{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026page=11","prev":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026page=10","next":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026page=12","last":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026page=197"},"meta":{"pages":{"current_page":11,"next_page":12,"prev_page":10,"total_pages":197,"limit_value":10,"offset_value":100,"total_count":1967,"first_page?":false,"last_page?":false}},"data":[{"id":"vifrem_repositories_2_resources_27_c02_c08","type":"Sub-Series","attributes":{"title":"Classes, 1952/1974","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifrem_repositories_2_resources_27_c02_c08#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifrem_repositories_2_resources_27_c02_c08","ref_ssm":["vifrem_repositories_2_resources_27_c02_c08"],"id":"vifrem_repositories_2_resources_27_c02_c08","ead_ssi":"vifrem_repositories_2_resources_27","_root_":"vifrem_repositories_2_resources_27","_nest_parent_":"vifrem_repositories_2_resources_27_c02","parent_ssi":"vifrem_repositories_2_resources_27_c02","parent_ssim":["Scrapbooks, 1914/2011","Student groups and organizations"],"parent_ids_ssim":["vifrem_repositories_2_resources_27","vifrem_repositories_2_resources_27_c02"],"title_filing_ssi":"Classes","title_ssm":["Classes"],"title_tesim":["Classes"],"normalized_title_ssm":["Classes, 1952/1974"],"text":["Classes, 1952/1974","Scrapbooks, 1914/2011","Student groups and organizations"],"parent_unittitles_ssm":["Scrapbooks, 1914/2011","Student groups and organizations"],"parent_unittitles_tesim":["Scrapbooks, 1914/2011","Student groups and organizations"],"normalized_date_ssm":["1952/1974"],"unitdate_inclusive_ssm":["1952-1974"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[2],"sort_isi":41,"repository_ssim":["University of Mary Washington"],"collection_ssim":["Scrapbooks, 1914/2011"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"date_range_isim":[1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974],"_nest_path_":"/components#1/components#7","timestamp":"2026-06-23T06:57:12.722Z","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"],"normalized_date_ssm":["1914/2011"],"normalized_title_ssm":["Scrapbooks, 1914/2011"],"text":["Scrapbooks, 1914/2011","MSS.0010","/repositories/2/resources/27","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."],"collection_title_tesim":["Scrapbooks, 1914/2011"],"collection_ssim":["Scrapbooks, 1914/2011"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS.0010","/repositories/2/resources/27"],"unitid_tesim":["MSS.0010","/repositories/2/resources/27"],"repository_ssm":["University of Mary Washington"],"repository_ssim":["University of Mary Washington"],"creator_persname_ssim":["Edson, Jean Slater"],"creator_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"],"creators_ssim":["Edson, Jean Slater","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"],"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\n","\u003cli\u003e\"Alma Mater\" – Music by Mildred P. Stewart '28, Words by Sallie B. Walker '28\u003c/li\u003e\n","\u003cli\u003e\"America the Beautiful\" \u003c/li\u003e\n","\u003cli\u003e\"Program of activities opening week, September 18-22, 1928\" \u003c/li\u003e\n","\u003cli\u003e\"Faculty and Officers\" session 1929-30 \u003c/li\u003e\n","\u003cli\u003eProgram: \"Memorial Service to Algernon Bertrand Chandler\" – Oct. 14, 1928\u003c/li\u003e\n","\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\n","\u003cli\u003eProgram for a play: Peg O' My Heart presented by the YWCA \u003c/li\u003e\n","\u003cli\u003eProgram for a play: The Color Line: A One Act Play of Present-Day China by Irene Taylor MacKair \u003c/li\u003e\n","\u003cli\u003eConvocation program, December 18, 1928 \u003c/li\u003e\n","\u003cli\u003eComic - Devil-Goat day? \u003c/li\u003e\n","\u003cli\u003ePamphlet: \"Folk-Plays of the Carolina Playmakers\", UNC Chapel Hill, 1928-1929 \u003c/li\u003e\n","\u003cli\u003eProgram: \"'The Joy of Life' A Musical Romance Presented by Senior Class, Dec. 7, 1928\" \u003c/li\u003e\n","\u003cli\u003eGlee Club program, Jan. 31, 1929; March 15, 1929, Jan. 25 \u003c/li\u003e\n","\u003cli\u003eProgram: \"The Boston Male Choir\" \u003c/li\u003e\n","\u003cli\u003eProgram: \"Choral Festival: Virginia Federation of Music Clubs and Virginia Music Teachers State Ass'n\" – April 8-12, 1929 \u003c/li\u003e\n","\u003cli\u003eProgram: \"John Powell Concert\", April 10, 1929 \u003c/li\u003e\n","\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\n","\u003cli\u003eProgram: \"S. T. C. Dramatic Club presents Nathan Hale A Four Act Play\", April 26, 1929 \u003c/li\u003e\n","\u003cli\u003eMay Day program, May 11, 1929, May 10, 1930 \u003c/li\u003e\n","\u003cli\u003e\"Class Day Exercises, June 1, 1929\"  \u003c/li\u003e\n","\u003cli\u003eProgram: Baccalaureate Service, June 2, 1929 \u003c/li\u003e\n","\u003cli\u003eCommencement program, June 3, 1929 \u003c/li\u003e\n","\u003cli\u003eImage and article on Fannie Ward \u003c/li\u003e\n","\u003cli\u003eHandwritten  invitation to \"Baptist Picnic\", Oct. 18 \u003c/li\u003e\n","\u003cli\u003eOpera program: \"Tales of Hoffman\" \u003c/li\u003e\n","\u003cli\u003eVarious laundry receipts and tickets \u003c/li\u003e\n","\u003cli\u003e\"Spend a While at Fredericksburg, Virginia\" – pamphlet published by the Chamber of Commerce \u003c/li\u003e\n","\u003cli\u003eProgram: \"Sacred Concert\" April 6 \u003c/li\u003e\n","\u003cli\u003e\"A Suggestion to High School Seniors\" Bulletin, vol.16 n.1 Jan. 1930 \u003c/li\u003e\n","\u003cli\u003eBaccalaureate service program, June 8, 1930 \u003c/li\u003e\n","\u003cli\u003eCommencement program, June 1930 \u003c/li\u003e\n","\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."],"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"],"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"],"language_ssim":["English\n."],"total_component_count_is":105,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:57:12.722Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifrem_repositories_2_resources_27_c02_c08"}},{"id":"viu_repositories_3_resources_950_c02_c02","type":"Sub-Series","attributes":{"title":"Classes and Research, 1948/2011","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_950_c02_c02#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eContent from teaching classes, lecture notes (research) on Ancient History through 20th Century: The Greats, Medieval Literature, English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, to American 19th-20th Century,British 20th Century, Classic to Romantic Poetry, literary change, literary history, literary theory, genre, and aesthetics/psychology,including course packets, syllabi,conferences, articles, printed, and bibliographic research. 