fannie Ward ","Handwritten  invitation to \"Baptist Picnic\", Oct. 18 ","Opera program: \"Tales of Hoffman\" ","Various laundry receipts and tickets ","\"Spend a While at Fredericksburg, Virginia\" – pamphlet published by the Chamber of Commerce ","Program: \"Sacred Concert\" April 6 ","\"A Suggestion to High School Seniors\" Bulletin, vol.16 n.1 Jan. 1930 ","Baccalaureate service program, June 8, 1930 ","Commencement program, June 1930 ","\"Program of the Twentieth Anniversary Celebration of The State Teachers College at Fredericksburg, VA\" – June 6, 1931","Contents include photographs, newspaper clippings, cards, programs for theater and dance performances, ribbons, medals, postcards, correspondence, tickets, and grade sheets. Mamie carefully documented her activities and achievements from her late high school career at Suffolk High School through her transition to a State Teachers College student. Materials show that she was involved in the Y.W.C.A, at one point serving as the secretary, and was selected for Alpha Phi Sigma, a scholarship fraternity. She documented attending many musical and dramatic performances, enjoyed campus activities like Devil Goat Day and May Day, and recorded the acheivements of her friends.","Student scrapbook from the Class of 1935, filled with photographs, newspaper, programs, unexcused absence slips, tickets, invitations, notes, candy wrappers, the Modern Portias club yearbook, letters, doilies, napkins, calling cards, and Bing Crosby cut-outs.","A digitized scrapbook containing annotated photographs of friends and buildings on the Mary Washington campus dating from 1935-1937. Five friends are named and identified on the front page as \"Pals from Hampton Hi School '35\"; one of the five, Audrey Wood, appears to be a State Teachers College student and resident of Willard Hall. Additional individuals, such as Audrey's roommates and other \"Hampton gals\" are identified throughout.","Contains several pages of photographs of student life on campus with handwritten captions and comments.","Scrapbook curated by a student at MWC from 1939-1941. Contents include correspondence, photographs, newspapers, dried flowers and other small artifacts, programs, schedules, and other ephemera like napkins and tickets from campus events. She documents moments such as arriving to campus as a freshman and being told what to bring and who her adviser would be, and also her involvement with campus clubs and organizations like the YWCA, German Club, and athletics.","Scrapbook documenting unique student experiences from 1940-1942. Content includes programs, pictures, post cards, academic papers and grades, newspaper clippings, invitations, dried corsages, etc. Collins Burke also includes several articles and images of the Washington, DC-native theatre actress Helen Hayes to mark a performance she gave at the college.","Four scrapbooks compiled by Elizabeth Bryan Stallings '46. They depict her activities at MWC from 1942 through her graduation in 1946. The scrapbooks prominently feature her involvement with the Cavalry Club; one of the scrapbooks is entirely dedicated to a Cavalry Troop excursion through Shenandoah National Park.","Photograph of the \"U Save It Store\" in McRae, Georgia. The shop was owned by the Elizabeth Stallings' father, and Elizabeth appears in the photo as a small child alongside her parents and an unknown customer.","Contents include black and white photos depicting the experience of a student at Mary Washington College in the early 1940s. Some photos document a severe flood that impacted Fredericksburg in 1942. Other documented activites include parades, equestrian activities, and general leisure time.","Contents are exclusively black and white photographs depicting life for a young woman in the early 1940s. Many photographs depict summertime leisure and equestrian activities. Elizabeth's graduation ceremony is also documented.","Contents include newspaper clippings, concert programs, devil/goat cloths, riding competition ribbons and documentation of equestrian events, invitations, correspondence, and postcards. The scrapbook provides the unique insight into the experience of a young woman in college during WWII, as well as one who was very involved in horse riding.","Scrapbook documenting a 10-day pack trip taken into Shenandoah National Park by members of the Cavalry Troop in the summer of 1944. Contents are primarily black and white photos depicting the students and their horses at various sites throughout the park. Toop members rode, hiked, camped, cooked, and played outdoors. The students were supervised by Mr. Russ Walther, MWC riding instructor, and there is a 1986 article about Mr. Walther tipped in the back of the book.","Scrapbook assembled by Marilyn Bass (nee Crosby) documenting her experiences at Mary Washington College of the University of Virginia in the early 1950s. Contents are exclusively black and white photos depicting people and locations on campus and in the Fredericksburg community.","Contents include photographs, newspaper clippings, copies of publications, programs, correspondence, sketches, maps, invitations, grade reports, receipts, ticket stubs, cards, and postcards. Frances' 1948 acceptance letter to the college is included, and she proceeds to thoroughly document her college experience. Materials indicate her involvement in the arts and dance on campus, her social and extracurricular engagements, and her classwork.","Contains images of commencement, campus, senior benefit (Called \"Future Edition\": \"Jonathan Swift probably would have commended the seniors of 1950 for their satiric production, \"Future Edition.\" Set in the year 1971, the play starred the future leaders of America, the women. Madame President presided over an all-woman cabinet comprising such offices as the Secretary of Exterior in charge of fashions and the Secretary of the Interior the authority on interior decorating.\" – From 1959 Bullet). Leora Knapp (married name Mora) was editor of the 1950 Battlefield.","Scrapbook pages containing black and white photographs of people and buildings on the Mary Washington Campus dating from around 1952. Many of the photographs depict life in the dorms for the residents of Ball Hall, Room 205.","Scrapbook documenting the activities of Sigma Tau Chi, the business fraternity, between 1939-1956 (no activity documented between 1942-1952). Contents include photographs, member rosters and activities reports, and newspaper clippings. Several pages also document a 1947 Virginia State Commercial Contest, where students competed in contests judging skills such as penmanship, shorthand, typewriting, and office personality.","Scrapbook documenting the activities of the Cotillion Club from 1938-1948. This was primarily a social club responsible for organizing various dances, and the material in the scrapbook reflects these efforts. Contents include photographs, invitations, sheet music, ribbons, newspaper clippings, letters, table decorations, and Cotillion constitution and history,","Contains invitations and dance cards, dried flowers, photographs, and news clippings. The contents document the German Club at this time as a primarily social club, and along with Cotillion, they were responsible for organizing most of the dances that took place at the college in the 1930s-40s. Newspaper clippings in the scrapbook also document the choice to disband both of these clubs in 1947.","Scrapbook created by the MWC of UVA Defense Program, sponsored by the Student Government Association. Founded January 23, 1942, the program's purpose was primarily to raise money for the war effort through selling stamps and bonds. Annotated photographs, newspaper clippings, and announcements describe the installation and activities of the stamp booth, as well as other promotional events such as the Bond Queen Contest, a visit from the governor, drives, rallies, and auctions. The final pages of the scrapbook provide an FAQ about the effort and a list of total sales for each year the defense program was active. Overall, the scrapbook reports that 95% of students and faculty participated and generated over $45,000 from 1942-1945.","Photo album documenting the activities of the SGA executive officers in 1987-88. Events include a summer 1987 retreat in Middleburg, VA, Leadership Week guest speaker, and construction of the Woodard Campus Center. The album also includes newspaper clippings of relevant events at the time, such as the death of a student from alcohol poisoning and student reactions to required AIDS seminars in the dorms. Several loose photos of student events from around 2002 are also interfiled in the album.","Scrapbook documents the activities of the MWC of UVA's Eta Eta chapter of Alpha Psi Omega, a national theater honor society. Contents include newspaper clippings, paper ephemera, correspondence, photographs, programs and announcements for performances, and several copies of \"The Playbill,\" the annual Alpha Psi Omega publication.","Contents include certificates, membership cards and organization requirements, correspondence, event signs, photographs, performance schedules and programs, and newspaper clippings. Early pages of the scrapbook document the formation of the group as a member of the Guild's D.C. Chapter in 1951 with Jean Slater Appel (Edson) as faculty sponsor. The scrapbook primarily features documentation of the group's many performances and recitals.","Contents include guild declaration of religious principles and code of ethics, meeting minutes, photographs, performance programs, correspondence, and newspaper clippings. Materials primarily document the many concerts and performances of the group. Some photographs depict a trip to see the Von Berkeroff Organ at the University of Richmond in April, 1964.","Contents include organization minutes, signed plate, doilies, newspaper clippings, programs, photographs, club constitution, club handbook, letters, and invitations. Materials document such events as Bake Sales and participation in workshops and the Virginia Home Economics Association Convention.","Contents include invitations, club handbook, napkins, letters, newspaper clippings, club event signs, programs, and annual reports. Materials document events such as the annual Bake Sale and Christmas Party, a Fashion Show, and convention activities with the Virginia Home Economics Assocation.","Contains photographs, fabric swatches, club handbook, invitations, newspaper clippings, programs, College Echo newsletters (the newletter for the College Chapter of the Virginia Home Economics Association). Documented activities include involvement with the VHEA College Chapter and clothing drives.","Contains annotated photographs, inter-club association booklet, club handbook, newspaper clippings, programs, and letters. The scrapbook documents the achievements of the women in the club and the events they participated in during the 1964-65 and 1965-66 academic years.","Contents include programs, photographs, newspaper clippings, and postcards compiled by Pi Delta Gamma, the honorary home economics fraternity (later Kappa Omicron Phi). The material primarily includes annotated photos documenting the activities of the Pi Delta Gamma students in the Home Ec. program and the Home Ec. club.","Scrapbook contains newspaper clippings, photographs, programs, dance cards, and correspondence documenting the activities and accomplishments over all four years of the Class of 1952 at MWC. In addition to the affixed media items, the pages contain many hand-drawn illustrations and decorations, as well as annotations for many images.","Scrapbook contains photographs, newspaper clippings, programs, and correspondence documenting the activities and accomplishments of the Class of 1954 during all four years of their attendance at MWC. Some pages include hand drawn illustrations and annotations.","Contents document the activities of the Class of 1957 throughout all four years of their attendance at MWC. Materials include newspaper clippings, photographs, programs, correspondence, schedules, and paper ephemera. Images depict different buildings and locations on campus, and students engaging in dorm activities, performances, May Day, and other college events.","Scrapbook documents the activities and accomplishments of the MWC class of 1966 throughout their four years in college. Contents include photographs, newspaper clippings, pamphlets and programs, correspondence, and ephemera like candy bar wrappers and tickets to events. Materials cover student participation in various musical and artistic performances, sports, and other extracurriculars like May Day, and also document individuals holding class leadership positions. Some collected notes and correspondence are tipped in to the back.","Scrapbook documenting student activities during the first year of the class of 1974. Contains photographs, programs, schedules, memos, and correspondence, with illustrations and handwritten notes annotating contents. The scrapbook includes a tipped-in table of contents outlining the events documented such as orientation, concerts, the freshman dance, and final exams.","Scrapbook documenting student activities during the second year of the class of 1974. Contains primarily photographs with illustrations and handwritten/painted notes annotating contents. Many of the photographs are candid shots of friends hanging out at different locations and events on campus.","Scrapbook documenting the appearances and achievements of the MWC All-Girl Marching Band. Contents include photographs, newspaper clippings, programs and flyers from events, and correspondence. Materials describe the band traveling to perform at football games such as the Oyster Bowl, parades, and festivals throughout the state and note their success in competitions. They also show the band performing at home in events like May Day and a Christmas music performance in George Washington Hall, as well as posing for publicity-style photos on campus. The scrapbook contains the original photo of Bing Crosby signing the bass drum now on display in Special Collections, and a newspaper clipping of Al Hodge (of 1950s TV show \"Captain Video and his Video Rangers\") doing the same.","Contatins photographs, newspaper clippings, programs, club minutes, and flyers of sponsored events. The club documents particpation in such events as visiting the Thai embassy in Washington D.C. to commemorate the Wesak Feastival, sponsoring art exhibits, hosting the Burmese ambassador, and attending a performance of Indonesian dancers.","Contains photographs, letters, flyers, programs, and newspaper clippings. Events documented include the Russo-Asian Symposium, the First Annual International Buddhist Seminar, group dinners, visiting lecturers, and the retirement of Dr. Leidecker, who had been the club's sponsor since its inception in 1954.","This series contains scrapbooks assembled by the student residents of Betty Lewis Hall over the years. Named for George Washington's sister, Elizabeth (Betty) Lewis, the dorm was one of the earliest residences, opening for students in 1925. The college leased Betty Lewis Hall for a number of years but ceased doing so in September 1972. The building is now apartments on Sunken Rd.","Contains photographs of student dorm life affixed with photo corners.","Contains photographs, letters, invitations, and greeting cards secured with tape.","Contains photographs, programs, letters, mouse week rules, decorations, newsletters, and newspaper clippings. Media affixed with a combination of tape, glue, and photo corners.","Materials include letters and memos, annotated photographs, club constitution, and pamphlets. Documented events include invited speakers, campaigning, and fundraising/volunteer activities for regional Republican causes and candidates such as Bill Scott and Paige Young.","Contents include annotated photographs, newspaper clippings, flyers distributed during \"Youth for Nixon Week,\" club minutes and documents, pamphlets, and correspondence.","Contents include programs amd pamphlets, newspaper clippings, photographs, letters and memos, and campaign materials for Republican candidates like Linwood Holton (elected Virginia Governor in 1970).","Photo album depicting residence hall life from the perspective of RAs and other residence life staff. Photos depict staff workshops and move-in day, and also social activities like tubing on the Rappahannock River, Halloweens, soccer games, a co-ed fashion show, working out, and hanging out on campus.","Photo album depicting student activities from 1983-1984, often from the perspective of residence life and outreach staff. Events depicted include an RA retreat, parents weekend, Halloweens, attending a NACA (National Association for Campus Activities) conference, and \"MASH weekend,\" a themed event featuring a showing of the original MASH movie, a character look-alike contest, and a tent-raising competition.","Photo album depicting scenes of student life on the MWC campus, often from the perspective of residence life staff. Events documented include the Student 75th Anniversary Parade down Campus Drive (before it was Campus Walk), playing in the snow, RA retreats, Halloweens, preparing for President Anderson's inauguration, playfair, graduation, and parents' weekend.","Photo album depicting various campus activities and events from the perspective of residence life students. Documented events include the 1986 graduation ceremony, RA socials, move-in day, a Japanese tea ceremony, and \"Grill on the Hill\" at Marshall Hall. Several photographs of individual students identify the residence halls in which they worked.","Photo album shows collected images of the Historic Preservation Club's activities in the late 1990s. Photos document trips to such places as Frank Lloyd Wright's Fallingwater, Agecroft House in Richmond, VA, South Carolina, and Savannah, GA. Photos also show members participating in the annual Ghost Walk and Victorian Ball.","Contents include photographs, written notes, museum pamphlets, maps, newspaper clippings, and various ephemera from trips and events. Some of the activities documented include travel to local, national, and international historic sites, and the annual club occurrences of the Ghost Walk and Victorian Ball.","Scrapbook documenting activities of the Historic Preservation Club from 2007-2008. Photographs show the club members on trips to Washington, D.C., Philadelphia, Hampton House in Maryland, Ferry Farm, Caroline County, and Richmond, as well as documenting the club's annual Ghost Walk.","Scrapbook cover is a darker blue color decorated with the words \"Mary Washington Young Democrats.\" Materials include photographs, stickers, and notes. Photos depict students participating in various social, community service, and political activities, including attending conventions and meeting Tim Kaine during his campaign for governor.","Materials include photographs, election paraphernalia (bumper stickers, stickers). Items document the 2008 presidential and senate elections and include photographs of Barack Obama's visit to UMW. Students also documented participating in campaign amd election day activities for Obama and other democratic candidates in Virginia, and later visiting DC for Obama's inauguration. Photos also depict students socializing with then-governor (later senator) Tim Kaine, former governor (later senator) Mark Warner, and future governor Terry McAuliffe at Mark Warner's picnic.","Materials include photographs, stickers, and notes. Photos depict students participating in various campaign, social, and community service activities, including supporting Creigh Deeds' unsuccessful run for governor in 2009.","Printed booklet featuring photographs from Ecology Club events such as: Club Carnival, Old Rag hikes, Clean Energy Rally, VA and National Powershifts, Painting the Rock, Weekend in Wise, Appalachia Rising, Conservation Lobby Day, Eco Club Formal, Green Week, and others.","Scrapbook documenting the activities of the Class of 1915, including their reunions and fundraising efforts. The scrapbook was assembled by Ruth Carter Vellines, the Class Agent for the years represented. Contents include photographs, newspaper and magazine clippings, letters, and invitations. Among this is correspondence documenting the alums' effort to raise money for the Rare Book Room, and a response from Rare Book Librarian Daniel Woodward stating that their donation allowed him to buy the first French edition of Ulysses.","Scrapbook compiled by members of the class of 1964 on the occasion of their third reunion in 1967. Pages contain photographs and updated biographies where the women list where they live, any graduate education, their current occupation, their husband's occupation, and any update notes they wished to include. Also included are pages of handwritten correspondence from the alums to their class representative giving updates. Contents also contain a reunion schedule, 1967 annual alumni association presidents' report, and programs.","Scrapbook contains media that represent a record of Alumnae Association activities from 1927-1954. Materials include alumnae handbook, bulletin, news, association constitution, newspaper clippings, letters, tickets, programs, invitations, flyers, seating arrangement chart, photographs, sheet music, matchbox, pressed flower, map of campus. Cover has handmade decoration.","Contains media reflecting the activities of the Alumnae Association from 1957-1960. An enclosed card suggests it may have been assembled by Miss Mary Tarpley, Historian, 1958-1960. Contents include programs, invitations, newspaper, letters, dean's list, photographs, minutes, president's report, and the 1960 commencement address.","Materials include member rosters, calendars of events, constitution and bylaws, cards and programs, notes.","Material includes executive board rosters, newspaper clippings, photographs, notes, newsletters, calendars and documentation of events such as opening lunch, Christmas dance, and community aid projects.","Material includes clippings, notes, executive board rosters, programs and cards, correspondence, annual reports.","Material includes executive board rosters, newspaper clippings, newsletters, programs, calendars and documentation of events such as the chapter scholarship awards and annual bridge party. Some of the documentation pertains to contemporary controversies at MWC, such as the dismissal of President Combs and the applications of Black students.","Materials include executive board rosters, newspaper clippings, correspondence, notes, documentation of events such as the chapter scholarship awards and the bridge fashion show.","Materials include photographs, correspondence and announcements, programs, chapter bylaws, clippings, cards and notes, documentation of events such as the covered dish supper, bridge fashion show, and telethon.","Materials include executive board rosters, correspondence, photographs, notes and drawings, cards and programs, newsletters, Century Club certificate, documentation of events such as covered dish supper, scholarship awards, and telethon.","Materials include photographs, correspondence, clippings, notes.","Scrapbook compiled by alums to mark the events of Homecoming 1969, \"An Arts Weekend.