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Much of this material is undated."],"parent_unittitles_ssm":["Ralph Cohen papers and \"New Literary History\" records, 1948/2016","Series 2 Ralph Cohen papers, 1948/2015"],"parent_unittitles_tesim":["Ralph Cohen papers and \"New Literary History\" records, 1948/2016","Series 2 Ralph Cohen papers, 1948/2015"],"normalized_date_ssm":["1948/2011"],"unitdate_inclusive_ssm":["1948-2011; undated"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[2],"sort_isi":939,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Ralph Cohen papers and \"New Literary History\" records, 1948/2016"],"has_online_content_ssim":["false"],"child_component_count_isi":1145,"parent_access_restrict_tesm":["This collection is open for use except for restricted materials due to FERPA Boxes 138-150."],"parent_access_terms_tesm":["This collection is open for use except for restricted materials due to FERPA Boxes 138-150."],"language_ssim":["English"],"date_range_isim":[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],"scopecontent_html_tesm":["\u003cp\u003eContent from teaching classes, lecture notes (research) on Ancient History through 20th Century: The Greats, Medieval Literature, English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, to American 19th-20th Century,British 20th Century, Classic to Romantic Poetry, literary change, literary history, literary theory, genre, and aesthetics/psychology,including course packets, syllabi,conferences, articles, printed, and bibliographic research. Much of this material is undated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Content from teaching classes, lecture notes (research) on Ancient History through 20th Century: The Greats, Medieval Literature, English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, to American 19th-20th Century,British 20th Century, Classic to Romantic Poetry, literary change, literary history, literary theory, genre, and aesthetics/psychology,including course packets, syllabi,conferences, articles, printed, and bibliographic research. Much of this material is undated."],"_nest_path_":"/components#1/components#1","timestamp":"2026-06-23T07:30:00.774Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_950","ead_ssi":"viu_repositories_3_resources_950","_root_":"viu_repositories_3_resources_950","_nest_parent_":"viu_repositories_3_resources_950","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_950.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/147774","title_filing_ssi":"Cohen, Ralph papers and New Literary History Journal records","title_ssm":["Ralph Cohen papers and \"New Literary History\" records"],"title_tesim":["Ralph Cohen papers and \"New Literary History\" records"],"unitdate_ssm":["1948-2016"],"unitdate_inclusive_ssm":["1948-2016"],"normalized_date_ssm":["1948/2016"],"normalized_title_ssm":["Ralph Cohen papers and \"New Literary History\" records, 1948/2016"],"text":["Ralph Cohen papers and \"New Literary History\" records, 1948/2016","RG-24/54/1.151","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/950","Criticism--Technique; Evaluation of Literature; Literary Criticism; Literature--Evaluation","African American Women Authors","University of Virginia -- Department of English","Burton, Larry W.","University of California Los Angeles Department of English","University of Virginia -- Faculty","Women literary critics","Critics literary critics","Correspondence","New literary history","Lectures","English Literature--18th Century","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","American Literature--History and Criticism--1783-1850","American Literature--Colonial period--1600-1775 History and criticism","Fair.","This collection is open for use except for restricted materials due to FERPA Boxes 138-150.","The Ralph Cohen papers, and New Literary History records (1948-2016) are arranged into three series. Series 1. New Literary History Records (1969-2006) Boxes 1-42. Series 2. Ralph Cohen papers (1948-2015) Boxes 43-130 and Restricted (grades and recommendations) Boxes 138-150. Series 3. Cohen Family Papers (1964-2016) Boxes 131-137.  Each series also has subseries.","Series 1, Subseries 1: Ralph Cohen's New Literary History correspondence as an editor and founder of the New Literary History Journal. It includes correspondence with the contributors (scholarly critics) along with their articles for publication. This makes up a substantial part of Series 1. (1969-1997) Boxes 3-33. There is also Ralph Cohen correspondence with other editors from 1984 to 1994 Boxes 1-3. Included is Ralph Cohen's teaching correspondence with his colleagues and students.  The teaching correspondence for the same time is also in Series 2. (It was not combined because the original order kept them separate.)","Series 1, Subseries 2: Ralph Cohen articles about planning the New Literary History Journal, and other print and manuscripts related to the Journal. (1975-2004) Boxes 33-34.","Series 1, Subseries 3: 686 audio cassette recordings of some of the contributors who were prominent scholars on literary theory in the 1990's. (List available upon request)","Series 1, Subseries 4 contains over 100 computer files with articles from contributors and prominent scholars of literary theory for the Journal from 1998-2006. (List available upon request)","Series 1, Subseries 5: financial records of the New Literary History Journal. (1969-1986) Boxes 34-37.","Series 1, Subseries 6: papers of the Commonwealth Center for Literary and Cultural Change. (1988-1992) Boxes 37-42.\n  \n(There are no articles or correspondence representing the following issues: Volumes 1-III, Volume IV, Number 1, Volume VIII, Volume IX, Volume X, Volume XV, Volume XVI Number 1, and Number 2, Volume 23, Volume 24 Number 1 and Number 2, Volume 25, and Volume 27. The last issue represented in the paper collection is Volume 28(1997). The Journal issues change to cardinal numbers after Volume 19 and the Journal becomes quarterly after Volume 20 in 1990 so that the papers from the Commonwealth Center for Literary and Cultural Change could be included.","Series 2 Ralph Cohen papers contain Ralph Cohen's work as a teacher and leader in Eighteenth-Century English Literature and Literary Theory. (1948-2015)Boxes 49-130; Boxes 138-150 (restricted).","Series 2, Subseries 1: correspondence which is like the Ralph Cohen teaching correspondence in Series 1. There is also correspondence related to many of the organizations that were part of his work. (1971-2015) Boxes 43-49","Series 2, Subseries 2: Classes and Research is a significant part of Series 2 which contains class lecture notes, class materials, readings, conferences, printed articles and journals, manuscripts, and bibliographic research (on index cards). The term research mostly refers to the notes that he made for his lectures or the actual lectures. This subseries is organized loosely by periods in English Literature (Ancient and Medieval Literature \"The Greats\", English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, British Literature, American Literature 19th and 20th Century, then by literary history, literary change, literary theory, aesthetics, psychology, and genre. Some of the class information and content may repeat throughout this series because many courses share similar authors and content.  