\" Contains photos, events schedules, biographies, life updates, and letters from various alums.","Scrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virginia newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC from 1952 through 1955, including the departure of President Combs.","Scrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virgina newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC from 1955 through 1959.","Scrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virginia newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC for the academic year 1977-1978.","Four scrapbooks documenting events at the Trinkle, then Simpson, libraries. Material includes newspaper clippings showcasing staff accomplishments, photos of family, student, and staff events, and documentation of the construction of Simpson Library.","Contents include newspaper clippings, photographs, letters, campus grapevine newsletter, and postcards. Clippings document the hiring of Roy Strohl as University Librarian in 1985, some of the publication accomplishments of longtime Humanities Librarian Jack Bales, planning for the new library and other campus happenings, and student scholarship announcements. Photographs show staff/aide picnics, holiday parties, and record many scenes throughout Trinkle Library.","Materials include newspaper and magazine clippings and photographs. Clippings primatily document the new library with a few noting professional accomplishments. Included photographs record the construction and subsequent move from Trinkle to Simpson Library, showcasing the brand new library spaces. Images also depict exhibits in the new space and staff/student celebrations.","Contents include newspaper clippings, invitations, and photographs. Some of the documented events include student/staff luncheons, the retirement of Mildred Ray after 40 years of working at MWC, and student award winners for the year.","Materials document the party for and bestowing of awards for library student assistants in 2004. Most of the people depicted are identified in handwritten notes by the scrapbook creator.","Scrapbook assembled by Albert A. Schwarz, co. B 68th A.R. 6th Div. APO 256 Camp Chaffee, Arkansas, documenting his Army experience from 1942-1944. Scrapbook includes photographs with text explaining the vast majority of the photos. Pvt. Schwartz remained stateside during the events described in the scrapbook, traveling only as far as Hawaii.","University of Mary Washington Special Collections and University Archives","Mary Washington College. Alumni Association","University of Mary Washington. Jepson Alumni Executive Center","University of Mary Washington. Simpson Library","Edson, Jean Slater","English \n.    "],"unitid_tesim":["MSS.0010","/repositories/2/resources/27"],"normalized_title_ssm":["Scrapbooks"],"collection_title_tesim":["Scrapbooks"],"collection_ssim":["Scrapbooks"],"repository_ssm":["University of Mary Washington"],"repository_ssim":["University of Mary Washington"],"has_online_content_ssim":["false"],"extent_ssm":["12 Linear Feet"],"extent_tesim":["12 Linear Feet"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eDigital copy only. Please contact Special Collections to arrange access.\u003c/p\u003e","\u003cp\u003eMaterial is available as digital content only. Contact Special Collections staff to arrange access.\u003c/p\u003e","\u003cp\u003eDigital copy only. Please contact Special Collections for access.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["Digital copy only. Please contact Special Collections to arrange access.","Material is available as digital content only. Contact Special Collections staff to arrange access.","Digital copy only. Please contact Special Collections for access."],"altformavail_html_tesm":["\u003cp\u003eDigitized version available.\u003c/p\u003e","\u003cp\u003eDigitized version available.\u003c/p\u003e","\u003cp\u003eDigitized version available\u003c/p\u003e","\u003cp\u003eDigitized version available.\u003c/p\u003e","\u003cp\u003eA group of students in Digital History (HIST 428), Spring 2022 digitized and transcribed the scrapbook to create a \u003ca href=\"https://pvtschwarz.umwhistory.org/\"\u003edigital exhibit\u003c/a\u003e, \"The Life of Private Schwartz.\" The exhibit includes a map of many of the places mentioned in the scrapbook.\u003c/p\u003e"],"altformavail_heading_ssm":["Existence and Location of Copies","Existence and Location of Copies","Existence and Location of Copies","Existence and Location of Copies","Existence and Location of Copies"],"altformavail_tesim":["Digitized version available.","Digitized version available.","Digitized version available","Digitized version available.","A group of students in Digital History (HIST 428), Spring 2022 digitized and transcribed the scrapbook to create a  digital exhibit , \"The Life of Private Schwartz.\" The exhibit includes a map of many of the places mentioned in the scrapbook."],"bioghist_html_tesm":["\u003cp\u003eCatherine Ficklin was born in 1911. She attended high school in Aberdeen, MD, and then went to Fredericksburg State Normal School for 3 years and 2 summers, attending classes and working in the library until she graduated in 1930. From there she moved to Wicomico Church, where she taught at Wicomico School for 2 years. Catherine married John Robert Chilton Stephens and they had three children: John R, Jr., Jane Lyell S. Ayers Drummond (wrote for Times-Dispatch and has a journalism scholarship in her name), and Catherine (attended Stephen College and Boston Conservatory).\u003c/p\u003e","\u003cp\u003eMildred Lenore Burke entered MWC in 1939 but left in 1941 to study nursing and be of assistance during WWII.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical","Biographical / Historical"],"bioghist_tesim":["Catherine Ficklin was born in 1911. She attended high school in Aberdeen, MD, and then went to Fredericksburg State Normal School for 3 years and 2 summers, attending classes and working in the library until she graduated in 1930. From there she moved to Wicomico Church, where she taught at Wicomico School for 2 years. Catherine married John Robert Chilton Stephens and they had three children: John R, Jr., Jane Lyell S. Ayers Drummond (wrote for Times-Dispatch and has a journalism scholarship in her name), and Catherine (attended Stephen College and Boston Conservatory).","Mildred Lenore Burke entered MWC in 1939 but left in 1941 to study nursing and be of assistance during WWII."],"odd_html_tesm":["\u003cp\u003eHistorical materials may contain offensive content. Simpson Library continues to make these sources available to provide an accurate and accessible record of the University's history. By providing an open and transparent historical record, we seek to uphold the University's ASPIRE values and provide a diverse and supportive learning environment.\u003c/p\u003e","\u003cp\u003eNote that this scrapbook contains racist imagery and language, including programs and tickets to minstrel shows, a birthday card depicting \"baby Sambo,\" and an illustration of an auction taking place at the \"Old Slave Block\" in downtown Fredericksburg. Special Collections and Archives makes these materials available to researchers to provide an accurate and transparent record of the University's history.\u003c/p\u003e","\u003cp\u003eSome images depict students in blackface.\u003c/p\u003e","\u003cp\u003eContains some images of white students depicting indigenous and East Asian people.\u003c/p\u003e","\u003cp\u003eOutdated language used to describe Asian cultures.\u003c/p\u003e"],"odd_heading_ssm":["Sensitive Content Warning","Sensitive Content Warning","Sensitive Content Warning","Sensitive Content Warning","Sensitive Content Warning"],"odd_tesim":["Historical materials may contain offensive content. Simpson Library continues to make these sources available to provide an accurate and accessible record of the University's history. By providing an open and transparent historical record, we seek to uphold the University's ASPIRE values and provide a diverse and supportive learning environment.","Note that this scrapbook contains racist imagery and language, including programs and tickets to minstrel shows, a birthday card depicting \"baby Sambo,\" and an illustration of an auction taking place at the \"Old Slave Block\" in downtown Fredericksburg. Special Collections and Archives makes these materials available to researchers to provide an accurate and transparent record of the University's history.","Some images depict students in blackface.","Contains some images of white students depicting indigenous and East Asian people.","Outdated language used to describe Asian cultures."],"originalsloc_heading_ssm":["Existence and Location of Originals"],"scopecontent_html_tesm":["\u003cp\u003eCover is brown paper and reads \"Memory Book\" in silver writing. The cover shows some tearing and scribbles. Black string used for binding removed for preservation but retained in the box. Inside the scrapbook contains notes, dried flowers, programs, napkins, menu, pamphlets, ticket stubs, newspaper clippings, postcards, and pencils, which have been glued in. Black paper used throughout for decoration. Some loose media/pages.\u003c/p\u003e","\u003cp\u003eThe pages depict student life on campus in the earliest years of the Fredericksburg Normal School. The photos show students playing in the snow, participating in May Queen events, going to class, and posing in different locations around the original three campus buildings. They also include Professor William Hamlet at his house (now Hamlet House) tending to his chickens that lived around back.\u003c/p\u003e","\u003cp\u003eScrapbook contains Fredericksburg State Normal School (FSNS) basketball uniform felt letter, photographs, newspaper, letters, program, Alumnae Association Treasurer report, bumper stickers, invitations. Includes materials from alumna's time as a student (Class of 1918) as well as content from her 50th anniversary class reunion.\u003c/p\u003e","\u003cp\u003eA scrapbook created by Helen Davenport Smith, Class of 1919. It's titled \"Kodak Book\" after what was most likely the popular camera used at the time. The enclosed images depict the the campus in the early 20th century and its students engaging in various activities, such as gardening and socializing, as well as Smith's post-college life and rural teaching career.\u003c/p\u003e","\u003cp\u003eScrapbook with media dating from 1927-28, assembled by student Catherine Ficklin Stephens. The scrapbook is titled \"The Girl Graduate Her Own Book\" on the cover and is a premade scrapbook that the student added media to. Contents include photographs, newspaper, autographs, programs, notes, bus schedule, invitations, letters, candy wrappers, locks of hair, stamps, advertisements.\u003c/p\u003e","\u003cli\u003eStudents Handbook, 1928, 1929 \u003c/li\u003e","\u003cli\u003e\"Alma Mater\" – Music by Mildred P. Stewart '28, Words by Sallie B. Walker '28\u003c/li\u003e","\u003cli\u003e\"America the Beautiful\" \u003c/li\u003e","\u003cli\u003e\"Program of activities opening week, September 18-22, 1928\" \u003c/li\u003e","\u003cli\u003e\"Faculty and Officers\" session 1929-30 \u003c/li\u003e","\u003cli\u003eProgram: \"Memorial Service to Algernon Bertrand Chandler\" – Oct. 14, 1928\u003c/li\u003e","\u003cli\u003e\"Program of the Ceremony Celebrating the Beginning of Work on the National Battlefields Park of Fredericksburg and Spotsylvania\" – Oct. 19, 1928 \u003c/li\u003e","\u003cli\u003eProgram for a play: Peg O' My Heart presented by the YWCA \u003c/li\u003e","\u003cli\u003eProgram for a play: The Color Line: A One Act Play of Present-Day China by Irene Taylor MacKair \u003c/li\u003e","\u003cli\u003eConvocation program, December 18, 1928 \u003c/li\u003e","\u003cli\u003eComic - Devil-Goat day? \u003c/li\u003e","\u003cli\u003ePamphlet: \"Folk-Plays of the Carolina Playmakers\", UNC Chapel Hill, 1928-1929 \u003c/li\u003e","\u003cli\u003eProgram: \"'The Joy of Life' A Musical Romance Presented by Senior Class, Dec. 7, 1928\" \u003c/li\u003e","\u003cli\u003eGlee Club program, Jan. 31, 1929; March 15, 1929, Jan. 25 \u003c/li\u003e","\u003cli\u003eProgram: \"The Boston Male Choir\" \u003c/li\u003e","\u003cli\u003eProgram: \"Choral Festival: Virginia Federation of Music Clubs and Virginia Music Teachers State Ass'n\" – April 8-12, 1929 \u003c/li\u003e","\u003cli\u003eProgram: \"John Powell Concert\", April 10, 1929 \u003c/li\u003e","\u003cli\u003eSong lyrics: \"Merrily, Merrily\"; \"Going to Shout All Over God's Heaven\"; \"Reuben and Rachel\"; \"Today is Monday\"; \"Nancy Lee\"; \"America the Beautiful\"; \"Swing Low, Sweet Chariot\"; \"Flow Gently, Sweet Afton\" \u003c/li\u003e","\u003cli\u003eProgram: \"S. T. C. Dramatic Club presents Nathan Hale A Four Act Play\", April 26, 1929 \u003c/li\u003e","\u003cli\u003eMay Day program, May 11, 1929, May 10, 1930 \u003c/li\u003e","\u003cli\u003e\"Class Day Exercises, June 1, 1929\"  \u003c/li\u003e","\u003cli\u003eProgram: Baccalaureate Service, June 2, 1929 \u003c/li\u003e","\u003cli\u003eCommencement program, June 3, 1929 \u003c/li\u003e","\u003cli\u003eImage and article on Fannie Ward \u003c/li\u003e","\u003cli\u003eHandwritten  invitation to \"Baptist Picnic\", Oct. 18 \u003c/li\u003e","\u003cli\u003eOpera program: \"Tales of Hoffman\" \u003c/li\u003e","\u003cli\u003eVarious laundry receipts and tickets \u003c/li\u003e","\u003cli\u003e\"Spend a While at Fredericksburg, Virginia\" – pamphlet published by the Chamber of Commerce \u003c/li\u003e","\u003cli\u003eProgram: \"Sacred Concert\" April 6 \u003c/li\u003e","\u003cli\u003e\"A Suggestion to High School Seniors\" Bulletin, vol.16 n.1 Jan. 1930 \u003c/li\u003e","\u003cli\u003eBaccalaureate service program, June 8, 1930 \u003c/li\u003e","\u003cli\u003eCommencement program, June 1930 \u003c/li\u003e","\u003cli\u003e\"Program of the Twentieth Anniversary Celebration of The State Teachers College at Fredericksburg, VA\" – June 6, 1931\u003c/li\u003e","\u003cp\u003eContents include photographs, newspaper clippings, cards, programs for theater and dance performances, ribbons, medals, postcards, correspondence, tickets, and grade sheets. Mamie carefully documented her activities and achievements from her late high school career at Suffolk High School through her transition to a State Teachers College student. Materials show that she was involved in the Y.W.C.A, at one point serving as the secretary, and was selected for Alpha Phi Sigma, a scholarship fraternity. She documented attending many musical and dramatic performances, enjoyed campus activities like Devil Goat Day and May Day, and recorded the acheivements of her friends.\u003c/p\u003e","\u003cp\u003eStudent scrapbook from the Class of 1935, filled with photographs, newspaper, programs, unexcused absence slips, tickets, invitations, notes, candy wrappers, the Modern Portias club yearbook, letters, doilies, napkins, calling cards, and Bing Crosby cut-outs.\u003c/p\u003e","\u003cp\u003eA digitized scrapbook containing annotated photographs of friends and buildings on the Mary Washington campus dating from 1935-1937. Five friends are named and identified on the front page as \"Pals from Hampton Hi School '35\"; one of the five, Audrey Wood, appears to be a State Teachers College student and resident of Willard Hall. Additional individuals, such as Audrey's roommates and other \"Hampton gals\" are identified throughout.\u003c/p\u003e","\u003cp\u003eContains several pages of photographs of student life on campus with handwritten captions and comments.\u003c/p\u003e","\u003cp\u003eScrapbook curated by a student at MWC from 1939-1941. Contents include correspondence, photographs, newspapers, dried flowers and other small artifacts, programs, schedules, and other ephemera like napkins and tickets from campus events. She documents moments such as arriving to campus as a freshman and being told what to bring and who her adviser would be, and also her involvement with campus clubs and organizations like the YWCA, German Club, and athletics.\u003c/p\u003e","\u003cp\u003eScrapbook documenting unique student experiences from 1940-1942. Content includes programs, pictures, post cards, academic papers and grades, newspaper clippings, invitations, dried corsages, etc. Collins Burke also includes several articles and images of the Washington, DC-native theatre actress Helen Hayes to mark a performance she gave at the college.\u003c/p\u003e","\u003cp\u003eFour scrapbooks compiled by Elizabeth Bryan Stallings '46. They depict her activities at MWC from 1942 through her graduation in 1946. The scrapbooks prominently feature her involvement with the Cavalry Club; one of the scrapbooks is entirely dedicated to a Cavalry Troop excursion through Shenandoah National Park.\u003c/p\u003e","\u003cp\u003ePhotograph of the \"U Save It Store\" in McRae, Georgia. The shop was owned by the Elizabeth Stallings' father, and Elizabeth appears in the photo as a small child alongside her parents and an unknown customer.\u003c/p\u003e","\u003cp\u003eContents include black and white photos depicting the experience of a student at Mary Washington College in the early 1940s. Some photos document a severe flood that impacted Fredericksburg in 1942. Other documented activites include parades, equestrian activities, and general leisure time.\u003c/p\u003e","\u003cp\u003eContents are exclusively black and white photographs depicting life for a young woman in the early 1940s. Many photographs depict summertime leisure and equestrian activities. Elizabeth's graduation ceremony is also documented.\u003c/p\u003e","\u003cp\u003eContents include newspaper clippings, concert programs, devil/goat cloths, riding competition ribbons and documentation of equestrian events, invitations, correspondence, and postcards. The scrapbook provides the unique insight into the experience of a young woman in college during WWII, as well as one who was very involved in horse riding.\u003c/p\u003e","\u003cp\u003eScrapbook documenting a 10-day pack trip taken into Shenandoah National Park by members of the Cavalry Troop in the summer of 1944. Contents are primarily black and white photos depicting the students and their horses at various sites throughout the park. Toop members rode, hiked, camped, cooked, and played outdoors. The students were supervised by Mr. Russ Walther, MWC riding instructor, and there is a 1986 article about Mr. Walther tipped in the back of the book.\u003c/p\u003e","\u003cp\u003eScrapbook assembled by Marilyn Bass (nee Crosby) documenting her experiences at Mary Washington College of the University of Virginia in the early 1950s. Contents are exclusively black and white photos depicting people and locations on campus and in the Fredericksburg community.\u003c/p\u003e","\u003cp\u003eContents include photographs, newspaper clippings, copies of publications, programs, correspondence, sketches, maps, invitations, grade reports, receipts, ticket stubs, cards, and postcards. Frances' 1948 acceptance letter to the college is included, and she proceeds to thoroughly document her college experience. Materials indicate her involvement in the arts and dance on campus, her social and extracurricular engagements, and her classwork.\u003c/p\u003e","\u003cp\u003eContains images of commencement, campus, senior benefit (Called \"Future Edition\": \"Jonathan Swift probably would have commended the seniors of 1950 for their satiric production, \"Future Edition.\" Set in the year 1971, the play starred the future leaders of America, the women. Madame President presided over an all-woman cabinet comprising such offices as the Secretary of Exterior in charge of fashions and the Secretary of the Interior the authority on interior decorating.\" – From 1959 Bullet). Leora Knapp (married name Mora) was editor of the 1950 Battlefield.\u003c/p\u003e","\u003cp\u003eScrapbook pages containing black and white photographs of people and buildings on the Mary Washington Campus dating from around 1952. Many of the photographs depict life in the dorms for the residents of Ball Hall, Room 205.\u003c/p\u003e","\u003cp\u003eScrapbook documenting the activities of Sigma Tau Chi, the business fraternity, between 1939-1956 (no activity documented between 1942-1952). Contents include photographs, member rosters and activities reports, and newspaper clippings. Several pages also document a 1947 Virginia State Commercial Contest, where students competed in contests judging skills such as penmanship, shorthand, typewriting, and office personality.\u003c/p\u003e","\u003cp\u003eScrapbook documenting the activities of the Cotillion Club from 1938-1948. This was primarily a social club responsible for organizing various dances, and the material in the scrapbook reflects these efforts. Contents include photographs, invitations, sheet music, ribbons, newspaper clippings, letters, table decorations, and Cotillion constitution and history,\u003c/p\u003e","\u003cp\u003eContains invitations and dance cards, dried flowers, photographs, and news clippings. The contents document the German Club at this time as a primarily social club, and along with Cotillion, they were responsible for organizing most of the dances that took place at the college in the 1930s-40s. Newspaper clippings in the scrapbook also document the choice to disband both of these clubs in 1947.\u003c/p\u003e","\u003cp\u003eScrapbook created by the MWC of UVA Defense Program, sponsored by the Student Government Association. Founded January 23, 1942, the program's purpose was primarily to raise money for the war effort through selling stamps and bonds. Annotated photographs, newspaper clippings, and announcements describe the installation and activities of the stamp booth, as well as other promotional events such as the Bond Queen Contest, a visit from the governor, drives, rallies, and auctions. The final pages of the scrapbook provide an FAQ about the effort and a list of total sales for each year the defense program was active. Overall, the scrapbook reports that 95% of students and faculty participated and generated over $45,000 from 1942-1945.\u003c/p\u003e","\u003cp\u003ePhoto album documenting the activities of the SGA executive officers in 1987-88. Events include a summer 1987 retreat in Middleburg, VA, Leadership Week guest speaker, and construction of the Woodard Campus Center. The album also includes newspaper clippings of relevant events at the time, such as the death of a student from alcohol poisoning and student reactions to required AIDS seminars in the dorms. Several loose photos of student events from around 2002 are also interfiled in the album.\u003c/p\u003e","\u003cp\u003eScrapbook documents the activities of the MWC of UVA's Eta Eta chapter of Alpha Psi Omega, a national theater honor society. Contents include newspaper clippings, paper ephemera, correspondence, photographs, programs and announcements for performances, and several copies of \"The Playbill,\" the annual Alpha Psi Omega publication.\u003c/p\u003e","\u003cp\u003eContents include certificates, membership cards and organization requirements, correspondence, event signs, photographs, performance schedules and programs, and newspaper clippings. Early pages of the scrapbook document the formation of the group as a member of the Guild's D.C. Chapter in 1951 with Jean Slater Appel (Edson) as faculty sponsor. The scrapbook primarily features documentation of the group's many performances and recitals.\u003c/p\u003e","\u003cp\u003eContents include guild declaration of religious principles and code of ethics, meeting minutes, photographs, performance programs, correspondence, and newspaper clippings. Materials primarily document the many concerts and performances of the group. Some photographs depict a trip to see the Von Berkeroff Organ at the University of Richmond in April, 1964.\u003c/p\u003e","\u003cp\u003eContents include organization minutes, signed plate, doilies, newspaper clippings, programs, photographs, club constitution, club handbook, letters, and invitations. Materials document such events as Bake Sales and participation in workshops and the Virginia Home Economics Association Convention.