Classes that Dr. Cohen taught in the 1950's can be found in the same folders with the classes that he taught in 2000 since he arranged them by class subject matter. Much of the material is not dated. Included within his course materials are papers that he wrote on similar subjects when he was a student at New York Teachers College in 1948 through 1950. (1948-2011) Boxes 49-130","Series 2, Subseries 3: restricted materials (due to FERPA) such as fellowships, grades, recommendations, and dissertation information. (1972-2013)Boxes 138-150. (Restricted items are mostly arranged by alphabetically or chronologically but they do not follow a consistent pattern in the original order)","Series 3: Family papers of Ralph Cohen. Subseries 1 contains Ralph Cohen's personal papers (1964-2016) Boxes 131-132. Subseries 2. Libby Okun Cohen (and family papers) contain materials related to Libby Cohen, as a genealogist, researcher, and award-winning librarian. (1964-2002 and undated) Boxes 133-137.","Ralph Cohen (1917-2016) served as the William J. Kenan, Jr. professor of English (and professor emeritus) at the University of Virginia for an impressive 42 years (1967-2009). Born to Polish immigrant parents in Paterson, New Jersey on February 23, 1917, Cohen became one of the most eminent critical thinkers and educators of Twentieth Century America with a career that spanned more than 60 years. (He also taught at the City College of New York (1947-1950), the University of California Los Angeles (1950-1967), and James Madison University (2010-2013). His focus was on 18th-Century British literature, and he was a pioneer in the field of literary theory. He founded and edited the \"New Literary History Journal\", which was the first journal of its kind to combine the study of literature with other disciplines. It won more than six awards from the Council of Editors of Learned Journals for its special issues, a unique honor among scholarly journals.  Cohen sought out different points of view from contributors across the globe to create more diverse dialogue in the journal. His extraordinary ability to promote and account for diverse positions on theory at professional conferences was legendary. He also founded and directed the Commonwealth Center for Literary and Cultural Change at the University of Virginia (1988-1995). The Center was set up by the Virginia Council of Higher Education to study the concept of change in individuals, and institutions in the arts, humanities, sciences, and social sciences. It also viewed the changes that develop in cultural, social, and political situations in African, Asian, and other non-western societies. The \"New Literary History\" Journal published articles and activities of the Center. In 2010 Cohen became the Provost's Distinguished Professor at James Madison University where he taught courses on Writing, Rhetoric, and Technical Communication. Cohen's innovative concept of technology led to the establishment of the Cohen Center for the Study of Technological Humanism at James Madison University. His celebrated transactive classroom strategies frequently attracted colleagues and devoted students to his courses. He taught and mentored many generations of students, preparing them for lives and careers as teachers and scholars. He maintained contact with many of his students and made recommendations supporting their teaching, fellowships, and tenure positions throughout their careers. Cohen was a dedicated teacher who examined the changing concepts and styles found in literature and other disciplines of study. Cohen led his students towards deeper insights into understanding cultural changes for society and increased awareness of their perceptions in professional and daily life. Cohen was the editor and author of many articles and books including, \"The Art of Discrimination\" (1964), \"The Essential David Hume\" (1965), \"The Unfolding of 'The Season\" (1970),\"New Directions in Literary History\" (1974), \"Studies in Eighteenth-Century British Art and Aesthetics\" (1985), \"The Future of Literary Theory\" (1989), \"Studies in Historical Change\" (1992), \"History and...: Histories Within the Human Sciences\" (1995), and \"Literature and History\". He was well respected as an author and was best known for promoting the work of his colleagues through editing and publishing their articles.","He was married to Libby Okun Cohen for more than 70 years. She was born in St. Petersburg, Russia on July 11, 1913. Due to persecution, her family emigrated to Vilna (now Vilnius) early in her life. She was a frequent companion in Ralph's classes and at his speaking engagements around the world, intent both on supporting her husband and continuing her own education. She co-wrote the index of Volumes I-X for the \"New Literary History\". She was a librarian at California State College Northridge and created the library at the Tandem Friends School where she was the librarian from 1970 to 1986. Under her inspired and challenging guidance, the multifaceted library generated unprecedented dialogue and quickly became known as \"Tandem's Cultural Center. The Tandem library honored her by naming it the Libby O. Cohen Library. She also helped build the multicultural library at the University's Sundberg International Center. She spoke many languages and partnered with her husband as a promoter of education and multiculturalism.  James Madison University established the Libby Okun Cohen Chair in technological humanism while her husband was teaching there. She was also an author of children stories, an independent genealogy researcher, a project coordinator for an oral history project that interviewed survivors from Nazi Germany, and an intergenerational program L'Dor V'Dor for young students to learn and share in the lives of older individuals.  Ralph and Libby Cohen had two children, Ruth Cohen Morris, and David Cohen who were both born during World War II. Ruth Morris followed in her mother's footsteps by completing a doctorate in Information and Library Science at the University of Michigan, thereby initiating her career as a distinguished librarian. She was married to David B. Morris who co-taught some courses with Ralph Cohen.  Libby Cohen died at age 99 in 2013. Ralph Cohen also died at age 99 in 2016.","Sources:\nhttp://best-hashtags.com/hashtag/teacherappreciation/\nhttps://news.virginia.edu/content/memoriam-ralph-cohen-professor-who-transformed-literary-criticism-0\nhttps://muse.jhu.edu/article/380552/pdf\nhttps://dailyprogress.com/ralph-cohen/article_de380d0a-185c-510e-b74d-3a33511feed3.html\nhttps://www.jstor.org/stable/469184?seq=1\nhttps://www.jmu.edu/cohencenter/our-people/cohen-ralph.shtml\nhttps://www.researchgate.net/publication/236774952_History_and_Change_An_Interview_with_Ralph_Cohen\nhttps://play.google.com/store/books/details/Genre_Theory_and_Historical_Change_Theoretical_Ess?id=0PsmDwAAQBAJ\u0026hl=sw\nhttps://www.amazon.co.jp/-/en/Ralph-Cohen/dp/0813940117\nRalph Cohen, \"Notes for a History\" (from within the collection)\nVideo interview: \nhttps://www.jmu.edu/news/2010/10/18-ralph-cohen.shtml","A special box was created by Preservation staff for this item. Dimensions are 15 1/2 x 12.","A special box was made by Preservation staff for this item. Dimensions are 12 x 15 1/2.","This collection contains the teaching, research, and personal papers of Ralph Cohen, the William R. Kenan, Jr. professor of English from the University of Virginia from 1948-2016; and the records of the \"New Literary History\", an international, interdisciplinary, award-winning journal that Cohen founded and edited from 1969 to 2009 at the University of Virginia. The records of the New Literary History Journal (1969-2016) (Series 1) contain correspondence, contributors' articles, proofs, financial information, audiocassettes of prominent scholars (of literary theory in the 1990's), computer disks with contributor's articles (1998-2006), and information from the Commonwealth Center of Literary and Cultural Change (1988-1995). The Center was founded and directed by Ralph Cohen at the University of Virginia and is represented in a quarterly issue of the New Literary History Journal (starting with Volume 20 in 1990). Some of the correspondence and articles from contributors are not included for some issues. (See Arrangement for details). The last issue of correspondence and articles represented in the paper collection is Volume 28 (1997).","Both the highly regarded New Literary History Journal and the Commonwealth Center for Literary and Cultural Change reflect Cohen's belief that there is a need to understand multiple disciplines when evaluating literature and human nature. He also felt that it is necessary to nurture a genuine respect for different perspectives of other individuals as a pathway to becoming a better society. Each issue of the New Literary History Journal selects a theme and invites authors to create opposing dialogues. As a strong promoter of multiculturalism and feminism, he included authors from the non-western world, and men and women with varying points of view and different backgrounds. Frequent authors/contributors are George Garrett, Joyce A. Joyce, Ihab Hassan, Toril Moi, Xiaoying Wang, Henry Louis Gates, Jr., David Bleich, Hayden White, Paul Ricoeur, Helene Cixous, William K. Winsat, Robert Weimann, Jonathan Culler, Martha Nussbaum, E. D. Hirsch, Jr., Gerald Graff, Murray Krieger, Michael Riffaterre, Barbara Hernstein Smith, Fredric Jameson, Jerome McGann, Wolfgang Iser, Jean Starobinski, Northrup Frye, Geoffrey Hartman, Wolf Lupenies, Eddie Tomarken, Rene Welleck, Marshall McCluhan, Tzvetan Todorov, Terry Eagleton, Brian Stock, Catharine R. Stimpson, Frances Ferguson, Rita Felski, Rey Chow, Cora Diamond, Michael Prince, Winfried Fluck, Sandra Gilbert, Gary Saul Morson, Katherine Neeley, Stanley Fish, James M. Holquist, Keith Moxey, Richard Rorty, Walter Sokel, and many others.","In Series 2 the Ralph Cophen papers reflect his teaching and lecturing from the years 1948 to 2011 on Eighteenth-Century literature and literary theory such as correspondence, lecture notes, class materials, articles, conferences, manuscripts, and printed journals. The content in this part of the collection spans Ancient and Medieval Literature (\"The Greats\"), English and Continental Literature 1660-1770, English and Continental Literature 1770 to 1900, British Literature, American 19th and 20th Century Literature and literary history, literary change, literary criticism, aesthetics, psychology, and genre. These materials cover a complete and impressive range of literary authors and their works throughout the history of literature including the Bible, ballads and medieval manuscripts, Chaucer, Homer, Virgil, Pope, Donne, Blake, Hume, Thomson, Dryden, Milton, Machiavelli, Dante, Shakespeare, Goldsmith, Austen, Cather, T.S. Eliot, George Elliot, Ellen Glasgow, Emily Dickenson, the Romantics, the Nature Poets, Swift, Olaudah Equiano, James, Faulkner, Fitzgerald, Woolf, and many more. These lecture notes reveal the scope and wealth of Ralph Cohen's vast knowledge of literature and offer an opportunity for others to continue learning through his papers.","Of interest are papers written by Ralph Cohen when he was a young college student, and which are included with the papers written by his students on similar subjects. There are also drafts of articles by Ralph Cohen outlining his plans for the New Literary History, and interviews with Ralph Cohen about his teaching. As an editor, Ralph Cohen sought to publish the work of his colleagues, but this collection has some of his original drafts of articles on literary theory. (Series 2: Box 85 and 86)","The collection also includes the personal papers of Ralph Cohen's family including his wife, Libby Okun Cohen and their two children, Ruth Cohen Morris, and David Morris. The Cohen's daughter was married to David B. Morris who co-taught some classes with Ralph Cohen. There are mementos and readings documenting many of the family Seder (Pesach Haggadah).  