\u003c/p\u003e","\u003cp\u003eContents include invitations, club handbook, napkins, letters, newspaper clippings, club event signs, programs, and annual reports. Materials document events such as the annual Bake Sale and Christmas Party, a Fashion Show, and convention activities with the Virginia Home Economics Assocation.\u003c/p\u003e","\u003cp\u003eContains photographs, fabric swatches, club handbook, invitations, newspaper clippings, programs, College Echo newsletters (the newletter for the College Chapter of the Virginia Home Economics Association). Documented activities include involvement with the VHEA College Chapter and clothing drives.\u003c/p\u003e","\u003cp\u003eContains annotated photographs, inter-club association booklet, club handbook, newspaper clippings, programs, and letters. The scrapbook documents the achievements of the women in the club and the events they participated in during the 1964-65 and 1965-66 academic years.\u003c/p\u003e","\u003cp\u003eContents include programs, photographs, newspaper clippings, and postcards compiled by Pi Delta Gamma, the honorary home economics fraternity (later Kappa Omicron Phi). The material primarily includes annotated photos documenting the activities of the Pi Delta Gamma students in the Home Ec. program and the Home Ec. club.\u003c/p\u003e","\u003cp\u003eScrapbook contains newspaper clippings, photographs, programs, dance cards, and correspondence documenting the activities and accomplishments over all four years of the Class of 1952 at MWC. In addition to the affixed media items, the pages contain many hand-drawn illustrations and decorations, as well as annotations for many images.\u003c/p\u003e","\u003cp\u003eScrapbook contains photographs, newspaper clippings, programs, and correspondence documenting the activities and accomplishments of the Class of 1954 during all four years of their attendance at MWC. Some pages include hand drawn illustrations and annotations.\u003c/p\u003e","\u003cp\u003eContents document the activities of the Class of 1957 throughout all four years of their attendance at MWC. Materials include newspaper clippings, photographs, programs, correspondence, schedules, and paper ephemera. Images depict different buildings and locations on campus, and students engaging in dorm activities, performances, May Day, and other college events.\u003c/p\u003e","\u003cp\u003eScrapbook documents the activities and accomplishments of the MWC class of 1966 throughout their four years in college. Contents include photographs, newspaper clippings, pamphlets and programs, correspondence, and ephemera like candy bar wrappers and tickets to events. Materials cover student participation in various musical and artistic performances, sports, and other extracurriculars like May Day, and also document individuals holding class leadership positions. Some collected notes and correspondence are tipped in to the back.\u003c/p\u003e","\u003cp\u003eScrapbook documenting student activities during the first year of the class of 1974. Contains photographs, programs, schedules, memos, and correspondence, with illustrations and handwritten notes annotating contents. The scrapbook includes a tipped-in table of contents outlining the events documented such as orientation, concerts, the freshman dance, and final exams.\u003c/p\u003e","\u003cp\u003eScrapbook documenting student activities during the second year of the class of 1974. Contains primarily photographs with illustrations and handwritten/painted notes annotating contents. Many of the photographs are candid shots of friends hanging out at different locations and events on campus.\u003c/p\u003e","\u003cp\u003eScrapbook documenting the appearances and achievements of the MWC All-Girl Marching Band. Contents include photographs, newspaper clippings, programs and flyers from events, and correspondence. Materials describe the band traveling to perform at football games such as the Oyster Bowl, parades, and festivals throughout the state and note their success in competitions. They also show the band performing at home in events like May Day and a Christmas music performance in George Washington Hall, as well as posing for publicity-style photos on campus. The scrapbook contains the original photo of Bing Crosby signing the bass drum now on display in Special Collections, and a newspaper clipping of Al Hodge (of 1950s TV show \"Captain Video and his Video Rangers\") doing the same.\u003c/p\u003e","\u003cp\u003eContatins photographs, newspaper clippings, programs, club minutes, and flyers of sponsored events. The club documents particpation in such events as visiting the Thai embassy in Washington D.C. to commemorate the Wesak Feastival, sponsoring art exhibits, hosting the Burmese ambassador, and attending a performance of Indonesian dancers.\u003c/p\u003e","\u003cp\u003eContains photographs, letters, flyers, programs, and newspaper clippings. Events documented include the Russo-Asian Symposium, the First Annual International Buddhist Seminar, group dinners, visiting lecturers, and the retirement of Dr. Leidecker, who had been the club's sponsor since its inception in 1954.\u003c/p\u003e","\u003cp\u003eThis series contains scrapbooks assembled by the student residents of Betty Lewis Hall over the years. Named for George Washington's sister, Elizabeth (Betty) Lewis, the dorm was one of the earliest residences, opening for students in 1925. The college leased Betty Lewis Hall for a number of years but ceased doing so in September 1972. The building is now apartments on Sunken Rd.\u003c/p\u003e","\u003cp\u003eContains photographs of student dorm life affixed with photo corners.\u003c/p\u003e","\u003cp\u003eContains photographs, letters, invitations, and greeting cards secured with tape.\u003c/p\u003e","\u003cp\u003eContains photographs, programs, letters, mouse week rules, decorations, newsletters, and newspaper clippings. Media affixed with a combination of tape, glue, and photo corners.\u003c/p\u003e","\u003cp\u003eMaterials include letters and memos, annotated photographs, club constitution, and pamphlets. Documented events include invited speakers, campaigning, and fundraising/volunteer activities for regional Republican causes and candidates such as Bill Scott and Paige Young.\u003c/p\u003e","\u003cp\u003eContents include annotated photographs, newspaper clippings, flyers distributed during \"Youth for Nixon Week,\" club minutes and documents, pamphlets, and correspondence.\u003c/p\u003e","\u003cp\u003eContents include programs amd pamphlets, newspaper clippings, photographs, letters and memos, and campaign materials for Republican candidates like Linwood Holton (elected Virginia Governor in 1970).\u003c/p\u003e","\u003cp\u003ePhoto album depicting residence hall life from the perspective of RAs and other residence life staff. Photos depict staff workshops and move-in day, and also social activities like tubing on the Rappahannock River, Halloweens, soccer games, a co-ed fashion show, working out, and hanging out on campus.\u003c/p\u003e","\u003cp\u003ePhoto album depicting student activities from 1983-1984, often from the perspective of residence life and outreach staff. Events depicted include an RA retreat, parents weekend, Halloweens, attending a NACA (National Association for Campus Activities) conference, and \"MASH weekend,\" a themed event featuring a showing of the original MASH movie, a character look-alike contest, and a tent-raising competition.\u003c/p\u003e","\u003cp\u003ePhoto album depicting scenes of student life on the MWC campus, often from the perspective of residence life staff. Events documented include the Student 75th Anniversary Parade down Campus Drive (before it was Campus Walk), playing in the snow, RA retreats, Halloweens, preparing for President Anderson's inauguration, playfair, graduation, and parents' weekend.\u003c/p\u003e","\u003cp\u003ePhoto album depicting various campus activities and events from the perspective of residence life students. Documented events include the 1986 graduation ceremony, RA socials, move-in day, a Japanese tea ceremony, and \"Grill on the Hill\" at Marshall Hall. Several photographs of individual students identify the residence halls in which they worked.\u003c/p\u003e","\u003cp\u003ePhoto album shows collected images of the Historic Preservation Club's activities in the late 1990s. Photos document trips to such places as Frank Lloyd Wright's Fallingwater, Agecroft House in Richmond, VA, South Carolina, and Savannah, GA. Photos also show members participating in the annual Ghost Walk and Victorian Ball.\u003c/p\u003e","\u003cp\u003eContents include photographs, written notes, museum pamphlets, maps, newspaper clippings, and various ephemera from trips and events. Some of the activities documented include travel to local, national, and international historic sites, and the annual club occurrences of the Ghost Walk and Victorian Ball.\u003c/p\u003e","\u003cp\u003eScrapbook documenting activities of the Historic Preservation Club from 2007-2008. Photographs show the club members on trips to Washington, D.C., Philadelphia, Hampton House in Maryland, Ferry Farm, Caroline County, and Richmond, as well as documenting the club's annual Ghost Walk.\u003c/p\u003e","\u003cp\u003eScrapbook cover is a darker blue color decorated with the words \"Mary Washington Young Democrats.\" Materials include photographs, stickers, and notes. Photos depict students participating in various social, community service, and political activities, including attending conventions and meeting Tim Kaine during his campaign for governor.\u003c/p\u003e","\u003cp\u003eMaterials include photographs, election paraphernalia (bumper stickers, stickers). Items document the 2008 presidential and senate elections and include photographs of Barack Obama's visit to UMW. Students also documented participating in campaign amd election day activities for Obama and other democratic candidates in Virginia, and later visiting DC for Obama's inauguration. Photos also depict students socializing with then-governor (later senator) Tim Kaine, former governor (later senator) Mark Warner, and future governor Terry McAuliffe at Mark Warner's picnic.\u003c/p\u003e","\u003cp\u003eMaterials include photographs, stickers, and notes. Photos depict students participating in various campaign, social, and community service activities, including supporting Creigh Deeds' unsuccessful run for governor in 2009.\u003c/p\u003e","\u003cp\u003ePrinted booklet featuring photographs from Ecology Club events such as: Club Carnival, Old Rag hikes, Clean Energy Rally, VA and National Powershifts, Painting the Rock, Weekend in Wise, Appalachia Rising, Conservation Lobby Day, Eco Club Formal, Green Week, and others.\u003c/p\u003e","\u003cp\u003eScrapbook documenting the activities of the Class of 1915, including their reunions and fundraising efforts. The scrapbook was assembled by Ruth Carter Vellines, the Class Agent for the years represented. Contents include photographs, newspaper and magazine clippings, letters, and invitations. Among this is correspondence documenting the alums' effort to raise money for the Rare Book Room, and a response from Rare Book Librarian Daniel Woodward stating that their donation allowed him to buy the first French edition of Ulysses.\u003c/p\u003e","\u003cp\u003eScrapbook compiled by members of the class of 1964 on the occasion of their third reunion in 1967. Pages contain photographs and updated biographies where the women list where they live, any graduate education, their current occupation, their husband's occupation, and any update notes they wished to include. Also included are pages of handwritten correspondence from the alums to their class representative giving updates. Contents also contain a reunion schedule, 1967 annual alumni association presidents' report, and programs.\u003c/p\u003e","\u003cp\u003eScrapbook contains media that represent a record of Alumnae Association activities from 1927-1954. Materials include alumnae handbook, bulletin, news, association constitution, newspaper clippings, letters, tickets, programs, invitations, flyers, seating arrangement chart, photographs, sheet music, matchbox, pressed flower, map of campus. Cover has handmade decoration.\u003c/p\u003e","\u003cp\u003eContains media reflecting the activities of the Alumnae Association from 1957-1960. An enclosed card suggests it may have been assembled by Miss Mary Tarpley, Historian, 1958-1960. Contents include programs, invitations, newspaper, letters, dean's list, photographs, minutes, president's report, and the 1960 commencement address.\u003c/p\u003e","\u003cp\u003eMaterials include member rosters, calendars of events, constitution and bylaws, cards and programs, notes.\u003c/p\u003e","\u003cp\u003eMaterial includes executive board rosters, newspaper clippings, photographs, notes, newsletters, calendars and documentation of events such as opening lunch, Christmas dance, and community aid projects.\u003c/p\u003e","\u003cp\u003eMaterial includes clippings, notes, executive board rosters, programs and cards, correspondence, annual reports.\u003c/p\u003e","\u003cp\u003eMaterial includes executive board rosters, newspaper clippings, newsletters, programs, calendars and documentation of events such as the chapter scholarship awards and annual bridge party. Some of the documentation pertains to contemporary controversies at MWC, such as the dismissal of President Combs and the applications of Black students.\u003c/p\u003e","\u003cp\u003eMaterials include executive board rosters, newspaper clippings, correspondence, notes, documentation of events such as the chapter scholarship awards and the bridge fashion show.\u003c/p\u003e","\u003cp\u003eMaterials include photographs, correspondence and announcements, programs, chapter bylaws, clippings, cards and notes, documentation of events such as the covered dish supper, bridge fashion show, and telethon.\u003c/p\u003e","\u003cp\u003eMaterials include executive board rosters, correspondence, photographs, notes and drawings, cards and programs, newsletters, Century Club certificate, documentation of events such as covered dish supper, scholarship awards, and telethon.\u003c/p\u003e","\u003cp\u003eMaterials include photographs, correspondence, clippings, notes.\u003c/p\u003e","\u003cp\u003eScrapbook compiled by alums to mark the events of Homecoming 1969, \"An Arts Weekend.\" Contains photos, events schedules, biographies, life updates, and letters from various alums.\u003c/p\u003e","\u003cp\u003eScrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virginia newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC from 1952 through 1955, including the departure of President Combs.\u003c/p\u003e","\u003cp\u003eScrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virgina newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC from 1955 through 1959.\u003c/p\u003e","\u003cp\u003eScrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virginia newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC for the academic year 1977-1978.\u003c/p\u003e","\u003cp\u003eFour scrapbooks documenting events at the Trinkle, then Simpson, libraries. Material includes newspaper clippings showcasing staff accomplishments, photos of family, student, and staff events, and documentation of the construction of Simpson Library.\u003c/p\u003e","\u003cp\u003eContents include newspaper clippings, photographs, letters, campus grapevine newsletter, and postcards. Clippings document the hiring of Roy Strohl as University Librarian in 1985, some of the publication accomplishments of longtime Humanities Librarian Jack Bales, planning for the new library and other campus happenings, and student scholarship announcements. Photographs show staff/aide picnics, holiday parties, and record many scenes throughout Trinkle Library.\u003c/p\u003e","\u003cp\u003eMaterials include newspaper and magazine clippings and photographs. Clippings primatily document the new library with a few noting professional accomplishments. Included photographs record the construction and subsequent move from Trinkle to Simpson Library, showcasing the brand new library spaces. Images also depict exhibits in the new space and staff/student celebrations.\u003c/p\u003e","\u003cp\u003eContents include newspaper clippings, invitations, and photographs. Some of the documented events include student/staff luncheons, the retirement of Mildred Ray after 40 years of working at MWC, and student award winners for the year.\u003c/p\u003e","\u003cp\u003eMaterials document the party for and bestowing of awards for library student assistants in 2004. Most of the people depicted are identified in handwritten notes by the scrapbook creator.\u003c/p\u003e","\u003cp\u003eScrapbook assembled by Albert A. Schwarz, co. B 68th A.R. 6th Div. APO 256 Camp Chaffee, Arkansas, documenting his Army experience from 1942-1944. Scrapbook includes photographs with text explaining the vast majority of the photos. Pvt. Schwartz remained stateside during the events described in the scrapbook, traveling only as far as Hawaii.\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","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"],"scopecontent_tesim":["Cover is brown paper and reads \"Memory Book\" in silver writing. The cover shows some tearing and scribbles. Black string used for binding removed for preservation but retained in the box. Inside the scrapbook contains notes, dried flowers, programs, napkins, menu, pamphlets, ticket stubs, newspaper clippings, postcards, and pencils, which have been glued in. Black paper used throughout for decoration. Some loose media/pages.","The pages depict student life on campus in the earliest years of the Fredericksburg Normal School. The photos show students playing in the snow, participating in May Queen events, going to class, and posing in different locations around the original three campus buildings. They also include Professor William Hamlet at his house (now Hamlet House) tending to his chickens that lived around back.","Scrapbook contains Fredericksburg State Normal School (FSNS) basketball uniform felt letter, photographs, newspaper, letters, program, Alumnae Association Treasurer report, bumper stickers, invitations. Includes materials from alumna's time as a student (Class of 1918) as well as content from her 50th anniversary class reunion.","A scrapbook created by Helen Davenport Smith, Class of 1919. It's titled \"Kodak Book\" after what was most likely the popular camera used at the time. The enclosed images depict the the campus in the early 20th century and its students engaging in various activities, such as gardening and socializing, as well as Smith's post-college life and rural teaching career.","Scrapbook with media dating from 1927-28, assembled by student Catherine Ficklin Stephens. The scrapbook is titled \"The Girl Graduate Her Own Book\" on the cover and is a premade scrapbook that the student added media to. Contents include photographs, newspaper, autographs, programs, notes, bus schedule, invitations, letters, candy wrappers, locks of hair, stamps, advertisements.","Students Handbook, 1928, 1929 ","\"Alma Mater\" – Music by Mildred P. Stewart '28, Words by Sallie B. Walker '28","\"America the Beautiful\" ","\"Program of activities opening week, September 18-22, 1928\" ","\"Faculty and Officers\" session 1929-30 ","Program: \"Memorial Service to Algernon Bertrand Chandler\" – Oct. 14, 1928","\"Program of the Ceremony Celebrating the Beginning of Work on the National Battlefields Park of Fredericksburg and Spotsylvania\" – Oct. 19, 1928 ","Program for a play: Peg O' My Heart presented by the YWCA ","Program for a play: The Color Line: A One Act Play of Present-Day China by Irene Taylor MacKair ","Convocation program, December 18, 1928 ","Comic - Devil-Goat day? ","Pamphlet: \"Folk-Plays of the Carolina Playmakers\", UNC Chapel Hill, 1928-1929 ","Program: \"'The Joy of Life' A Musical Romance Presented by Senior Class, Dec. 7, 1928\" ","Glee Club program, Jan. 31, 1929; March 15, 1929, Jan. 25 ","Program: \"The Boston Male Choir\" ","Program: \"Choral Festival: Virginia Federation of Music Clubs and Virginia Music Teachers State Ass'n\" – April 8-12, 1929 ","Program: \"John Powell Concert\", April 10, 1929 ","Song lyrics: \"Merrily, Merrily\"; \"Going to Shout All Over God's Heaven\"; \"Reuben and Rachel\"; \"Today is Monday\"; \"Nancy Lee\"; \"America the Beautiful\"; \"Swing Low, Sweet Chariot\"; \"Flow Gently, Sweet Afton\" ","Program: \"S. T. C. Dramatic Club presents Nathan Hale A Four Act Play\", April 26, 1929 ","May Day program, May 11, 1929, May 10, 1930 ","\"Class Day Exercises, June 1, 1929\"  ","Program: Baccalaureate Service, June 2, 1929 ","Commencement program, June 3, 1929 ","Image and article on Fannie Ward ","Handwritten  invitation to \"Baptist Picnic\", Oct. 18 ","Opera program: \"Tales of Hoffman\" ","Various laundry receipts and tickets ","\"Spend a While at Fredericksburg, Virginia\" – pamphlet published by the Chamber of Commerce ","Program: \"Sacred Concert\" April 6 ","\"A Suggestion to High School Seniors\" Bulletin, vol.16 n.1 Jan. 1930 ","Baccalaureate service program, June 8, 1930 ","Commencement program, June 1930 ","\"Program of the Twentieth Anniversary Celebration of The State Teachers College at Fredericksburg, VA\" – June 6, 1931","Contents include photographs, newspaper clippings, cards, programs for theater and dance performances, ribbons, medals, postcards, correspondence, tickets, and grade sheets. Mamie carefully documented her activities and achievements from her late high school career at Suffolk High School through her transition to a State Teachers College student. Materials show that she was involved in the Y.W.C.A, at one point serving as the secretary, and was selected for Alpha Phi Sigma, a scholarship fraternity. She documented attending many musical and dramatic performances, enjoyed campus activities like Devil Goat Day and May Day, and recorded the acheivements of her friends.","Student scrapbook from the Class of 1935, filled with photographs, newspaper, programs, unexcused absence slips, tickets, invitations, notes, candy wrappers, the Modern Portias club yearbook, letters, doilies, napkins, calling cards, and Bing Crosby cut-outs.","A digitized scrapbook containing annotated photographs of friends and buildings on the Mary Washington campus dating from 1935-1937. Five friends are named and identified on the front page as \"Pals from Hampton Hi School '35\"; one of the five, Audrey Wood, appears to be a State Teachers College student and resident of Willard Hall. Additional individuals, such as Audrey's roommates and other \"Hampton gals\" are identified throughout.","Contains several pages of photographs of student life on campus with handwritten captions and comments.","Scrapbook curated by a student at MWC from 1939-1941. Contents include correspondence, photographs, newspapers, dried flowers and other small artifacts, programs, schedules, and other ephemera like napkins and tickets from campus events. She documents moments such as arriving to campus as a freshman and being told what to bring and who her adviser would be, and also her involvement with campus clubs and organizations like the YWCA, German Club, and athletics.","Scrapbook documenting unique student experiences from 1940-1942. Content includes programs, pictures, post cards, academic papers and grades, newspaper clippings, invitations, dried corsages, etc. Collins Burke also includes several articles and images of the Washington, DC-native theatre actress Helen Hayes to mark a performance she gave at the college.","Four scrapbooks compiled by Elizabeth Bryan Stallings '46. They depict her activities at MWC from 1942 through her graduation in 1946. The scrapbooks prominently feature her involvement with the Cavalry Club; one of the scrapbooks is entirely dedicated to a Cavalry Troop excursion through Shenandoah National Park.","Photograph of the \"U Save It Store\" in McRae, Georgia. The shop was owned by the Elizabeth Stallings' father, and Elizabeth appears in the photo as a small child alongside her parents and an unknown customer.","Contents include black and white photos depicting the experience of a student at Mary Washington College in the early 1940s. Some photos document a severe flood that impacted Fredericksburg in 1942. Other documented activites include parades, equestrian activities, and general leisure time.","Contents are exclusively black and white photographs depicting life for a young woman in the early 1940s. Many photographs depict summertime leisure and equestrian activities. Elizabeth's graduation ceremony is also documented.","Contents include newspaper clippings, concert programs, devil/goat cloths, riding competition ribbons and documentation of equestrian events, invitations, correspondence, and postcards. The scrapbook provides the unique insight into the experience of a young woman in college during WWII, as well as one who was very involved in horse riding.","Scrapbook documenting a 10-day pack trip taken into Shenandoah National Park by members of the Cavalry Troop in the summer of 1944. Contents are primarily black and white photos depicting the students and their horses at various sites throughout the park. Toop members rode, hiked, camped, cooked, and played outdoors. The students were supervised by Mr. Russ Walther, MWC riding instructor, and there is a 1986 article about Mr. Walther tipped in the back of the book.","Scrapbook assembled by Marilyn Bass (nee Crosby) documenting her experiences at Mary Washington College of the University of Virginia in the early 1950s. Contents are exclusively black and white photos depicting people and locations on campus and in the Fredericksburg community.","Contents include photographs, newspaper clippings, copies of publications, programs, correspondence, sketches, maps, invitations, grade reports, receipts, ticket stubs, cards, and postcards. Frances' 1948 acceptance letter to the college is included, and she proceeds to thoroughly document her college experience. Materials indicate her involvement in the arts and dance on campus, her social and extracurricular engagements, and her classwork.","Contains images of commencement, campus, senior benefit (Called \"Future Edition\": \"Jonathan Swift probably would have commended the seniors of 1950 for their satiric production, \"Future Edition.