Libby Cohens' papers show her love of learning; her work in an intergenerational project (L'Dor V'Dor) with students and older generations; a Holocaust Oral History project, independent research in genealogy, and her career as an outstanding librarian.","See also Ralph Cohen correspondence in Series 2. His correspondence includes topics for the \"New Literary History Journal\" and communication with his colleagues and students about teaching. This correspondence is in Series 1 and Series 2 and is kept separate because that was the original order of the collection.","The correspondence also contains some personal greetings and general correspondence.","Ralph Cohen correspondence about New Literary History and about teaching. See also Series 2 correspondence.","there is one letter from December 6,1985","Randolph Wadsworth","James Sosnoski correspondence","Translation to be published in \"New Literary History\" Volume 24 No. 1 Winter (February) 1993.","The correspondence is arranged by journal issue and alphabetically by author's name. Articles and commentaries are included with the correspondence. There are no files for volumes I-III,VIII-X,XV,23,24,25,and 27. There are gaps within some of the volumes. Volume IV does not have No. 1, Volume XIV does not have No. 3. Volume XVI does not have No.1 and No. 2. Volume 22 does not have No. 2. Starting with Volume 19, the issues use cardinal numbers instead of roman numerals. Volume 21,and later issues are published 4 times a year, not 3. At this time (2021) the articles in the New Literary History Journal are available online in JSTOR on their URL: https://www.jstor.org","Included are photographs of ads with Diane Von Furstenberg (one with her signature)","Included are other articles that were written collectively by Paul Peron, Paul Ricoeur, Frank Collins, Guy De Maupassant, A. J. Greimas and others. (\"The Piece of String\", \"On Narrativity\", \"The Veridiction Contract\", Figurative Semiotics and the Semotics of the Plastic Arts\")","This article came with a disk.","There are 686 audio cassette tapes that contain conversations of prominent literary theory scholars from the 1990's. An Excel spreadsheet inventory of the audio cassettes is available upon request. Some of the scholars are Ralph Cohen, Robert Weiman, Toril Moi, Brian Stock, Hayden White, Wolfgang Iser, Ashin Nandy, Wolf Lupenies, Martha Nussbaum, Keith Moxey, Cora Diamond, Henry Louis Gates, Jr., Jerry Ward, Gary Saul Morson, Helene Cixous, Walter Sokel, Catharine R. Stimpson, Katherine Neeley, Frederick Turner, Emmanuel Akyeampong, Ivor Indyk, Hans Ulrich Gumbrecht, Jerome McGann, Ji Wei Ci, R. S. Khare,Tzvetan Todorov, Richard Rorty, Geoffrey Hartman and many others.","A list of the digital files is available upon request. Some of the authors (contributors) are Ralph Cohen, Tzvetan Todorov, Lydia Nakashima Degarrod, David B. Morris, Xiaoying Wang, Martha Nussbaum, Fredric Jameson, Jerome McGann, Terry Eagleton, Brian Stock, Frances Ferguson, Rita Felski, Rey Chow, Michael Prince, Winfried Fluck, Sandra Gilbert and many others.","Series 2 Ralph Cophen papers reflect his teaching and lecturing from the years 1948 to 2011 on Eighteenth-Century literature and literary theory and includes mostly lecture notes but also correspondence, class materials, articles, conferences, manuscripts and printed journals. The content in this part of the collection spans Ancient and Medieval Literature (\"The Greats\"), English and Continental Literature 1660-1770, English and Continental Literature 1770 to 1900, British Literature, American 19th and 20th Century Literature and literary history, literary change, literary criticism, aesthetics, psychology, and genre. These materials cover a complete and impressive range of literary authors and their works throughout the history of literature including the Bible, Ballads, Chaucer, Homer, Virgil, Pope, Donne, Blake, Hume, Thomson, Dryden, Milton, Machiavelli, Dante, Shakespeare, Goldsmith, Austen, Cather, T.S. Eliot, George Elliot, Ellen Glasgow, Emily Dickenson, the Romantics, the Nature Poets, Swift, Olaudah Equiano, James, Faulkner, Fitzgerald, Woolf, and many more.","Ralph Cohen correspondence about New Literary History and teaching. See also correspondence in series 1. In addition to Ralph Cohen correspondence there is correspondence related to his work in organizations including the Modern Language Association, Conference of Editors of Learned Journals (CELJ), The Eighteenth-Century Committee, the University of Virginia, and many more.","Exxon sponsored the Commonwealth Center for Literary and Cultural Change","Content from teaching classes, lecture notes (research) on Ancient History through 20th Century: The Greats, Medieval Literature, English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, to American 19th-20th Century,British 20th Century, Classic to Romantic Poetry, literary change, literary history, literary theory, genre, and aesthetics/psychology,including course packets, syllabi,conferences, articles, printed, and bibliographic research. Much of this material is undated.","Paper by Ralph Cohen when he was a student at New York Teacher's College","Paper by Ralph Cohen when he was a student.","A. O. Lovejoy, C. L. Wrenn, (\"Romanticism and the History of Ideas), Martin Kallich (The Association of Ideas and Critical Theory: Hobbes, Locke, and Addison\"), James Buziger, \"Organic Unity\"), Bertrand Bronson (\"Personification Reconsidered\")","Includes article by Ralph Cohen, \"Association of Ideas and Poetic Unity\"","English 167 contains blank exam questions about Pope, Swift, and Sterne.","Includes articles New York Times Book Review, New Yorker (re Dickens,Sterne's Tristram Shandy)","Constance Strickland","See also oversize concordance","\"New York Times Book Review\" and \"New Yorker\" magazine","news clippings \u0026 bibliography","\"On the Interrelation of Eighteenth-Century Literary Forms\"; \"Innovation and Variation\"; \"The Augustan Mode in English Poetry\"; \"Some Thoughts on the Problems of Literary Change\"; \"Historical Knowledge and Literary Understanding\"","Includes letters about John Rowlett's compilation of Cohen essays","Ralph Cohen, \"Some Thoughts on the Problems of Literary Change\"","E. D. Hirsch, Jr., F. R. Leavis, W. W. Robson, Stephen C. Pepper, Ivan A. Richards, Paul Goodman, Murray Krieger, Feher \u0026 Heller, Maro Praz, M. H. Abrams, Roman Ingarden, Monroe C. Beardsley, and Paul de Man.","Many of the Student Blue Books are from classes from Classic to Romantic Poetry","Chinese certificates","Some Hawaii slides are commercial.","This collection is open for use except for restricted materials due to FERPA Boxes 138-150.","Albert and Shirley Small Special Collections Library","Cohen, Ralph, 1917-2016","English"],"collection_title_tesim":["Ralph Cohen papers and \"New Literary History\" records, 1948/2016"],"collection_ssim":["Ralph Cohen papers and \"New Literary History\" records, 