\" Set in the year 1971, the play starred the future leaders of America, the women. Madame President presided over an all-woman cabinet comprising such offices as the Secretary of Exterior in charge of fashions and the Secretary of the Interior the authority on interior decorating.\" – From 1959 Bullet). Leora Knapp (married name Mora) was editor of the 1950 Battlefield.","Scrapbook pages containing black and white photographs of people and buildings on the Mary Washington Campus dating from around 1952. Many of the photographs depict life in the dorms for the residents of Ball Hall, Room 205.","Scrapbook documenting the activities of Sigma Tau Chi, the business fraternity, between 1939-1956 (no activity documented between 1942-1952). Contents include photographs, member rosters and activities reports, and newspaper clippings. Several pages also document a 1947 Virginia State Commercial Contest, where students competed in contests judging skills such as penmanship, shorthand, typewriting, and office personality.","Scrapbook documenting the activities of the Cotillion Club from 1938-1948. This was primarily a social club responsible for organizing various dances, and the material in the scrapbook reflects these efforts. Contents include photographs, invitations, sheet music, ribbons, newspaper clippings, letters, table decorations, and Cotillion constitution and history,","Contains invitations and dance cards, dried flowers, photographs, and news clippings. The contents document the German Club at this time as a primarily social club, and along with Cotillion, they were responsible for organizing most of the dances that took place at the college in the 1930s-40s. Newspaper clippings in the scrapbook also document the choice to disband both of these clubs in 1947.","Scrapbook created by the MWC of UVA Defense Program, sponsored by the Student Government Association. Founded January 23, 1942, the program's purpose was primarily to raise money for the war effort through selling stamps and bonds. Annotated photographs, newspaper clippings, and announcements describe the installation and activities of the stamp booth, as well as other promotional events such as the Bond Queen Contest, a visit from the governor, drives, rallies, and auctions. The final pages of the scrapbook provide an FAQ about the effort and a list of total sales for each year the defense program was active. Overall, the scrapbook reports that 95% of students and faculty participated and generated over $45,000 from 1942-1945.","Photo album documenting the activities of the SGA executive officers in 1987-88. Events include a summer 1987 retreat in Middleburg, VA, Leadership Week guest speaker, and construction of the Woodard Campus Center. The album also includes newspaper clippings of relevant events at the time, such as the death of a student from alcohol poisoning and student reactions to required AIDS seminars in the dorms. Several loose photos of student events from around 2002 are also interfiled in the album.","Scrapbook documents the activities of the MWC of UVA's Eta Eta chapter of Alpha Psi Omega, a national theater honor society. Contents include newspaper clippings, paper ephemera, correspondence, photographs, programs and announcements for performances, and several copies of \"The Playbill,\" the annual Alpha Psi Omega publication.","Contents include certificates, membership cards and organization requirements, correspondence, event signs, photographs, performance schedules and programs, and newspaper clippings. Early pages of the scrapbook document the formation of the group as a member of the Guild's D.C. Chapter in 1951 with Jean Slater Appel (Edson) as faculty sponsor. The scrapbook primarily features documentation of the group's many performances and recitals.","Contents include guild declaration of religious principles and code of ethics, meeting minutes, photographs, performance programs, correspondence, and newspaper clippings. Materials primarily document the many concerts and performances of the group. Some photographs depict a trip to see the Von Berkeroff Organ at the University of Richmond in April, 1964.","Contents include organization minutes, signed plate, doilies, newspaper clippings, programs, photographs, club constitution, club handbook, letters, and invitations. Materials document such events as Bake Sales and participation in workshops and the Virginia Home Economics Association Convention.","Contents include invitations, club handbook, napkins, letters, newspaper clippings, club event signs, programs, and annual reports. Materials document events such as the annual Bake Sale and Christmas Party, a Fashion Show, and convention activities with the Virginia Home Economics Assocation.","Contains photographs, fabric swatches, club handbook, invitations, newspaper clippings, programs, College Echo newsletters (the newletter for the College Chapter of the Virginia Home Economics Association). Documented activities include involvement with the VHEA College Chapter and clothing drives.","Contains annotated photographs, inter-club association booklet, club handbook, newspaper clippings, programs, and letters. The scrapbook documents the achievements of the women in the club and the events they participated in during the 1964-65 and 1965-66 academic years.","Contents include programs, photographs, newspaper clippings, and postcards compiled by Pi Delta Gamma, the honorary home economics fraternity (later Kappa Omicron Phi). The material primarily includes annotated photos documenting the activities of the Pi Delta Gamma students in the Home Ec. program and the Home Ec. club.","Scrapbook contains newspaper clippings, photographs, programs, dance cards, and correspondence documenting the activities and accomplishments over all four years of the Class of 1952 at MWC. In addition to the affixed media items, the pages contain many hand-drawn illustrations and decorations, as well as annotations for many images.","Scrapbook contains photographs, newspaper clippings, programs, and correspondence documenting the activities and accomplishments of the Class of 1954 during all four years of their attendance at MWC. Some pages include hand drawn illustrations and annotations.","Contents document the activities of the Class of 1957 throughout all four years of their attendance at MWC. Materials include newspaper clippings, photographs, programs, correspondence, schedules, and paper ephemera. Images depict different buildings and locations on campus, and students engaging in dorm activities, performances, May Day, and other college events.","Scrapbook documents the activities and accomplishments of the MWC class of 1966 throughout their four years in college. Contents include photographs, newspaper clippings, pamphlets and programs, correspondence, and ephemera like candy bar wrappers and tickets to events. Materials cover student participation in various musical and artistic performances, sports, and other extracurriculars like May Day, and also document individuals holding class leadership positions. Some collected notes and correspondence are tipped in to the back.","Scrapbook documenting student activities during the first year of the class of 1974. Contains photographs, programs, schedules, memos, and correspondence, with illustrations and handwritten notes annotating contents. The scrapbook includes a tipped-in table of contents outlining the events documented such as orientation, concerts, the freshman dance, and final exams.","Scrapbook documenting student activities during the second year of the class of 1974. Contains primarily photographs with illustrations and handwritten/painted notes annotating contents. Many of the photographs are candid shots of friends hanging out at different locations and events on campus.","Scrapbook documenting the appearances and achievements of the MWC All-Girl Marching Band. Contents include photographs, newspaper clippings, programs and flyers from events, and correspondence. Materials describe the band traveling to perform at football games such as the Oyster Bowl, parades, and festivals throughout the state and note their success in competitions. They also show the band performing at home in events like May Day and a Christmas music performance in George Washington Hall, as well as posing for publicity-style photos on campus. The scrapbook contains the original photo of Bing Crosby signing the bass drum now on display in Special Collections, and a newspaper clipping of Al Hodge (of 1950s TV show \"Captain Video and his Video Rangers\") doing the same.","Contatins photographs, newspaper clippings, programs, club minutes, and flyers of sponsored events. The club documents particpation in such events as visiting the Thai embassy in Washington D.C. to commemorate the Wesak Feastival, sponsoring art exhibits, hosting the Burmese ambassador, and attending a performance of Indonesian dancers.","Contains photographs, letters, flyers, programs, and newspaper clippings. Events documented include the Russo-Asian Symposium, the First Annual International Buddhist Seminar, group dinners, visiting lecturers, and the retirement of Dr. Leidecker, who had been the club's sponsor since its inception in 1954.","This series contains scrapbooks assembled by the student residents of Betty Lewis Hall over the years. Named for George Washington's sister, Elizabeth (Betty) Lewis, the dorm was one of the earliest residences, opening for students in 1925. The college leased Betty Lewis Hall for a number of years but ceased doing so in September 1972. The building is now apartments on Sunken Rd.","Contains photographs of student dorm life affixed with photo corners.","Contains photographs, letters, invitations, and greeting cards secured with tape.","Contains photographs, programs, letters, mouse week rules, decorations, newsletters, and newspaper clippings. Media affixed with a combination of tape, glue, and photo corners.","Materials include letters and memos, annotated photographs, club constitution, and pamphlets. Documented events include invited speakers, campaigning, and fundraising/volunteer activities for regional Republican causes and candidates such as Bill Scott and Paige Young.","Contents include annotated photographs, newspaper clippings, flyers distributed during \"Youth for Nixon Week,\" club minutes and documents, pamphlets, and correspondence.","Contents include programs amd pamphlets, newspaper clippings, photographs, letters and memos, and campaign materials for Republican candidates like Linwood Holton (elected Virginia Governor in 1970).","Photo album depicting residence hall life from the perspective of RAs and other residence life staff. Photos depict staff workshops and move-in day, and also social activities like tubing on the Rappahannock River, Halloweens, soccer games, a co-ed fashion show, working out, and hanging out on campus.","Photo album depicting student activities from 1983-1984, often from the perspective of residence life and outreach staff. Events depicted include an RA retreat, parents weekend, Halloweens, attending a NACA (National Association for Campus Activities) conference, and \"MASH weekend,\" a themed event featuring a showing of the original MASH movie, a character look-alike contest, and a tent-raising competition.","Photo album depicting scenes of student life on the MWC campus, often from the perspective of residence life staff. Events documented include the Student 75th Anniversary Parade down Campus Drive (before it was Campus Walk), playing in the snow, RA retreats, Halloweens, preparing for President Anderson's inauguration, playfair, graduation, and parents' weekend.","Photo album depicting various campus activities and events from the perspective of residence life students. Documented events include the 1986 graduation ceremony, RA socials, move-in day, a Japanese tea ceremony, and \"Grill on the Hill\" at Marshall Hall. Several photographs of individual students identify the residence halls in which they worked.","Photo album shows collected images of the Historic Preservation Club's activities in the late 1990s. Photos document trips to such places as Frank Lloyd Wright's Fallingwater, Agecroft House in Richmond, VA, South Carolina, and Savannah, GA. Photos also show members participating in the annual Ghost Walk and Victorian Ball.","Contents include photographs, written notes, museum pamphlets, maps, newspaper clippings, and various ephemera from trips and events. Some of the activities documented include travel to local, national, and international historic sites, and the annual club occurrences of the Ghost Walk and Victorian Ball.","Scrapbook documenting activities of the Historic Preservation Club from 2007-2008. Photographs show the club members on trips to Washington, D.C., Philadelphia, Hampton House in Maryland, Ferry Farm, Caroline County, and Richmond, as well as documenting the club's annual Ghost Walk.","Scrapbook cover is a darker blue color decorated with the words \"Mary Washington Young Democrats.\" Materials include photographs, stickers, and notes. Photos depict students participating in various social, community service, and political activities, including attending conventions and meeting Tim Kaine during his campaign for governor.","Materials include photographs, election paraphernalia (bumper stickers, stickers). Items document the 2008 presidential and senate elections and include photographs of Barack Obama's visit to UMW. Students also documented participating in campaign amd election day activities for Obama and other democratic candidates in Virginia, and later visiting DC for Obama's inauguration. Photos also depict students socializing with then-governor (later senator) Tim Kaine, former governor (later senator) Mark Warner, and future governor Terry McAuliffe at Mark Warner's picnic.","Materials include photographs, stickers, and notes. Photos depict students participating in various campaign, social, and community service activities, including supporting Creigh Deeds' unsuccessful run for governor in 2009.","Printed booklet featuring photographs from Ecology Club events such as: Club Carnival, Old Rag hikes, Clean Energy Rally, VA and National Powershifts, Painting the Rock, Weekend in Wise, Appalachia Rising, Conservation Lobby Day, Eco Club Formal, Green Week, and others.","Scrapbook documenting the activities of the Class of 1915, including their reunions and fundraising efforts. The scrapbook was assembled by Ruth Carter Vellines, the Class Agent for the years represented. Contents include photographs, newspaper and magazine clippings, letters, and invitations. Among this is correspondence documenting the alums' effort to raise money for the Rare Book Room, and a response from Rare Book Librarian Daniel Woodward stating that their donation allowed him to buy the first French edition of Ulysses.","Scrapbook compiled by members of the class of 1964 on the occasion of their third reunion in 1967. Pages contain photographs and updated biographies where the women list where they live, any graduate education, their current occupation, their husband's occupation, and any update notes they wished to include. Also included are pages of handwritten correspondence from the alums to their class representative giving updates. Contents also contain a reunion schedule, 1967 annual alumni association presidents' report, and programs.","Scrapbook contains media that represent a record of Alumnae Association activities from 1927-1954. Materials include alumnae handbook, bulletin, news, association constitution, newspaper clippings, letters, tickets, programs, invitations, flyers, seating arrangement chart, photographs, sheet music, matchbox, pressed flower, map of campus. Cover has handmade decoration.","Contains media reflecting the activities of the Alumnae Association from 1957-1960. An enclosed card suggests it may have been assembled by Miss Mary Tarpley, Historian, 1958-1960. Contents include programs, invitations, newspaper, letters, dean's list, photographs, minutes, president's report, and the 1960 commencement address.","Materials include member rosters, calendars of events, constitution and bylaws, cards and programs, notes.","Material includes executive board rosters, newspaper clippings, photographs, notes, newsletters, calendars and documentation of events such as opening lunch, Christmas dance, and community aid projects.","Material includes clippings, notes, executive board rosters, programs and cards, correspondence, annual reports.","Material includes executive board rosters, newspaper clippings, newsletters, programs, calendars and documentation of events such as the chapter scholarship awards and annual bridge party. Some of the documentation pertains to contemporary controversies at MWC, such as the dismissal of President Combs and the applications of Black students.","Materials include executive board rosters, newspaper clippings, correspondence, notes, documentation of events such as the chapter scholarship awards and the bridge fashion show.","Materials include photographs, correspondence and announcements, programs, chapter bylaws, clippings, cards and notes, documentation of events such as the covered dish supper, bridge fashion show, and telethon.","Materials include executive board rosters, correspondence, photographs, notes and drawings, cards and programs, newsletters, Century Club certificate, documentation of events such as covered dish supper, scholarship awards, and telethon.","Materials include photographs, correspondence, clippings, notes.","Scrapbook compiled by alums to mark the events of Homecoming 1969, \"An Arts Weekend.\" Contains photos, events schedules, biographies, life updates, and letters from various alums.","Scrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virginia newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC from 1952 through 1955, including the departure of President Combs.","Scrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virgina newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC from 1955 through 1959.","Scrapbook containing newspaper clippings from external media sources meticulously covering Mary Washington College and its faculty, staff, students, and events. The sources are most frequently, but not limited to, Virginia newspapers like the Free Lance-Star and Richmond Times-Dispatch. It appears to be something that could have been assembled by the college's media relations office, although there is no identifying context. The scrapbook provides a fairly comprehensive timeline of events and important figures at MWC for the academic year 1977-1978.","Four scrapbooks documenting events at the Trinkle, then Simpson, libraries. Material includes newspaper clippings showcasing staff accomplishments, photos of family, student, and staff events, and documentation of the construction of Simpson Library.","Contents include newspaper clippings, photographs, letters, campus grapevine newsletter, and postcards. Clippings document the hiring of Roy Strohl as University Librarian in 1985, some of the publication accomplishments of longtime Humanities Librarian Jack Bales, planning for the new library and other campus happenings, and student scholarship announcements. Photographs show staff/aide picnics, holiday parties, and record many scenes throughout Trinkle Library.","Materials include newspaper and magazine clippings and photographs. Clippings primatily document the new library with a few noting professional accomplishments. Included photographs record the construction and subsequent move from Trinkle to Simpson Library, showcasing the brand new library spaces. Images also depict exhibits in the new space and staff/student celebrations.","Contents include newspaper clippings, invitations, and photographs. Some of the documented events include student/staff luncheons, the retirement of Mildred Ray after 40 years of working at MWC, and student award winners for the year.","Materials document the party for and bestowing of awards for library student assistants in 2004. Most of the people depicted are identified in handwritten notes by the scrapbook creator.","Scrapbook assembled by Albert A. Schwarz, co. B 68th A.R. 6th Div. APO 256 Camp Chaffee, Arkansas, documenting his Army experience from 1942-1944. Scrapbook includes photographs with text explaining the vast majority of the photos. Pvt. Schwartz remained stateside during the events described in the scrapbook, traveling only as far as Hawaii."],"names_ssim":["University of Mary Washington Special Collections and University Archives","Mary Washington College. Alumni Association","University of Mary Washington. Jepson Alumni Executive Center","University of Mary Washington. Simpson Library","Edson, Jean Slater"],"corpname_ssim":["University of Mary Washington Special Collections and University Archives","Mary Washington College. Alumni Association","University of Mary Washington. Jepson Alumni Executive Center","University of Mary Washington. Simpson Library"],"persname_ssim":["Edson, Jean Slater"],"language_ssim":["English \n.    "],"total_component_count_is":105,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T14:28:49.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifrem_repositories_2_resources_27_c03_c01"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c05","type":"Subseries","attributes":{"title":"\"Clean Fun: Black Artists Research\" Part 1","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c05#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c05","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c05"],"id":"viw_repositories_2_resources_9853_c01_c01_c05","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: Black Artists Research\" Part 1","Binder in a box 5"],"title_filing_ssi":"\"Clean Fun: Black Artists Research\" Part 1","title_ssm":["\"Clean Fun: Black Artists Research\" Part 1"],"title_tesim":["\"Clean Fun: Black Artists Research\" Part 1"],"unitdate_inclusive_ssm":["1922-2015"],"normalized_date_ssm":["1922/2015"],"normalized_title_ssm":["\"Clean Fun: Black Artists Research\" Part 1"],"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":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":7,"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":[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],"containers_ssim":["Binder in a box 5"],"_nest_path_":"/components#0/components#0/components#4","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_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. 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_c18"}},{"id":"viu_viu00917_c01_c21_c03","type":"Subseries","attributes":{"title":"C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu00917_c01_c21_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu00917_c01_c21_c03","ref_ssm":["viu_viu00917_c01_c21_c03"],"id":"viu_viu00917_c01_c21_c03","ead_ssi":"viu_viu00917","_root_":"viu_viu00917","_nest_parent_":"viu_viu00917_c01_c21","parent_ssi":"viu_viu00917_c01_c21","parent_ssim":["viu_viu00917","viu_viu00917_c01","viu_viu00917_c01_c21"],"parent_ids_ssim":["viu_viu00917","viu_viu00917_c01","viu_viu00917_c01_c21"],"parent_unittitles_ssm":["Papers of the Low Moor Iron Company \n         1873-1927","Bound Volumes","Payroll Books"],"parent_unittitles_tesim":["Papers of the Low Moor Iron Company \n         1873-1927","Bound Volumes","Payroll Books"],"text":["Papers of the Low Moor Iron Company \n         1873-1927","Bound Volumes","Payroll Books","C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines","11 volumes"],"title_filing_ssi":"C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines","title_ssm":["C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines"],"title_tesim":["C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines"],"unitdate_other_ssim":["1881-1925"],"normalized_date_ssm":["1881/1925"],"normalized_title_ssm":["C. Mines; includes records of Iron Mtn,\n                     Fenwick, Jackson, Jordan, Rich Patch, Rumsey,\n                     Strolia, and numbered mines"],"component_level_isim":[3],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Papers of the Low Moor Iron Company \n         1873-1927"],"physdesc_tesim":["11 volumes"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":112,"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925],"_nest_path_":"/components#0/components#20/components#2","timestamp":"2026-05-21T12:10:02.328Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu00917","ead_ssi":"viu_viu00917","_root_":"viu_viu00917","_nest_parent_":"viu_viu00917","ead_source_url_ssi":"data/uva-sc/viu00917.xml","title_ssm":["Papers of the Low Moor Iron Company \n         1873-1927"],"title_tesim":["Papers of the Low Moor Iron Company \n         1873-1927"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["662"],"text":["662","Papers of the Low Moor Iron Company \n         1873-1927","95 linear feer + 1200\n         volumes","Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n","The word \"organization\" is used here with considerable\n         diffidence, for any researcher studying the container list\n         that follows will realize quickly that there is no\n         organization in the usual sense of the word.","As noted under \"Provenance,\" the Low Moor Iron Company\n         papers were subjected to a number of moves; when processing\n         began in the fall of 1976, no discernible scheme of\n         organization could be determined.","The first step was to review the series of coded numbers\n         placed on the bundles of papers before they were moved to\n         the dormitory attic, but these did not provide any sort of\n         useful organization. Next, the spine titles of the original\n         letter boxes were reviewed (they had been copied onto the\n         gray cardboard sheets before the move to the dormitory\n         attic), but they, too, proved useless.","These steps having provided no scheme, and after a\n         considerable hiatus due to a turnover in student processors\n         on the collection, the new student processors were\n         instructed to begin a box-by-box inventory of the contents\n         of the collection. During this inventory, old folders were\n         replaced with acid-free ones, and the original folder\n         headings were copied onto the new ones. Some removal of\n         paper clips was accomplished, and the materials were\n         reviewed and notes taken for the guide.","Some consolidation of materials was accomplished, and in\n         other cases, materials were moved. This work has created\n         some problems in the numbering of the boxes. Thus, the\n         researchers will find boxes marked \"6A\" and \"23C\"; he will\n         also discover that certain box numbers have been entirely\n         omitted. As the box numbers exist only to aid in the\n         location of material, it was not felt that the unusual\n         numbers and the omissions would cause problems in working\n         with the papers.","A certain amount of movement of boxes within the\n         collection, and of materials among boxes, probably would\n         ease use of it. But what processing was accomplished on\n         this project took far longer than had been anticipated, and\n         there was no time in the late spring of 1978, when the\n         processors had to complete their work with the project, to\n         undertake a mass movement of material. Thus, they stand in\n         the order in which we found them at the beginning of the\n         project.","The Low Moor Iron Company, the first producer of pig\n         iron in Virginia according to the company's claims, was a\n         self-contained manufacturing unit producing from its own\n         mines the coal, limestone, and iron ore needed for its iron\n         production. Located in Low Moor near Clifton Forge in\n         Alleghany County in western Virginia, an area rich in\n         mineral deposits, the company was in operation from\n         1872-1930, producing only pig iron; it never attempted to\n         produce finished iron products.","Coal came to the Low Moor furnaces from the Kay Moor\n         Mines at Kay Moor, West Virginia, about thirty miles from\n         Low Moor; limestone was produced from the Low Moor\n         limestone quarries; and iron ore came from the Fenwick,\n         Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n         Mines, most of them within twenty miles of Low Moor at\n         Covington or Clifton Forge.","The towns of Low Moor and Kay Moor were company towns in\n         every respect. Workers lived in company-owned houses,\n         bought food in company stores, worshiped at the company\n         church, saw movies in the company theater, were treated in\n         the company hospital, and were buried in the company\n         cemetery. Workers received part of their pay in scrip that\n         they exchanged for goods and services. According to a\n         statement from the Kay Moor Mines dated November 1904, Kay\n         Moor then employed 338 people, paid them an average wage of\n         $36.26 per month, and issued half of their pay in scrip.\n         Kay Moor had four stores; Low Moor had seven or eight. All\n         of these stores carried large inventories which are\n         detailed in the collection. These inventories are valuable\n         to anyone interested in determining the wants and needs of\n         a coal miner and his family.","In the late 1910's and 1920's Kay Moor had a company\n         theater called the Azure Theater which seated about 300\n         people. There were also plans for a company-owned social\n         center, to have pool tables, a soda fountain, and\n         provisions for dancing and skating. The company was in\n         tough economic straits by the 1920's, however, and there is\n         no evidence that the social center was built. The town of\n         Low Moor was so completely under the company's influence\n         that one of Low Moor Iron Company's assistant managers\n         served as the town sheriff. He often foreclosed on people\n         who did not pay their debts, and drove troublesome people\n         \"out of town on a rail\" as he put it.","The Low Moor Iron Company's fortunes fluctuated during\n         the various business cycles between the years 1880-1930.\n         Low Moor was one of the larger pig iron producers in\n         Virginia, but Virginia pig iron production was not\n         important nationally. Low Moor officials sometimes sold\n         their product themselves, but more often they used agents,\n         the prevalent method at the time. Low Moor Iron Company\n         used a variety of agents through the 1900's. James F. Bryan\n         acted as the exclusive agent for the sale of Kay Moor Coal\n         from September 21, 1903 to September, 1905. From about 1890\n         until about 1910 Dalton Nash and Company were the exclusive\n         eastern agents of Low Moor Iron. After that time the\n         exclusive agency went to Philips Isham and Company located\n         in New York. From about 1890 the western agency was handled\n         chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n         and Company underwent a name change, becoming Walter\n         Wallingford and Company, with offices located in\n         Cincinnati, Pittsburgh, and Chicago.","Perhaps the Low Moor Iron Company's biggest problem over\n         the years was obtaining railroad cars for the\n         transportation of its finished product. Low Moor Iron\n         Company had its own cars for transporting its raw materials\n         among its various facilities. For the long haul necessary\n         for its finished goods, however, it depended upon the\n         services of the Chesapeake and Ohio Railroad, and the\n         relationship was not always a happy one. The Low Moor\n         Company complained many times to the C \u0026 O Railroad\n         about the discrepancies between long-and shorthaul freight\n         rates. Low Moor also had trouble getting cars from the C\n         \u0026 O. In a letter to one of Low Moor Company's agents\n         from an irate customer dated 1898, the customer wrote: \"We\n         wrote you on Saturday and endeavored to question upon your\n         mind the necessity of taking care of us with Low Moor iron.\n         We are on our uppers--there is not a pound of Low Moor iron\n         in the yard. Of the one hundred tons ordered some time ago,\n         not one pound of it has been received.\" This was, according\n         to the Low Moor Iron Company, because they could not get\n         the railroad cars. In a letter from Thomas Mack and Company\n         dated November 26, 1901, to General Manager E. C. Means:\n         \"We are hopeful that the car supply will get better because\n         of the number of orders you have of ours for prompt\n         shipment. Our customers are complaining that they are not\n         getting the iron fast enough. . . . We hope that the\n         railroad will be able to supply you with empty cars.\" In\n         another letter dated 1916 to John B. Guernsey, then acting\n         General Manager of the Low Moor Iron Company, \"We were not\n         supplied with coke cars for today's loading, and\n         consequently we have been practically down of Kay Moor\n         ovens all day.\"","The problem of procuring labor also plagued the Low Moor\n         Company. The company sometimes tried to hire immigrant\n         laborers and send the men directly to Low Moor from New\n         York City. There were problems with this, as is explained\n         in the following letter dated April 7, 1906: \n          To Mr. George Wickes \n             Supt. of Mines \n             Kay Moor, Virginia \n             Dear George, \n             Tony arrived with twenty one men last night. One\n            got away in Jersey two in Washington D.C., four in\n            Charlottesville. Some of the men are very good looking,\n            but taken as a whole they are the worst lot I have ever\n            seen: Irish, German-Jews, and Italians. . . . Our New\n            York transportations to this place have never been a\n            success. Signed, \n             Ed D. Wickes Supt. of Mines Low Moor usually employed labor agencies, one\n         of which was Atwood's Employment Agency. Often the Low Moor\n         Company would request certain nationalities, believing them\n         to be better workers than others. Sometimes the company\n         would request a gang of twenty made up of \"ten Greeks and\n         ten Italians.\" Many of the immigrants fled Low Moor and Kay\n         Moor when they learned that they would have to work\n         underground. There is a fair amount of material on\n         immigrant labor and its procurement in the collection, and\n         it is noted in the description of the box contents.","Low Moor Iron Company not only had trouble procuring\n         labor, but it also had trouble with labor already employed\n         in the mines and at the factory. Labor dissension and\n         strikes troubled the Kay Moor Mines through the 1900's. The\n         great coal strike of 1902 hurt the Low Moor Company's coal\n         mining operation, but by 1903 things were \"nearly back to\n         normal\" according to the mine superintendent. There was\n         still trouble at Kay Moor Mines, however. In a letter dated\n         April 26, 1906, to the treasurer of Low Moor Company, the\n         manager of the mines wrote about the trouble in \"trying to\n         get the agitators out.\" The mines were seventy-five men\n         short of the total labor force needed because many of the\n         coal miners returned to their farms during the spring.\n         There were rumblings of another strike at Kay Moor, the\n         result of which was to be a fourteen percent increase in\n         wages for the Kay Moor Mine workers via an agreement with\n         the United Mine Workers Union in December.","The Low Moor Iron Company grew along with the rest of\n         Virginia industry in the 1890's and 1900's. Starting with\n         only one furnace in the 1870's, it opened a second furnace\n         at Covington, Virginia, in 1891. In 1911 it opened a third\n         furnace, this time at Low Moor. Covington, with its heavy\n         industry, soon became known as the \"Pittsburgh of\n         Virginia.\" Virginia's pig iron production rose from 9,000\n         short tons in 1870 to 544,034 long tons in 1903. Judging\n         from the Low Moor Company's correspondence, the most\n         prosperous period for the company fell between the years\n         1895-1907. In the years between 1907-1917 problems befell\n         the Virginia pig iron industry. In a letter from William W.\n         Hearns, the president of the Virginia based Princess Pig\n         Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n         writes of the problems of the Virginia pig iron industry:\n         \"There is not a blast furnace in Virginia that is making\n         any money from the manufacture of pig iron. The cause of\n         this is there is an exceedingly low price on pig iron in\n         the country at the present time, and the increased cost of\n         manufacturing is due to the increase in wages in all\n         lines.\" With the outbreak of World War I prices rose\n         dramatically, but in a market report to Low Moor dated\n         November 11, 1916, it was stated that: \"In spite of the\n         high prices, it is not a picnic to be in the iron industry.\n         There is a desperate shortage of cars and equipment in the\n         coal and iron districts, and in consequence there are\n         troubles of all kinds to get materials shipped. The\n         situation has grown serious.\"","When America became involved in the First World War, it\n         meant a boost for the Low Moor Iron Company. The government\n         helped it procure labor, and even helped it repair its\n         furnaces. The problem of supplies and cars for their\n         shipments, however, plagued the company more than ever. It\n         had a good deal of trouble getting all the raw materials it\n         needed due chiefly to the \"tight ship\" run by Harry F.\n         Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n         war very serious problems began to trouble the Low Moor\n         Iron Company. The demand for iron fell precipitously and a\n         short but severe depression ensued from 1919-1922. The\n         depression seemed to hit the iron industry especially hard.\n         Prices took a huge drop due to the lack of demand, and many\n         pre-war contracts had to be revalued. To compound the\n         company's problems, the Kay Moor Mines went on strike in\n         1919. This strike was quickly settled, as the market for\n         coal was so good that the Low Moor Company ceased taking\n         orders temporarily in 1921 as it could not fill the orders\n         it had on hand.","The Low Moor Company furnaces lay idle for some twenty\n         months. Finally, in November 1922 one of Low Moor's\n         furnaces was finally fired up. While prosperity gradually\n         returned to the rest of the country, the Low Moor Iron\n         Company never recovered. Production of pig iron in the\n         Virginia iron industry declined from 544,034 tons in 1903\n         to 148,053 tons in 1923, considered a good year for the\n         industry as a whole. In February 1926 Low Moor officials\n         talked of merging with two other iron companies in order to\n         revive the iron business for the three companies. The\n         merger, however, never occurred. By late 1926 the company\n         was in the process of liquidation. An advertisement in the\n         Charleston, West Virginia, Daily Mail dated April 30, 1927,\n         told of a huge warehouse sale at the Low Moor Iron Company.\n         The advertisement noted \"thousands of screws, pipe\n         fittings, valves, etc.\" The last piece of correspondence\n         from the Low Moor Iron Company in the collection is dated\n         1929. It deals with the sale of a machine.","Why did the iron industry in Virginia decline as it did?\n         Some say that lack of speed, efficiency, and a decent\n         transportation system for Alleghany County caused it. In a\n         letter from C. E. Bertie, secretary of the Virginia Pig\n         Iron Association, to the \n          Manufacturers Record dated 1925, Bertie claimed that it was the\n         tremendous rise in the cost of transportation. Virginia, he\n         claimed, had almost no home market. Over 80% of its normal\n         production was shipped out to other states. The failure of\n         the Interstate Commerce Commission to treat Virginia\n         furnaces as southern furnaces was the cause of much of the\n         trouble. From 1914-1925 there were four blanket increases\n         in freight rates in the country, of which only one applied\n         equally to all localities. Southern furnaces were received\n         only two increases--a 25% increase in 1918 and a 25%\n         increase in 1920--but northern furnaces had had 5%, 15%,\n         25%, and 40% increases in their transportation costs.\n         Virginia furnaces, although recognized as southern\n         furnaces, had had freight rates increased in line with the\n         northern furnaces. Prior to the war Virginia iron reached\n         all points in Ohio, Indiana, Michigan, and Illinois on a\n         competitive basis with southern furnaces. After World War I\n         the advantage was limited to a small portion of\n         southeastern Ohio. All of Indiana, Illinois, and Michigan\n         were now lost to the Virginia producers. The Virginia\n         producer, according to Bertie, felt that the freight rates\n         should be restored to a relationship with southern\n         furnaces. If what Bertie said was true, the other southern\n         states iron industries should not have been in the same\n         desperate economic straits as Virginia's, and statistics\n         should support this. In the 1920's production rose to new\n         heights in Alabama. In Tennessee, however, iron production\n         plunged to new lows during the 1920's. While the south\n         accounted for 10.2% of the entire U. S. production in the\n         years 1919-1924, Virginia accounted for less than 1% during\n         those years. In 1915 Virginia accounted for over 6% of the\n         U.S. iron production. One can see a decline in other areas\n         of the south than Virginia. While the discrepancies in the\n         freight rates may have helped cause the decline, clearly\n         there are other reasons.","During the 1900's there was a discovery of extremely\n         rich iron ore deposits in the mid-west. Much of this ore\n         was on or near the surface, making the mining of it both\n         easy and inexpensive. This in turn lowered production costs\n         of the pig iron. This caused iron production to shift to\n         that region, and resulted in a decline in the Virginia iron\n         industry. There was a sharp increase in iron production in\n         the mid-west through the 1920's. The iron ore in the\n         mid-west may have been of better quality than Virginia, but\n         the iron ore in Virginia was of sufficient quality to\n         produce a good pig iron. The western ore deposits were not\n         as conveniently located as Virginia deposits, but the\n         inexpensiveness of production more than made up for it.","In examining the rise and fall of the Low Moor Iron\n         Company, we can see a situation in which the conditions for\n         the manufacture of iron were nearly ideal. There was plenty\n         of land for expansion and resources for the manufacture of\n         the iron. The major internal problem faced by the Low Moor\n         Iron Company was that of transportation. External\n         developments, however, caused the final demise of the Low\n         Moor Iron Company.","Low Moor Iron Company Personnel:","Executive Staff: Managing Director, Colonel H. M.