1948/2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RG-24/54/1.151","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival 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1917-2016"],"creator_persname_ssim":["Cohen, Ralph, 1917-2016"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Cohen, Ralph, 1917-2016","Albert and Shirley Small Special Collections Library"],"access_terms_ssm":["This collection is open for use except for restricted materials due to FERPA Boxes 138-150."],"acqinfo_ssim":["This collection was an archival transfer from the University of Virginia English Dept. and the Office of New Literary History to the Small Special Collections Library at the University of Virginia Library on  June 17, 2015."],"access_subjects_ssim":["University of Virginia -- Department of English","Burton, Larry W.","University of California Los Angeles Department of English","University of Virginia -- Faculty","Women literary critics","Critics literary critics","Correspondence","New literary history","Lectures","English Literature--18th Century","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","American Literature--History and Criticism--1783-1850","American Literature--Colonial period--1600-1775 History and criticism"],"access_subjects_ssm":["University of Virginia -- Department of English","Burton, Larry W.","University of California Los Angeles Department of English","University of Virginia -- Faculty","Women literary critics","Critics literary critics","Correspondence","New literary history","Lectures","English Literature--18th Century","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","American Literature--History and Criticism--1783-1850","American Literature--Colonial period--1600-1775 History and criticism"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair."],"extent_ssm":["75 Cubic Feet This collection contains 150 document boxes, over 100 computer disks, 686 audio-cassettes, articles, lectures, class materials, newspaper clippings, photographs, albums, certificates, and seven oversize folders of certificates and photographs"],"extent_tesim":["75 Cubic Feet This collection contains 150 document boxes, over 100 computer disks, 686 audio-cassettes, articles, lectures, class materials, newspaper clippings, photographs, albums, certificates, and seven oversize folders of certificates and photographs"],"genreform_ssim":["Correspondence","New literary history","Lectures","English Literature--18th Century","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","American Literature--History and Criticism--1783-1850","American Literature--Colonial period--1600-1775 History and criticism"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for use except for restricted materials due to FERPA Boxes 138-150.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for use except for restricted materials due to FERPA Boxes 138-150."],"arrangement_html_tesm":["\u003cp\u003eThe Ralph Cohen papers, and New Literary History records (1948-2016) are arranged into three series. Series 1. New Literary History Records (1969-2006) Boxes 1-42. Series 2. Ralph Cohen papers (1948-2015) Boxes 43-130 and Restricted (grades and recommendations) Boxes 138-150. Series 3. Cohen Family Papers (1964-2016) Boxes 131-137.  Each series also has subseries. \u003c/p\u003e","\u003cp\u003e\nSeries 1, Subseries 1: Ralph Cohen's New Literary History correspondence as an editor and founder of the New Literary History Journal. It includes correspondence with the contributors (scholarly critics) along with their articles for publication. This makes up a substantial part of Series 1. (1969-1997) Boxes 3-33. There is also Ralph Cohen correspondence with other editors from 1984 to 1994 Boxes 1-3. Included is Ralph Cohen's teaching correspondence with his colleagues and students.  The teaching correspondence for the same time is also in Series 2. (It was not combined because the original order kept them separate.) \u003c/p\u003e","\u003cp\u003eSeries 1, Subseries 2: Ralph Cohen articles about planning the New Literary History Journal, and other print and manuscripts related to the Journal. (1975-2004) Boxes 33-34.\u003c/p\u003e","\u003cp\u003eSeries 1, Subseries 3: 686 audio cassette recordings of some of the contributors who were prominent scholars on literary theory in the 1990's. (List available upon request)\u003c/p\u003e","\u003cp\u003eSeries 1, Subseries 4 contains over 100 computer files with articles from contributors and prominent scholars of literary theory for the Journal from 1998-2006. (List available upon request)\u003c/p\u003e","\u003cp\u003eSeries 1, Subseries 5: financial records of the New Literary History Journal. (1969-1986) Boxes 34-37.\u003c/p\u003e","\u003cp\u003eSeries 1, Subseries 6: papers of the Commonwealth Center for Literary and Cultural Change. (1988-1992) Boxes 37-42.\n  \n(There are no articles or correspondence representing the following issues: Volumes 1-III, Volume IV, Number 1, Volume VIII, Volume IX, Volume X, Volume XV, Volume XVI Number 1, and Number 2, Volume 23, Volume 24 Number 1 and Number 2, Volume 25, and Volume 27. The last issue represented in the paper collection is Volume 28(1997). The Journal issues change to cardinal numbers after Volume 19 and the Journal becomes quarterly after Volume 20 in 1990 so that the papers from the Commonwealth Center for Literary and Cultural Change could be included.  \u003c/p\u003e","\u003cp\u003eSeries 2 Ralph Cohen papers contain Ralph Cohen's work as a teacher and leader in Eighteenth-Century English Literature and Literary Theory. (1948-2015)Boxes 49-130; Boxes 138-150 (restricted). \u003c/p\u003e","\u003cp\u003eSeries 2, Subseries 1: correspondence which is like the Ralph Cohen teaching correspondence in Series 1. There is also correspondence related to many of the organizations that were part of his work. (1971-2015) Boxes 43-49 \u003c/p\u003e","\u003cp\u003eSeries 2, Subseries 2: Classes and Research is a significant part of Series 2 which contains class lecture notes, class materials, readings, conferences, printed articles and journals, manuscripts, and bibliographic research (on index cards). The term research mostly refers to the notes that he made for his lectures or the actual lectures. This subseries is organized loosely by periods in English Literature (Ancient and Medieval Literature \"The Greats\", English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, British Literature, American Literature 19th and 20th Century, then by literary history, literary change, literary theory, aesthetics, psychology, and genre. Some of the class information and content may repeat throughout this series because many courses share similar authors and content.  