\n         Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n         1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n         1915 (acting General Manager); F. U. Humbert: ca.\n         1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n         1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n         ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n         G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n         ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n         1918-1928.","Factory and Mine Supervisors: Kay Moor Superintendents:\n         C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n         Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n         J. W. Monteith: manager of mines. ca. 1918; promoted in\n         1925 to general superintendent in charge of mine plants,\n         coke ovens, shops, repairs, and construction; A. L.\n         Monteith: assistant superintendent of mines, ca. 1918;\n         George T. Wickes: manager of Covington mines, ca.\n         1906-1917; Ross Howell, ca. 1918. Stack Mines\n         Superintendents: J. H. Carpenter: ca. 1906; C. D.\n         Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n         ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n         Thompson: foreman, ca. 1906. Low Moor assorted other\n         personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n         Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n         assistant traffic manager, ca. 1919.","The Low Moor Iron Company ceased operations in 1930;\n            what happened to the records of the company in the years\n            immediately following is not known, but in 1939, the Green\n            Bookman, a Charlottesville bookshop, sold the records to\n            the University of Virginia Library.","The records arrived at the receiving room door of the\n            new Alderman Library on October 16, 1939, in a trailer\n            truck whose load was estimated to weigh about fourteen\n            tons. As the manuscripts staff dug around in the piles of\n            over 1200 account books, and countless boxes of papers they\n            realized that the company had saved almost all of its\n            papers including checks, invoices, vouchers, and receipts,\n            and certain of these records were destroyed as their\n            information was recorded in other records. Once the bulk of\n            the collection had been reduced, the remaining records were\n            transferred to the stack area of the Division of Rare Books\n            and Manuscripts.","By 1958, little storage space remained in Alderman\n            Library, and the Rare Books and Manuscripts Division was\n            especially crowded because of the rapid growth of its\n            collections. After an examination of its storage areas, the\n            division's staff decided to move the Low Moor records to\n            the attic of one of the student dormitories. The collection\n            had had little use chiefly because there was no finding\n            aid. There seemed little likelihood of extensive researcher\n            use until the collection could be processed.","In preparation for the move, the old letter boxes in\n            which much of the collection had arrived in the Library\n            were discarded. The records from each box were placed\n            between sheets of the heavy gray cardboard used to protect\n            unbound newspapers in the Library's stacks, and the spine\n            labels of the old letter boxes were copied onto the\n            cardboard. The resulting bundles were wrapped with brown\n            Kraft paper and tied up with string. The bundles were\n            numbered. Whatever original order the letter boxes may have\n            had was lost by the time they arrived in the Library, and\n            after the bundling, removal to a dormitory attic, and\n            subsequent return to the Library in 1976, all vestiges of\n            the original order were lost.","The bundles remained in the dormitory attic for almost\n            twenty years. Occasional visits were made by the division\n            staff to check on their condition, and on very rare\n            occasions, a researcher was brave enough to ask to be shown\n            the collection. Once the researcher saw the imposing amount\n            of material and the conditions in the attic, interest in\n            using the collection invariably died.","In late 1976 a grant from the National Endowment for the\n            Humanities was obtained to allow the Library to process the\n            Low Moor Iron Company papers, and the papers of Edward L.\n            Stone and the Borderland Coal Company, another large\n            collection of records stored in the same dormitory attic.\n            All of these records and papers were moved back to the\n            Library where the bundles were cleaned and opened. The\n            contents of each were placed in a Hollinger storage box,\n            and all notes on the paper wrappings and on the gray\n            cardboard sheets were recorded.","The more than 1200 bound accounting records of the Low\n            Moor Iron Company were surveyed by the grant project staff.\n            The contents of each volume were noted on a mimeographed\n            form, and later typed on 3 x 5\" cards to create a\n            readily-accessible file for the Manuscripts Reading Room.\n            This information was also typed on pages to be added to\n            this guide.","The Low Moor Iron Company papers consist of\n         approximately 280 four-inch Hollinger archives boxes (ca.\n         95 linear feet) of records, ca. 1885-1927, and some 1200\n         bound volumes of the company's accounting records,\n         1873-1927, of this iron producing company located in Low\n         Moor (four miles southwest of Clifton Forge), Alleghany\n         County, Virginia.","This material consists of records typical of those\n         produced by a firm of this type in the period, but as the\n         company owned its own coal and iron mines and limestone\n         quarries, there is considerable information about the\n         production of these raw materials. Large numbers of the\n         records that deal with the company's employees have\n         survived: time books, payroll books, hands ledgers, and the\n         like. Because these books sometimes include information\n         about the employee's trade or job with the company, and as\n         race is indicated in some of the records, these books\n         should provide date for studies of the structure and upward\n         mobility within the labor force, patterns of\n         ethnic--possibly racial--occupational penetration and\n         mobility, material conditions of the workers, and so on.\n         The papers should permit a range of studies detailing the\n         pattern and evolution of industrial organization in the\n         iron industry, and the evolution of markets and marketing\n         structures for the entire period. Because the company was\n         dependent upon railroads to move its raw materials to the\n         furnaces, and for the marketing of its products, there is\n         considerable information about railroads and their\n         relationship to their customers.","See the \n             \n            University of Virginia Library’s use policy.","English"],"unitid_tesim":["662"],"normalized_title_ssm":["Papers of the Low Moor Iron Company \n         1873-1927"],"collection_title_tesim":["Papers of the Low Moor Iron Company \n         1873-1927"],"collection_ssim":["Papers of the Low Moor Iron Company \n         1873-1927"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["This collection was purchased from Green Bookman in\n            1939."],"has_online_content_ssim":["false"],"physdesc_tesim":["95 linear feer + 1200\n         volumes"],"accessrestrict_html_tesm":["\u003cp\u003eStored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections. \n"],"arrangement_html_tesm":["\u003cp\u003eThe word \"organization\" is used here with considerable\n         diffidence, for any researcher studying the container list\n         that follows will realize quickly that there is no\n         organization in the usual sense of the word.\u003c/p\u003e","\u003cp\u003eAs noted under \"Provenance,\" the Low Moor Iron Company\n         papers were subjected to a number of moves; when processing\n         began in the fall of 1976, no discernible scheme of\n         organization could be determined.\u003c/p\u003e","\u003cp\u003eThe first step was to review the series of coded numbers\n         placed on the bundles of papers before they were moved to\n         the dormitory attic, but these did not provide any sort of\n         useful organization. Next, the spine titles of the original\n         letter boxes were reviewed (they had been copied onto the\n         gray cardboard sheets before the move to the dormitory\n         attic), but they, too, proved useless.\u003c/p\u003e","\u003cp\u003eThese steps having provided no scheme, and after a\n         considerable hiatus due to a turnover in student processors\n         on the collection, the new student processors were\n         instructed to begin a box-by-box inventory of the contents\n         of the collection. During this inventory, old folders were\n         replaced with acid-free ones, and the original folder\n         headings were copied onto the new ones. Some removal of\n         paper clips was accomplished, and the materials were\n         reviewed and notes taken for the guide.\u003c/p\u003e","\u003cp\u003eSome consolidation of materials was accomplished, and in\n         other cases, materials were moved. This work has created\n         some problems in the numbering of the boxes. Thus, the\n         researchers will find boxes marked \"6A\" and \"23C\"; he will\n         also discover that certain box numbers have been entirely\n         omitted. As the box numbers exist only to aid in the\n         location of material, it was not felt that the unusual\n         numbers and the omissions would cause problems in working\n         with the papers.\u003c/p\u003e","\u003cp\u003eA certain amount of movement of boxes within the\n         collection, and of materials among boxes, probably would\n         ease use of it. But what processing was accomplished on\n         this project took far longer than had been anticipated, and\n         there was no time in the late spring of 1978, when the\n         processors had to complete their work with the project, to\n         undertake a mass movement of material. Thus, they stand in\n         the order in which we found them at the beginning of the\n         project.\u003c/p\u003e"],"arrangement_heading_ssm":["Organization"],"arrangement_tesim":["The word \"organization\" is used here with considerable\n         diffidence, for any researcher studying the container list\n         that follows will realize quickly that there is no\n         organization in the usual sense of the word.","As noted under \"Provenance,\" the Low Moor Iron Company\n         papers were subjected to a number of moves; when processing\n         began in the fall of 1976, no discernible scheme of\n         organization could be determined.","The first step was to review the series of coded numbers\n         placed on the bundles of papers before they were moved to\n         the dormitory attic, but these did not provide any sort of\n         useful organization. Next, the spine titles of the original\n         letter boxes were reviewed (they had been copied onto the\n         gray cardboard sheets before the move to the dormitory\n         attic), but they, too, proved useless.","These steps having provided no scheme, and after a\n         considerable hiatus due to a turnover in student processors\n         on the collection, the new student processors were\n         instructed to begin a box-by-box inventory of the contents\n         of the collection. During this inventory, old folders were\n         replaced with acid-free ones, and the original folder\n         headings were copied onto the new ones. Some removal of\n         paper clips was accomplished, and the materials were\n         reviewed and notes taken for the guide.","Some consolidation of materials was accomplished, and in\n         other cases, materials were moved. This work has created\n         some problems in the numbering of the boxes. Thus, the\n         researchers will find boxes marked \"6A\" and \"23C\"; he will\n         also discover that certain box numbers have been entirely\n         omitted. As the box numbers exist only to aid in the\n         location of material, it was not felt that the unusual\n         numbers and the omissions would cause problems in working\n         with the papers.","A certain amount of movement of boxes within the\n         collection, and of materials among boxes, probably would\n         ease use of it. But what processing was accomplished on\n         this project took far longer than had been anticipated, and\n         there was no time in the late spring of 1978, when the\n         processors had to complete their work with the project, to\n         undertake a mass movement of material. Thus, they stand in\n         the order in which we found them at the beginning of the\n         project."],"bioghist_html_tesm":["\u003cp\u003eThe Low Moor Iron Company, the first producer of pig\n         iron in Virginia according to the company's claims, was a\n         self-contained manufacturing unit producing from its own\n         mines the coal, limestone, and iron ore needed for its iron\n         production. Located in Low Moor near Clifton Forge in\n         Alleghany County in western Virginia, an area rich in\n         mineral deposits, the company was in operation from\n         1872-1930, producing only pig iron; it never attempted to\n         produce finished iron products.\u003c/p\u003e","\u003cp\u003eCoal came to the Low Moor furnaces from the Kay Moor\n         Mines at Kay Moor, West Virginia, about thirty miles from\n         Low Moor; limestone was produced from the Low Moor\n         limestone quarries; and iron ore came from the Fenwick,\n         Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n         Mines, most of them within twenty miles of Low Moor at\n         Covington or Clifton Forge.\u003c/p\u003e","\u003cp\u003eThe towns of Low Moor and Kay Moor were company towns in\n         every respect. Workers lived in company-owned houses,\n         bought food in company stores, worshiped at the company\n         church, saw movies in the company theater, were treated in\n         the company hospital, and were buried in the company\n         cemetery. Workers received part of their pay in scrip that\n         they exchanged for goods and services. According to a\n         statement from the Kay Moor Mines dated November 1904, Kay\n         Moor then employed 338 people, paid them an average wage of\n         $36.26 per month, and issued half of their pay in scrip.\n         Kay Moor had four stores; Low Moor had seven or eight. All\n         of these stores carried large inventories which are\n         detailed in the collection. These inventories are valuable\n         to anyone interested in determining the wants and needs of\n         a coal miner and his family.\u003c/p\u003e","\u003cp\u003eIn the late 1910's and 1920's Kay Moor had a company\n         theater called the Azure Theater which seated about 300\n         people. There were also plans for a company-owned social\n         center, to have pool tables, a soda fountain, and\n         provisions for dancing and skating. The company was in\n         tough economic straits by the 1920's, however, and there is\n         no evidence that the social center was built. The town of\n         Low Moor was so completely under the company's influence\n         that one of Low Moor Iron Company's assistant managers\n         served as the town sheriff. He often foreclosed on people\n         who did not pay their debts, and drove troublesome people\n         \"out of town on a rail\" as he put it.\u003c/p\u003e","\u003cp\u003eThe Low Moor Iron Company's fortunes fluctuated during\n         the various business cycles between the years 1880-1930.\n         Low Moor was one of the larger pig iron producers in\n         Virginia, but Virginia pig iron production was not\n         important nationally. Low Moor officials sometimes sold\n         their product themselves, but more often they used agents,\n         the prevalent method at the time. Low Moor Iron Company\n         used a variety of agents through the 1900's. James F. Bryan\n         acted as the exclusive agent for the sale of Kay Moor Coal\n         from September 21, 1903 to September, 1905. From about 1890\n         until about 1910 Dalton Nash and Company were the exclusive\n         eastern agents of Low Moor Iron. After that time the\n         exclusive agency went to Philips Isham and Company located\n         in New York. From about 1890 the western agency was handled\n         chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n         and Company underwent a name change, becoming Walter\n         Wallingford and Company, with offices located in\n         Cincinnati, Pittsburgh, and Chicago.\u003c/p\u003e","\u003cp\u003ePerhaps the Low Moor Iron Company's biggest problem over\n         the years was obtaining railroad cars for the\n         transportation of its finished product. Low Moor Iron\n         Company had its own cars for transporting its raw materials\n         among its various facilities. For the long haul necessary\n         for its finished goods, however, it depended upon the\n         services of the Chesapeake and Ohio Railroad, and the\n         relationship was not always a happy one. The Low Moor\n         Company complained many times to the C \u0026amp; O Railroad\n         about the discrepancies between long-and shorthaul freight\n         rates. Low Moor also had trouble getting cars from the C\n         \u0026amp; O. In a letter to one of Low Moor Company's agents\n         from an irate customer dated 1898, the customer wrote: \"We\n         wrote you on Saturday and endeavored to question upon your\n         mind the necessity of taking care of us with Low Moor iron.\n         We are on our uppers--there is not a pound of Low Moor iron\n         in the yard. Of the one hundred tons ordered some time ago,\n         not one pound of it has been received.\" This was, according\n         to the Low Moor Iron Company, because they could not get\n         the railroad cars. In a letter from Thomas Mack and Company\n         dated November 26, 1901, to General Manager E. C. Means:\n         \"We are hopeful that the car supply will get better because\n         of the number of orders you have of ours for prompt\n         shipment. Our customers are complaining that they are not\n         getting the iron fast enough. . . . We hope that the\n         railroad will be able to supply you with empty cars.\" In\n         another letter dated 1916 to John B. Guernsey, then acting\n         General Manager of the Low Moor Iron Company, \"We were not\n         supplied with coke cars for today's loading, and\n         consequently we have been practically down of Kay Moor\n         ovens all day.\"\u003c/p\u003e","\u003cp\u003eThe problem of procuring labor also plagued the Low Moor\n         Company. The company sometimes tried to hire immigrant\n         laborers and send the men directly to Low Moor from New\n         York City. There were problems with this, as is explained\n         in the following letter dated April 7, 1906: \n         \u003cblockquote\u003e\n\u003cp\u003eTo Mr. George Wickes \n            \u003clb\u003e\u003c/lb\u003eSupt. of Mines \n            \u003clb\u003e\u003c/lb\u003eKay Moor, Virginia \n            \u003clb\u003e\u003c/lb\u003e\u003c/p\u003e\n\u003cp\u003eDear George, \n            \u003clb\u003e\u003c/lb\u003eTony arrived with twenty one men last night. One\n            got away in Jersey two in Washington D.C., four in\n            Charlottesville. Some of the men are very good looking,\n            but taken as a whole they are the worst lot I have ever\n            seen: Irish, German-Jews, and Italians. . . . Our New\n            York transportations to this place have never been a\n            success.\u003c/p\u003e\n\u003cp\u003eSigned, \n            \u003clb\u003e\u003c/lb\u003eEd D. Wickes Supt. of Mines\u003c/p\u003e\n\u003c/blockquote\u003eLow Moor usually employed labor agencies, one\n         of which was Atwood's Employment Agency. Often the Low Moor\n         Company would request certain nationalities, believing them\n         to be better workers than others. Sometimes the company\n         would request a gang of twenty made up of \"ten Greeks and\n         ten Italians.\" Many of the immigrants fled Low Moor and Kay\n         Moor when they learned that they would have to work\n         underground. There is a fair amount of material on\n         immigrant labor and its procurement in the collection, and\n         it is noted in the description of the box contents.\u003c/p\u003e","\u003cp\u003eLow Moor Iron Company not only had trouble procuring\n         labor, but it also had trouble with labor already employed\n         in the mines and at the factory. Labor dissension and\n         strikes troubled the Kay Moor Mines through the 1900's. The\n         great coal strike of 1902 hurt the Low Moor Company's coal\n         mining operation, but by 1903 things were \"nearly back to\n         normal\" according to the mine superintendent. There was\n         still trouble at Kay Moor Mines, however. In a letter dated\n         April 26, 1906, to the treasurer of Low Moor Company, the\n         manager of the mines wrote about the trouble in \"trying to\n         get the agitators out.\" The mines were seventy-five men\n         short of the total labor force needed because many of the\n         coal miners returned to their farms during the spring.\n         There were rumblings of another strike at Kay Moor, the\n         result of which was to be a fourteen percent increase in\n         wages for the Kay Moor Mine workers via an agreement with\n         the United Mine Workers Union in December.\u003c/p\u003e","\u003cp\u003eThe Low Moor Iron Company grew along with the rest of\n         Virginia industry in the 1890's and 1900's. Starting with\n         only one furnace in the 1870's, it opened a second furnace\n         at Covington, Virginia, in 1891. In 1911 it opened a third\n         furnace, this time at Low Moor. Covington, with its heavy\n         industry, soon became known as the \"Pittsburgh of\n         Virginia.\" Virginia's pig iron production rose from 9,000\n         short tons in 1870 to 544,034 long tons in 1903. Judging\n         from the Low Moor Company's correspondence, the most\n         prosperous period for the company fell between the years\n         1895-1907. In the years between 1907-1917 problems befell\n         the Virginia pig iron industry. In a letter from William W.\n         Hearns, the president of the Virginia based Princess Pig\n         Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n         writes of the problems of the Virginia pig iron industry:\n         \"There is not a blast furnace in Virginia that is making\n         any money from the manufacture of pig iron. The cause of\n         this is there is an exceedingly low price on pig iron in\n         the country at the present time, and the increased cost of\n         manufacturing is due to the increase in wages in all\n         lines.