Classes that Dr. Cohen taught in the 1950's can be found in the same folders with the classes that he taught in 2000 since he arranged them by class subject matter. Much of the material is not dated. Included within his course materials are papers that he wrote on similar subjects when he was a student at New York Teachers College in 1948 through 1950. (1948-2011) Boxes 49-130\u003c/p\u003e","\u003cp\u003eSeries 2, Subseries 3: restricted materials (due to FERPA) such as fellowships, grades, recommendations, and dissertation information. (1972-2013)Boxes 138-150. (Restricted items are mostly arranged by alphabetically or chronologically but they do not follow a consistent pattern in the original order) \u003c/p\u003e","\u003cp\u003eSeries 3: Family papers of Ralph Cohen. Subseries 1 contains Ralph Cohen's personal papers (1964-2016) Boxes 131-132. Subseries 2. Libby Okun Cohen (and family papers) contain materials related to Libby Cohen, as a genealogist, researcher, and award-winning librarian. (1964-2002 and undated) Boxes 133-137.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Ralph Cohen papers, and New Literary History records (1948-2016) are arranged into three series. Series 1. New Literary History Records (1969-2006) Boxes 1-42. Series 2. Ralph Cohen papers (1948-2015) Boxes 43-130 and Restricted (grades and recommendations) Boxes 138-150. Series 3. Cohen Family Papers (1964-2016) Boxes 131-137.  Each series also has subseries.","Series 1, Subseries 1: Ralph Cohen's New Literary History correspondence as an editor and founder of the New Literary History Journal. It includes correspondence with the contributors (scholarly critics) along with their articles for publication. This makes up a substantial part of Series 1. (1969-1997) Boxes 3-33. There is also Ralph Cohen correspondence with other editors from 1984 to 1994 Boxes 1-3. Included is Ralph Cohen's teaching correspondence with his colleagues and students.  The teaching correspondence for the same time is also in Series 2. (It was not combined because the original order kept them separate.)","Series 1, Subseries 2: Ralph Cohen articles about planning the New Literary History Journal, and other print and manuscripts related to the Journal. (1975-2004) Boxes 33-34.","Series 1, Subseries 3: 686 audio cassette recordings of some of the contributors who were prominent scholars on literary theory in the 1990's. (List available upon request)","Series 1, Subseries 4 contains over 100 computer files with articles from contributors and prominent scholars of literary theory for the Journal from 1998-2006. (List available upon request)","Series 1, Subseries 5: financial records of the New Literary History Journal. (1969-1986) Boxes 34-37.","Series 1, Subseries 6: papers of the Commonwealth Center for Literary and Cultural Change. (1988-1992) Boxes 37-42.\n  \n(There are no articles or correspondence representing the following issues: Volumes 1-III, Volume IV, Number 1, Volume VIII, Volume IX, Volume X, Volume XV, Volume XVI Number 1, and Number 2, Volume 23, Volume 24 Number 1 and Number 2, Volume 25, and Volume 27. The last issue represented in the paper collection is Volume 28(1997). The Journal issues change to cardinal numbers after Volume 19 and the Journal becomes quarterly after Volume 20 in 1990 so that the papers from the Commonwealth Center for Literary and Cultural Change could be included.","Series 2 Ralph Cohen papers contain Ralph Cohen's work as a teacher and leader in Eighteenth-Century English Literature and Literary Theory. (1948-2015)Boxes 49-130; Boxes 138-150 (restricted).","Series 2, Subseries 1: correspondence which is like the Ralph Cohen teaching correspondence in Series 1. There is also correspondence related to many of the organizations that were part of his work. (1971-2015) Boxes 43-49","Series 2, Subseries 2: Classes and Research is a significant part of Series 2 which contains class lecture notes, class materials, readings, conferences, printed articles and journals, manuscripts, and bibliographic research (on index cards). The term research mostly refers to the notes that he made for his lectures or the actual lectures. This subseries is organized loosely by periods in English Literature (Ancient and Medieval Literature \"The Greats\", English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, British Literature, American Literature 19th and 20th Century, then by literary history, literary change, literary theory, aesthetics, psychology, and genre. Some of the class information and content may repeat throughout this series because many courses share similar authors and content.  Classes that Dr. Cohen taught in the 1950's can be found in the same folders with the classes that he taught in 2000 since he arranged them by class subject matter. Much of the material is not dated. Included within his course materials are papers that he wrote on similar subjects when he was a student at New York Teachers College in 1948 through 1950. (1948-2011) Boxes 49-130","Series 2, Subseries 3: restricted materials (due to FERPA) such as fellowships, grades, recommendations, and dissertation information. (1972-2013)Boxes 138-150. (Restricted items are mostly arranged by alphabetically or chronologically but they do not follow a consistent pattern in the original order)","Series 3: Family papers of Ralph Cohen. Subseries 1 contains Ralph Cohen's personal papers (1964-2016) Boxes 131-132. Subseries 2. Libby Okun Cohen (and family papers) contain materials related to Libby Cohen, as a genealogist, researcher, and award-winning librarian. (1964-2002 and undated) Boxes 133-137."],"bioghist_html_tesm":["\u003cp\u003eRalph Cohen (1917-2016) served as the William J. Kenan, Jr. professor of English (and professor emeritus) at the University of Virginia for an impressive 42 years (1967-2009). Born to Polish immigrant parents in Paterson, New Jersey on February 23, 1917, Cohen became one of the most eminent critical thinkers and educators of Twentieth Century America with a career that spanned more than 60 years. (He also taught at the City College of New York (1947-1950), the University of California Los Angeles (1950-1967), and James Madison University (2010-2013). His focus was on 18th-Century British literature, and he was a pioneer in the field of literary theory. He founded and edited the \"New Literary History Journal\", which was the first journal of its kind to combine the study of literature with other disciplines. It won more than six awards from the Council of Editors of Learned Journals for its special issues, a unique honor among scholarly journals.  