\" With the outbreak of World War I prices rose\n         dramatically, but in a market report to Low Moor dated\n         November 11, 1916, it was stated that: \"In spite of the\n         high prices, it is not a picnic to be in the iron industry.\n         There is a desperate shortage of cars and equipment in the\n         coal and iron districts, and in consequence there are\n         troubles of all kinds to get materials shipped. The\n         situation has grown serious.\"\u003c/p\u003e","\u003cp\u003eWhen America became involved in the First World War, it\n         meant a boost for the Low Moor Iron Company. The government\n         helped it procure labor, and even helped it repair its\n         furnaces. The problem of supplies and cars for their\n         shipments, however, plagued the company more than ever. It\n         had a good deal of trouble getting all the raw materials it\n         needed due chiefly to the \"tight ship\" run by Harry F.\n         Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n         war very serious problems began to trouble the Low Moor\n         Iron Company. The demand for iron fell precipitously and a\n         short but severe depression ensued from 1919-1922. The\n         depression seemed to hit the iron industry especially hard.\n         Prices took a huge drop due to the lack of demand, and many\n         pre-war contracts had to be revalued. To compound the\n         company's problems, the Kay Moor Mines went on strike in\n         1919. This strike was quickly settled, as the market for\n         coal was so good that the Low Moor Company ceased taking\n         orders temporarily in 1921 as it could not fill the orders\n         it had on hand.\u003c/p\u003e","\u003cp\u003eThe Low Moor Company furnaces lay idle for some twenty\n         months. Finally, in November 1922 one of Low Moor's\n         furnaces was finally fired up. While prosperity gradually\n         returned to the rest of the country, the Low Moor Iron\n         Company never recovered. Production of pig iron in the\n         Virginia iron industry declined from 544,034 tons in 1903\n         to 148,053 tons in 1923, considered a good year for the\n         industry as a whole. In February 1926 Low Moor officials\n         talked of merging with two other iron companies in order to\n         revive the iron business for the three companies. The\n         merger, however, never occurred. By late 1926 the company\n         was in the process of liquidation. An advertisement in the\n         Charleston, West Virginia, Daily Mail dated April 30, 1927,\n         told of a huge warehouse sale at the Low Moor Iron Company.\n         The advertisement noted \"thousands of screws, pipe\n         fittings, valves, etc.\" The last piece of correspondence\n         from the Low Moor Iron Company in the collection is dated\n         1929. It deals with the sale of a machine.\u003c/p\u003e","\u003cp\u003eWhy did the iron industry in Virginia decline as it did?\n         Some say that lack of speed, efficiency, and a decent\n         transportation system for Alleghany County caused it. In a\n         letter from C. E. Bertie, secretary of the Virginia Pig\n         Iron Association, to the \n         \u003cbibref type=\"simple\" href=\"\"\u003e\u003ctitle type=\"simple\" href=\"\"\u003eManufacturers Record\u003c/title\u003e\u003c/bibref\u003edated 1925, Bertie claimed that it was the\n         tremendous rise in the cost of transportation. Virginia, he\n         claimed, had almost no home market. Over 80% of its normal\n         production was shipped out to other states. The failure of\n         the Interstate Commerce Commission to treat Virginia\n         furnaces as southern furnaces was the cause of much of the\n         trouble. From 1914-1925 there were four blanket increases\n         in freight rates in the country, of which only one applied\n         equally to all localities. Southern furnaces were received\n         only two increases--a 25% increase in 1918 and a 25%\n         increase in 1920--but northern furnaces had had 5%, 15%,\n         25%, and 40% increases in their transportation costs.\n         Virginia furnaces, although recognized as southern\n         furnaces, had had freight rates increased in line with the\n         northern furnaces. Prior to the war Virginia iron reached\n         all points in Ohio, Indiana, Michigan, and Illinois on a\n         competitive basis with southern furnaces. After World War I\n         the advantage was limited to a small portion of\n         southeastern Ohio. All of Indiana, Illinois, and Michigan\n         were now lost to the Virginia producers. The Virginia\n         producer, according to Bertie, felt that the freight rates\n         should be restored to a relationship with southern\n         furnaces. If what Bertie said was true, the other southern\n         states iron industries should not have been in the same\n         desperate economic straits as Virginia's, and statistics\n         should support this. In the 1920's production rose to new\n         heights in Alabama. In Tennessee, however, iron production\n         plunged to new lows during the 1920's. While the south\n         accounted for 10.2% of the entire U. S. production in the\n         years 1919-1924, Virginia accounted for less than 1% during\n         those years. In 1915 Virginia accounted for over 6% of the\n         U.S. iron production. One can see a decline in other areas\n         of the south than Virginia. While the discrepancies in the\n         freight rates may have helped cause the decline, clearly\n         there are other reasons.\u003c/p\u003e","\u003cp\u003eDuring the 1900's there was a discovery of extremely\n         rich iron ore deposits in the mid-west. Much of this ore\n         was on or near the surface, making the mining of it both\n         easy and inexpensive. This in turn lowered production costs\n         of the pig iron. This caused iron production to shift to\n         that region, and resulted in a decline in the Virginia iron\n         industry. There was a sharp increase in iron production in\n         the mid-west through the 1920's. The iron ore in the\n         mid-west may have been of better quality than Virginia, but\n         the iron ore in Virginia was of sufficient quality to\n         produce a good pig iron. The western ore deposits were not\n         as conveniently located as Virginia deposits, but the\n         inexpensiveness of production more than made up for it.\u003c/p\u003e","\u003cp\u003eIn examining the rise and fall of the Low Moor Iron\n         Company, we can see a situation in which the conditions for\n         the manufacture of iron were nearly ideal. There was plenty\n         of land for expansion and resources for the manufacture of\n         the iron. The major internal problem faced by the Low Moor\n         Iron Company was that of transportation. External\n         developments, however, caused the final demise of the Low\n         Moor Iron Company.\u003c/p\u003e","\u003cp\u003eLow Moor Iron Company Personnel:\u003c/p\u003e","\u003cp\u003eExecutive Staff: Managing Director, Colonel H. M.\n         Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n         1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n         1915 (acting General Manager); F. U. Humbert: ca.\n         1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n         1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n         ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n         G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n         ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n         1918-1928.\u003c/p\u003e","\u003cp\u003eFactory and Mine Supervisors: Kay Moor Superintendents:\n         C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n         Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n         J. W. Monteith: manager of mines. ca. 1918; promoted in\n         1925 to general superintendent in charge of mine plants,\n         coke ovens, shops, repairs, and construction; A. L.\n         Monteith: assistant superintendent of mines, ca. 1918;\n         George T. Wickes: manager of Covington mines, ca.\n         1906-1917; Ross Howell, ca. 1918. Stack Mines\n         Superintendents: J. H. Carpenter: ca. 1906; C. D.\n         Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n         ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n         Thompson: foreman, ca. 1906. Low Moor assorted other\n         personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n         Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n         assistant traffic manager, ca. 1919.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Information"],"bioghist_tesim":["The Low Moor Iron Company, the first producer of pig\n         iron in Virginia according to the company's claims, was a\n         self-contained manufacturing unit producing from its own\n         mines the coal, limestone, and iron ore needed for its iron\n         production. Located in Low Moor near Clifton Forge in\n         Alleghany County in western Virginia, an area rich in\n         mineral deposits, the company was in operation from\n         1872-1930, producing only pig iron; it never attempted to\n         produce finished iron products.","Coal came to the Low Moor furnaces from the Kay Moor\n         Mines at Kay Moor, West Virginia, about thirty miles from\n         Low Moor; limestone was produced from the Low Moor\n         limestone quarries; and iron ore came from the Fenwick,\n         Dolly Ann, Jordan, Rich Patch, Low Moor, and Longdale\n         Mines, most of them within twenty miles of Low Moor at\n         Covington or Clifton Forge.","The towns of Low Moor and Kay Moor were company towns in\n         every respect. Workers lived in company-owned houses,\n         bought food in company stores, worshiped at the company\n         church, saw movies in the company theater, were treated in\n         the company hospital, and were buried in the company\n         cemetery. Workers received part of their pay in scrip that\n         they exchanged for goods and services. According to a\n         statement from the Kay Moor Mines dated November 1904, Kay\n         Moor then employed 338 people, paid them an average wage of\n         $36.26 per month, and issued half of their pay in scrip.\n         Kay Moor had four stores; Low Moor had seven or eight. All\n         of these stores carried large inventories which are\n         detailed in the collection. These inventories are valuable\n         to anyone interested in determining the wants and needs of\n         a coal miner and his family.","In the late 1910's and 1920's Kay Moor had a company\n         theater called the Azure Theater which seated about 300\n         people. There were also plans for a company-owned social\n         center, to have pool tables, a soda fountain, and\n         provisions for dancing and skating. The company was in\n         tough economic straits by the 1920's, however, and there is\n         no evidence that the social center was built. The town of\n         Low Moor was so completely under the company's influence\n         that one of Low Moor Iron Company's assistant managers\n         served as the town sheriff. He often foreclosed on people\n         who did not pay their debts, and drove troublesome people\n         \"out of town on a rail\" as he put it.","The Low Moor Iron Company's fortunes fluctuated during\n         the various business cycles between the years 1880-1930.\n         Low Moor was one of the larger pig iron producers in\n         Virginia, but Virginia pig iron production was not\n         important nationally. Low Moor officials sometimes sold\n         their product themselves, but more often they used agents,\n         the prevalent method at the time. Low Moor Iron Company\n         used a variety of agents through the 1900's. James F. Bryan\n         acted as the exclusive agent for the sale of Kay Moor Coal\n         from September 21, 1903 to September, 1905. From about 1890\n         until about 1910 Dalton Nash and Company were the exclusive\n         eastern agents of Low Moor Iron. After that time the\n         exclusive agency went to Philips Isham and Company located\n         in New York. From about 1890 the western agency was handled\n         chiefly by Thomas Mack and Company. After 1902 Thomas Mack\n         and Company underwent a name change, becoming Walter\n         Wallingford and Company, with offices located in\n         Cincinnati, Pittsburgh, and Chicago.","Perhaps the Low Moor Iron Company's biggest problem over\n         the years was obtaining railroad cars for the\n         transportation of its finished product. Low Moor Iron\n         Company had its own cars for transporting its raw materials\n         among its various facilities. For the long haul necessary\n         for its finished goods, however, it depended upon the\n         services of the Chesapeake and Ohio Railroad, and the\n         relationship was not always a happy one. The Low Moor\n         Company complained many times to the C \u0026 O Railroad\n         about the discrepancies between long-and shorthaul freight\n         rates. Low Moor also had trouble getting cars from the C\n         \u0026 O. In a letter to one of Low Moor Company's agents\n         from an irate customer dated 1898, the customer wrote: \"We\n         wrote you on Saturday and endeavored to question upon your\n         mind the necessity of taking care of us with Low Moor iron.\n         We are on our uppers--there is not a pound of Low Moor iron\n         in the yard. Of the one hundred tons ordered some time ago,\n         not one pound of it has been received.\" This was, according\n         to the Low Moor Iron Company, because they could not get\n         the railroad cars. In a letter from Thomas Mack and Company\n         dated November 26, 1901, to General Manager E. C. Means:\n         \"We are hopeful that the car supply will get better because\n         of the number of orders you have of ours for prompt\n         shipment. Our customers are complaining that they are not\n         getting the iron fast enough. . . . We hope that the\n         railroad will be able to supply you with empty cars.\" In\n         another letter dated 1916 to John B. Guernsey, then acting\n         General Manager of the Low Moor Iron Company, \"We were not\n         supplied with coke cars for today's loading, and\n         consequently we have been practically down of Kay Moor\n         ovens all day.\"","The problem of procuring labor also plagued the Low Moor\n         Company. The company sometimes tried to hire immigrant\n         laborers and send the men directly to Low Moor from New\n         York City. There were problems with this, as is explained\n         in the following letter dated April 7, 1906: \n          To Mr. George Wickes \n             Supt. of Mines \n             Kay Moor, Virginia \n             Dear George, \n             Tony arrived with twenty one men last night. One\n            got away in Jersey two in Washington D.C., four in\n            Charlottesville. Some of the men are very good looking,\n            but taken as a whole they are the worst lot I have ever\n            seen: Irish, German-Jews, and Italians. . . . Our New\n            York transportations to this place have never been a\n            success. Signed, \n             Ed D. Wickes Supt. of Mines Low Moor usually employed labor agencies, one\n         of which was Atwood's Employment Agency. Often the Low Moor\n         Company would request certain nationalities, believing them\n         to be better workers than others. Sometimes the company\n         would request a gang of twenty made up of \"ten Greeks and\n         ten Italians.\" Many of the immigrants fled Low Moor and Kay\n         Moor when they learned that they would have to work\n         underground. There is a fair amount of material on\n         immigrant labor and its procurement in the collection, and\n         it is noted in the description of the box contents.","Low Moor Iron Company not only had trouble procuring\n         labor, but it also had trouble with labor already employed\n         in the mines and at the factory. Labor dissension and\n         strikes troubled the Kay Moor Mines through the 1900's. The\n         great coal strike of 1902 hurt the Low Moor Company's coal\n         mining operation, but by 1903 things were \"nearly back to\n         normal\" according to the mine superintendent. There was\n         still trouble at Kay Moor Mines, however. In a letter dated\n         April 26, 1906, to the treasurer of Low Moor Company, the\n         manager of the mines wrote about the trouble in \"trying to\n         get the agitators out.\" The mines were seventy-five men\n         short of the total labor force needed because many of the\n         coal miners returned to their farms during the spring.\n         There were rumblings of another strike at Kay Moor, the\n         result of which was to be a fourteen percent increase in\n         wages for the Kay Moor Mine workers via an agreement with\n         the United Mine Workers Union in December.","The Low Moor Iron Company grew along with the rest of\n         Virginia industry in the 1890's and 1900's. Starting with\n         only one furnace in the 1870's, it opened a second furnace\n         at Covington, Virginia, in 1891. In 1911 it opened a third\n         furnace, this time at Low Moor. Covington, with its heavy\n         industry, soon became known as the \"Pittsburgh of\n         Virginia.\" Virginia's pig iron production rose from 9,000\n         short tons in 1870 to 544,034 long tons in 1903. Judging\n         from the Low Moor Company's correspondence, the most\n         prosperous period for the company fell between the years\n         1895-1907. In the years between 1907-1917 problems befell\n         the Virginia pig iron industry. In a letter from William W.\n         Hearns, the president of the Virginia based Princess Pig\n         Iron Company, to U. S. Senator Thomas S. Martin, Hearns\n         writes of the problems of the Virginia pig iron industry:\n         \"There is not a blast furnace in Virginia that is making\n         any money from the manufacture of pig iron. The cause of\n         this is there is an exceedingly low price on pig iron in\n         the country at the present time, and the increased cost of\n         manufacturing is due to the increase in wages in all\n         lines.\" With the outbreak of World War I prices rose\n         dramatically, but in a market report to Low Moor dated\n         November 11, 1916, it was stated that: \"In spite of the\n         high prices, it is not a picnic to be in the iron industry.\n         There is a desperate shortage of cars and equipment in the\n         coal and iron districts, and in consequence there are\n         troubles of all kinds to get materials shipped. The\n         situation has grown serious.\"","When America became involved in the First World War, it\n         meant a boost for the Low Moor Iron Company. The government\n         helped it procure labor, and even helped it repair its\n         furnaces. The problem of supplies and cars for their\n         shipments, however, plagued the company more than ever. It\n         had a good deal of trouble getting all the raw materials it\n         needed due chiefly to the \"tight ship\" run by Harry F.\n         Byrd, Sr., U.S. Fuel Administrator for Virginia. After the\n         war very serious problems began to trouble the Low Moor\n         Iron Company. The demand for iron fell precipitously and a\n         short but severe depression ensued from 1919-1922. The\n         depression seemed to hit the iron industry especially hard.\n         Prices took a huge drop due to the lack of demand, and many\n         pre-war contracts had to be revalued. To compound the\n         company's problems, the Kay Moor Mines went on strike in\n         1919. This strike was quickly settled, as the market for\n         coal was so good that the Low Moor Company ceased taking\n         orders temporarily in 1921 as it could not fill the orders\n         it had on hand.","The Low Moor Company furnaces lay idle for some twenty\n         months. Finally, in November 1922 one of Low Moor's\n         furnaces was finally fired up. While prosperity gradually\n         returned to the rest of the country, the Low Moor Iron\n         Company never recovered. Production of pig iron in the\n         Virginia iron industry declined from 544,034 tons in 1903\n         to 148,053 tons in 1923, considered a good year for the\n         industry as a whole. In February 1926 Low Moor officials\n         talked of merging with two other iron companies in order to\n         revive the iron business for the three companies. The\n         merger, however, never occurred. By late 1926 the company\n         was in the process of liquidation. An advertisement in the\n         Charleston, West Virginia, Daily Mail dated April 30, 1927,\n         told of a huge warehouse sale at the Low Moor Iron Company.\n         The advertisement noted \"thousands of screws, pipe\n         fittings, valves, etc.\" The last piece of correspondence\n         from the Low Moor Iron Company in the collection is dated\n         1929. It deals with the sale of a machine.","Why did the iron industry in Virginia decline as it did?\n         Some say that lack of speed, efficiency, and a decent\n         transportation system for Alleghany County caused it. In a\n         letter from C. E. Bertie, secretary of the Virginia Pig\n         Iron Association, to the \n          Manufacturers Record dated 1925, Bertie claimed that it was the\n         tremendous rise in the cost of transportation. Virginia, he\n         claimed, had almost no home market. Over 80% of its normal\n         production was shipped out to other states. The failure of\n         the Interstate Commerce Commission to treat Virginia\n         furnaces as southern furnaces was the cause of much of the\n         trouble. From 1914-1925 there were four blanket increases\n         in freight rates in the country, of which only one applied\n         equally to all localities. Southern furnaces were received\n         only two increases--a 25% increase in 1918 and a 25%\n         increase in 1920--but northern furnaces had had 5%, 15%,\n         25%, and 40% increases in their transportation costs.\n         Virginia furnaces, although recognized as southern\n         furnaces, had had freight rates increased in line with the\n         northern furnaces. Prior to the war Virginia iron reached\n         all points in Ohio, Indiana, Michigan, and Illinois on a\n         competitive basis with southern furnaces. After World War I\n         the advantage was limited to a small portion of\n         southeastern Ohio. All of Indiana, Illinois, and Michigan\n         were now lost to the Virginia producers. The Virginia\n         producer, according to Bertie, felt that the freight rates\n         should be restored to a relationship with southern\n         furnaces. If what Bertie said was true, the other southern\n         states iron industries should not have been in the same\n         desperate economic straits as Virginia's, and statistics\n         should support this. In the 1920's production rose to new\n         heights in Alabama. In Tennessee, however, iron production\n         plunged to new lows during the 1920's. While the south\n         accounted for 10.2% of the entire U. S. production in the\n         years 1919-1924, Virginia accounted for less than 1% during\n         those years. In 1915 Virginia accounted for over 6% of the\n         U.S. iron production. One can see a decline in other areas\n         of the south than Virginia. While the discrepancies in the\n         freight rates may have helped cause the decline, clearly\n         there are other reasons.","During the 1900's there was a discovery of extremely\n         rich iron ore deposits in the mid-west. Much of this ore\n         was on or near the surface, making the mining of it both\n         easy and inexpensive. This in turn lowered production costs\n         of the pig iron. This caused iron production to shift to\n         that region, and resulted in a decline in the Virginia iron\n         industry. There was a sharp increase in iron production in\n         the mid-west through the 1920's. The iron ore in the\n         mid-west may have been of better quality than Virginia, but\n         the iron ore in Virginia was of sufficient quality to\n         produce a good pig iron. The western ore deposits were not\n         as conveniently located as Virginia deposits, but the\n         inexpensiveness of production more than made up for it.","In examining the rise and fall of the Low Moor Iron\n         Company, we can see a situation in which the conditions for\n         the manufacture of iron were nearly ideal. There was plenty\n         of land for expansion and resources for the manufacture of\n         the iron. The major internal problem faced by the Low Moor\n         Iron Company was that of transportation. External\n         developments, however, caused the final demise of the Low\n         Moor Iron Company.","Low Moor Iron Company Personnel:","Executive Staff: Managing Director, Colonel H. M.\n         Goodwin: ca. 1881. General Managers: H. G. Merry: ca.\n         1884-1902; E. C. Means: ca. 1905-1915; J. P. Guernsey: ca.\n         1915 (acting General Manager); F. U. Humbert: ca.\n         1916-1929. Assistant General Manager: E. B. Wilkinson: ca.\n         1909-1915. Treasurers and Assistant Treasurers: Edward Low:\n         ca. 1886-1898; Frank Lyman (in New York): ca. 1898-1919; S.\n         G. Cragill (Asst. Treasurer): ca. 1900-1915; H. A. Dalton:\n         ca. 1921-1929; John Lipscomb (Asst. Treasurer): ca.\n         1918-1928.","Factory and Mine Supervisors: Kay Moor Superintendents:\n         C. C. Cooke: ca. 1918; Ed. D. Wickes: ca. 1906; H. L.\n         Tansell: ca. 1903; A. H. Reed: ca. 1906. Kay Moor Managers:\n         J. W. Monteith: manager of mines. ca. 1918; promoted in\n         1925 to general superintendent in charge of mine plants,\n         coke ovens, shops, repairs, and construction; A. L.\n         Monteith: assistant superintendent of mines, ca. 1918;\n         George T. Wickes: manager of Covington mines, ca.\n         1906-1917; Ross Howell, ca. 1918. Stack Mines\n         Superintendents: J. H. Carpenter: ca. 1906; C. D.\n         Oberschain: ca. 1907; J. L. Harris: ca. 1903; John S. Ham:\n         ca. 1891-1901. Rich Patch Mines Superintendents: John R.\n         Thompson: foreman, ca. 1906. Low Moor assorted other\n         personnel: S. L. Tulley: trainmaster, ca. 1906; B. J.\n         Shenkley: foreman, Low Moor limestone quarries; L. Q. Wood:\n         assistant traffic manager, ca. 1919."],"custodhist_html_tesm":["\u003cp\u003eThe Low Moor Iron Company ceased operations in 1930;\n            what happened to the records of the company in the years\n            immediately following is not known, but in 1939, the Green\n            Bookman, a Charlottesville bookshop, sold the records to\n            the University of Virginia Library.\u003c/p\u003e","\u003cp\u003eThe records arrived at the receiving room door of the\n            new Alderman Library on October 16, 1939, in a trailer\n            truck whose load was estimated to weigh about fourteen\n            tons. As the manuscripts staff dug around in the piles of\n            over 1200 account books, and countless boxes of papers they\n            realized that the company had saved almost all of its\n            papers including checks, invoices, vouchers, and receipts,\n            and certain of these records were destroyed as their\n            information was recorded in other records. Once the bulk of\n            the collection had been reduced, the remaining records were\n            transferred to the stack area of the Division of Rare Books\n            and Manuscripts.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The Low Moor Iron Company ceased operations in 1930;\n            what happened to the records of the company in the years\n            immediately following is not known, but in 1939, the Green\n            Bookman, a Charlottesville bookshop, sold the records to\n            the University of Virginia Library.","The records arrived at the receiving room door of the\n            new Alderman Library on October 16, 1939, in a trailer\n            truck whose load was estimated to weigh about fourteen\n            tons. As the manuscripts staff dug around in the piles of\n            over 1200 account books, and countless boxes of papers they\n            realized that the company had saved almost all of its\n            papers including checks, invoices, vouchers, and receipts,\n            and certain of these records were destroyed as their\n            information was recorded in other records. Once the bulk of\n            the collection had been reduced, the remaining records were\n            transferred to the stack area of the Division of Rare Books\n            and Manuscripts."],"otherfindaid_html_tesm":["\u003cp\u003eSome 1200 bound accounting record books of the Low Moor\n            Iron Company came into the custody of the Library with the\n            loose papers. When the project staff investigated these\n            volumes in the dormitory attic where they were stored, they\n            found that the volumes had been shelved by size rather than\n            by series. Thus, a letterbook may stand next to a stock\n            report book for a furnace, which is, in turn, next to a\n            store account book for the Kay Moor Mines' store. No series\n            are shelved in order.\u003c/p\u003e","\u003cp\u003eMembers of the project staff surveyed the volumes,\n            completing for each volume two copies of a mimeographed\n            survey form, and assigning to each volume a number. One\n            copy of the survey report form was placed in the volume,\n            and the second was returned to the Library.\u003c/p\u003e","\u003cp\u003eFrom the survey report forms, 3 x 5 inch index\n            cards--with a carbon copy of each--were typed. One set of\n            index cards has been kept in order by the numbers assigned\n            to the volumes as they stand on the shelves. This provides\n            a shelf list for the use of the library staff. The other\n            set of cards was sorted into categories as a finding aid.\n            On the list that follows, the researcher will find a number\n            of major headings such as \"Accounts,\" \"Inventories,\"\n            \"Letter Books,\" and \"Shipments-Outgoing.\"\u003c/p\u003e","\u003cp\u003eInsofar as it has been possible to determine from the\n            data on the survey report forms, the volumes have been\n            assigned to categories. Most of the major categories, or\n            headings, have sub-headings. Within those sub-headings, the\n            volumes have been arranged chronologically. The\n            investigators realize that after careful study of some of\n            these volumes, they will be revealed as belonging to other\n            categories than those in which they have initially been\n            placed. The card index will allow such movement.\u003c/p\u003e","\u003cp\u003eAvailable in the Manuscripts/Archives Reading Room in\n            the Library is the sorted card index file. There is a card\n            for every volume in this file whereas, on the pages that\n            follow, volumes have been summarized under the headings and\n            sub-headings. In each case, the number of volumes has been\n            given in the summarized list; the date ranges given are\n            inclusive in most cases, and do not reveal the many gaps in\n            sequences unless the number of volumes is small and the\n            date range wide. Occasional remarks about the content of\n            volumes have been supplied if the contents are not obvious\n            from the heading or sub-heading.\u003c/p\u003e","\u003cp\u003eResearchers wishing to examine any of these volumes will\n            have to use the card index file in order to be able to give\n            to the staff the volume number assigned to the individual\n            volumes that are to be inspected.\u003c/p\u003e"],"otherfindaid_heading_ssm":["Other Finding Aid"],"otherfindaid_tesim":["Some 1200 bound accounting record books of the Low Moor\n            Iron Company came into the custody of the Library with the\n            loose papers. When the project staff investigated these\n            volumes in the dormitory attic where they were stored, they\n            found that the volumes had been shelved by size rather than\n            by series. Thus, a letterbook may stand next to a stock\n            report book for a furnace, which is, in turn, next to a\n            store account book for the Kay Moor Mines' store. No series\n            are shelved in order.","Members of the project staff surveyed the volumes,\n            completing for each volume two copies of a mimeographed\n            survey form, and assigning to each volume a number. One\n            copy of the survey report form was placed in the volume,\n            and the second was returned to the Library.","From the survey report forms, 3 x 5 inch index\n            cards--with a carbon copy of each--were typed. One set of\n            index cards has been kept in order by the numbers assigned\n            to the volumes as they stand on the shelves. This provides\n            a shelf list for the use of the library staff. The other\n            set of cards was sorted into categories as a finding aid.\n            On the list that follows, the researcher will find a number\n            of major headings such as \"Accounts,\" \"Inventories,\"\n            \"Letter Books,\" and \"Shipments-Outgoing.\"","Insofar as it has been possible to determine from the\n            data on the survey report forms, the volumes have been\n            assigned to categories. Most of the major categories, or\n            headings, have sub-headings. Within those sub-headings, the\n            volumes have been arranged chronologically. The\n            investigators realize that after careful study of some of\n            these volumes, they will be revealed as belonging to other\n            categories than those in which they have initially been\n            placed. The card index will allow such movement.","Available in the Manuscripts/Archives Reading Room in\n            the Library is the sorted card index file. There is a card\n            for every volume in this file whereas, on the pages that\n            follow, volumes have been summarized under the headings and\n            sub-headings. In each case, the number of volumes has been\n            given in the summarized list; the date ranges given are\n            inclusive in most cases, and do not reveal the many gaps in\n            sequences unless the number of volumes is small and the\n            date range wide. Occasional remarks about the content of\n            volumes have been supplied if the contents are not obvious\n            from the heading or sub-heading.","Researchers wishing to examine any of these volumes will\n            have to use the card index file in order to be able to give\n            to the staff the volume number assigned to the individual\n            volumes that are to be inspected."],"prefercite_html_tesm":["\u003cp\u003ePapers of the Low Moor Iron Company, Accession #662,\n            Special Collections, University of Virginia Library,\n            Charlottesville, Va.\u003c/p\u003e"],"prefercite_tesim":["Papers of the Low Moor Iron Company, Accession #662,\n            Special Collections, University of Virginia Library,\n            Charlottesville, Va."],"processinfo_html_tesm":["\u003cp\u003eBy 1958, little storage space remained in Alderman\n            Library, and the Rare Books and Manuscripts Division was\n            especially crowded because of the rapid growth of its\n            collections. After an examination of its storage areas, the\n            division's staff decided to move the Low Moor records to\n            the attic of one of the student dormitories. The collection\n            had had little use chiefly because there was no finding\n            aid. There seemed little likelihood of extensive researcher\n            use until the collection could be processed.\u003c/p\u003e","\u003cp\u003eIn preparation for the move, the old letter boxes in\n            which much of the collection had arrived in the Library\n            were discarded. The records from each box were placed\n            between sheets of the heavy gray cardboard used to protect\n            unbound newspapers in the Library's stacks, and the spine\n            labels of the old letter boxes were copied onto the\n            cardboard. The resulting bundles were wrapped with brown\n            Kraft paper and tied up with string. The bundles were\n            numbered. Whatever original order the letter boxes may have\n            had was lost by the time they arrived in the Library, and\n            after the bundling, removal to a dormitory attic, and\n            subsequent return to the Library in 1976, all vestiges of\n            the original order were lost.\u003c/p\u003e","\u003cp\u003eThe bundles remained in the dormitory attic for almost\n            twenty years. Occasional visits were made by the division\n            staff to check on their condition, and on very rare\n            occasions, a researcher was brave enough to ask to be shown\n            the collection. Once the researcher saw the imposing amount\n            of material and the conditions in the attic, interest in\n            using the collection invariably died.\u003c/p\u003e","\u003cp\u003eIn late 1976 a grant from the National Endowment for the\n            Humanities was obtained to allow the Library to process the\n            Low Moor Iron Company papers, and the papers of Edward L.\n            Stone and the Borderland Coal Company, another large\n            collection of records stored in the same dormitory attic.\n            All of these records and papers were moved back to the\n            Library where the bundles were cleaned and opened. The\n            contents of each were placed in a Hollinger storage box,\n            and all notes on the paper wrappings and on the gray\n            cardboard sheets were recorded.\u003c/p\u003e","\u003cp\u003eThe more than 1200 bound accounting records of the Low\n            Moor Iron Company were surveyed by the grant project staff.\n            The contents of each volume were noted on a mimeographed\n            form, and later typed on 3 x 5\" cards to create a\n            readily-accessible file for the Manuscripts Reading Room.\n            This information was also typed on pages to be added to\n            this guide.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["By 1958, little storage space remained in Alderman\n            Library, and the Rare Books and Manuscripts Division was\n            especially crowded because of the rapid growth of its\n            collections. After an examination of its storage areas, the\n            division's staff decided to move the Low Moor records to\n            the attic of one of the student dormitories. The collection\n            had had little use chiefly because there was no finding\n            aid. There seemed little likelihood of extensive researcher\n            use until the collection could be processed.","In preparation for the move, the old letter boxes in\n            which much of the collection had arrived in the Library\n            were discarded. The records from each box were placed\n            between sheets of the heavy gray cardboard used to protect\n            unbound newspapers in the Library's stacks, and the spine\n            labels of the old letter boxes were copied onto the\n            cardboard. The resulting bundles were wrapped with brown\n            Kraft paper and tied up with string. The bundles were\n            numbered. Whatever original order the letter boxes may have\n            had was lost by the time they arrived in the Library, and\n            after the bundling, removal to a dormitory attic, and\n            subsequent return to the Library in 1976, all vestiges of\n            the original order were lost.","The bundles remained in the dormitory attic for almost\n            twenty years. Occasional visits were made by the division\n            staff to check on their condition, and on very rare\n            occasions, a researcher was brave enough to ask to be shown\n            the collection. Once the researcher saw the imposing amount\n            of material and the conditions in the attic, interest in\n            using the collection invariably died.","In late 1976 a grant from the National Endowment for the\n            Humanities was obtained to allow the Library to process the\n            Low Moor Iron Company papers, and the papers of Edward L.\n            Stone and the Borderland Coal Company, another large\n            collection of records stored in the same dormitory attic.\n            All of these records and papers were moved back to the\n            Library where the bundles were cleaned and opened. The\n            contents of each were placed in a Hollinger storage box,\n            and all notes on the paper wrappings and on the gray\n            cardboard sheets were recorded.","The more than 1200 bound accounting records of the Low\n            Moor Iron Company were surveyed by the grant project staff.\n            The contents of each volume were noted on a mimeographed\n            form, and later typed on 3 x 5\" cards to create a\n            readily-accessible file for the Manuscripts Reading Room.\n            This information was also typed on pages to be added to\n            this guide."],"scopecontent_html_tesm":["\u003cp\u003eThe Low Moor Iron Company papers consist of\n         approximately 280 four-inch Hollinger archives boxes (ca.\n         95 linear feet) of records, ca. 1885-1927, and some 1200\n         bound volumes of the company's accounting records,\n         1873-1927, of this iron producing company located in Low\n         Moor (four miles southwest of Clifton Forge), Alleghany\n         County, Virginia.\u003c/p\u003e","\u003cp\u003eThis material consists of records typical of those\n         produced by a firm of this type in the period, but as the\n         company owned its own coal and iron mines and limestone\n         quarries, there is considerable information about the\n         production of these raw materials. Large numbers of the\n         records that deal with the company's employees have\n         survived: time books, payroll books, hands ledgers, and the\n         like. Because these books sometimes include information\n         about the employee's trade or job with the company, and as\n         race is indicated in some of the records, these books\n         should provide date for studies of the structure and upward\n         mobility within the labor force, patterns of\n         ethnic--possibly racial--occupational penetration and\n         mobility, material conditions of the workers, and so on.\n         The papers should permit a range of studies detailing the\n         pattern and evolution of industrial organization in the\n         iron industry, and the evolution of markets and marketing\n         structures for the entire period. Because the company was\n         dependent upon railroads to move its raw materials to the\n         furnaces, and for the marketing of its products, there is\n         considerable information about railroads and their\n         relationship to their customers.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Information"],"scopecontent_tesim":["The Low Moor Iron Company papers consist of\n         approximately 280 four-inch Hollinger archives boxes (ca.\n         95 linear feet) of records, ca. 1885-1927, and some 1200\n         bound volumes of the company's accounting records,\n         1873-1927, of this iron producing company located in Low\n         Moor (four miles southwest of Clifton Forge), Alleghany\n         County, Virginia.","This material consists of records typical of those\n         produced by a firm of this type in the period, but as the\n         company owned its own coal and iron mines and limestone\n         quarries, there is considerable information about the\n         production of these raw materials. Large numbers of the\n         records that deal with the company's employees have\n         survived: time books, payroll books, hands ledgers, and the\n         like. Because these books sometimes include information\n         about the employee's trade or job with the company, and as\n         race is indicated in some of the records, these books\n         should provide date for studies of the structure and upward\n         mobility within the labor force, patterns of\n         ethnic--possibly racial--occupational penetration and\n         mobility, material conditions of the workers, and so on.\n         The papers should permit a range of studies detailing the\n         pattern and evolution of industrial organization in the\n         iron industry, and the evolution of markets and marketing\n         structures for the entire period. Because the company was\n         dependent upon railroads to move its raw materials to the\n         furnaces, and for the marketing of its products, there is\n         considerable information about railroads and their\n         relationship to their customers."],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["See the \n             \n            University of Virginia Library’s use policy."],"language_ssim":["English"],"total_component_count_is":1879,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T12:10:02.328Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu00917_c01_c21_c03"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Alexandria Library","value":"Alexandria Library","hits":11},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Subseries\u0026f%5Brepository%5D%5B%5D=Alexandria+Library"}},{"attributes":{"label":"College of William and Mary","value":"College of William and Mary","hits":143},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Subseries\u0026f%5Brepository%5D%5B%5D=College+of+William+and+Mary"}},{"attributes":{"label":"George Mason University","value":"George Mason 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