Cohen sought out different points of view from contributors across the globe to create more diverse dialogue in the journal. His extraordinary ability to promote and account for diverse positions on theory at professional conferences was legendary. He also founded and directed the Commonwealth Center for Literary and Cultural Change at the University of Virginia (1988-1995). The Center was set up by the Virginia Council of Higher Education to study the concept of change in individuals, and institutions in the arts, humanities, sciences, and social sciences. It also viewed the changes that develop in cultural, social, and political situations in African, Asian, and other non-western societies. The \"New Literary History\" Journal published articles and activities of the Center. In 2010 Cohen became the Provost's Distinguished Professor at James Madison University where he taught courses on Writing, Rhetoric, and Technical Communication. Cohen's innovative concept of technology led to the establishment of the Cohen Center for the Study of Technological Humanism at James Madison University. His celebrated transactive classroom strategies frequently attracted colleagues and devoted students to his courses. He taught and mentored many generations of students, preparing them for lives and careers as teachers and scholars. He maintained contact with many of his students and made recommendations supporting their teaching, fellowships, and tenure positions throughout their careers. Cohen was a dedicated teacher who examined the changing concepts and styles found in literature and other disciplines of study. Cohen led his students towards deeper insights into understanding cultural changes for society and increased awareness of their perceptions in professional and daily life. Cohen was the editor and author of many articles and books including, \"The Art of Discrimination\" (1964), \"The Essential David Hume\" (1965), \"The Unfolding of 'The Season\" (1970),\"New Directions in Literary History\" (1974), \"Studies in Eighteenth-Century British Art and Aesthetics\" (1985), \"The Future of Literary Theory\" (1989), \"Studies in Historical Change\" (1992), \"History and...: Histories Within the Human Sciences\" (1995), and \"Literature and History\". He was well respected as an author and was best known for promoting the work of his colleagues through editing and publishing their articles. \u003c/p\u003e","\u003cp\u003eHe was married to Libby Okun Cohen for more than 70 years. She was born in St. Petersburg, Russia on July 11, 1913. Due to persecution, her family emigrated to Vilna (now Vilnius) early in her life. She was a frequent companion in Ralph's classes and at his speaking engagements around the world, intent both on supporting her husband and continuing her own education. She co-wrote the index of Volumes I-X for the \"New Literary History\". She was a librarian at California State College Northridge and created the library at the Tandem Friends School where she was the librarian from 1970 to 1986. Under her inspired and challenging guidance, the multifaceted library generated unprecedented dialogue and quickly became known as \"Tandem's Cultural Center. The Tandem library honored her by naming it the Libby O. Cohen Library. She also helped build the multicultural library at the University's Sundberg International Center. She spoke many languages and partnered with her husband as a promoter of education and multiculturalism.  James Madison University established the Libby Okun Cohen Chair in technological humanism while her husband was teaching there. She was also an author of children stories, an independent genealogy researcher, a project coordinator for an oral history project that interviewed survivors from Nazi Germany, and an intergenerational program L'Dor V'Dor for young students to learn and share in the lives of older individuals.  Ralph and Libby Cohen had two children, Ruth Cohen Morris, and David Cohen who were both born during World War II. Ruth Morris followed in her mother's footsteps by completing a doctorate in Information and Library Science at the University of Michigan, thereby initiating her career as a distinguished librarian. She was married to David B. Morris who co-taught some courses with Ralph Cohen.  Libby Cohen died at age 99 in 2013. Ralph Cohen also died at age 99 in 2016.  \u003c/p\u003e","\u003cp\u003eSources:\nhttp://best-hashtags.com/hashtag/teacherappreciation/\nhttps://news.virginia.edu/content/memoriam-ralph-cohen-professor-who-transformed-literary-criticism-0\nhttps://muse.jhu.edu/article/380552/pdf\nhttps://dailyprogress.com/ralph-cohen/article_de380d0a-185c-510e-b74d-3a33511feed3.html\nhttps://www.jstor.org/stable/469184?seq=1\nhttps://www.jmu.edu/cohencenter/our-people/cohen-ralph.shtml\nhttps://www.researchgate.net/publication/236774952_History_and_Change_An_Interview_with_Ralph_Cohen\nhttps://play.google.com/store/books/details/Genre_Theory_and_Historical_Change_Theoretical_Ess?id=0PsmDwAAQBAJ\u0026amp;hl=sw\nhttps://www.amazon.co.jp/-/en/Ralph-Cohen/dp/0813940117\nRalph Cohen, \"Notes for a History\" (from within the collection)\nVideo interview: \nhttps://www.jmu.edu/news/2010/10/18-ralph-cohen.shtml\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Ralph Cohen (1917-2016) served as the William J. Kenan, Jr. professor of English (and professor emeritus) at the University of Virginia for an impressive 42 years (1967-2009). Born to Polish immigrant parents in Paterson, New Jersey on February 23, 1917, Cohen became one of the most eminent critical thinkers and educators of Twentieth Century America with a career that spanned more than 60 years. (He also taught at the City College of New York (1947-1950), the University of California Los Angeles (1950-1967), and James Madison University (2010-2013). His focus was on 18th-Century British literature, and he was a pioneer in the field of literary theory. He founded and edited the \"New Literary History Journal\", which was the first journal of its kind to combine the study of literature with other disciplines. It won more than six awards from the Council of Editors of Learned Journals for its special issues, a unique honor among scholarly journals.  Cohen sought out different points of view from contributors across the globe to create more diverse dialogue in the journal. His extraordinary ability to promote and account for diverse positions on theory at professional conferences was legendary. He also founded and directed the Commonwealth Center for Literary and Cultural Change at the University of Virginia (1988-1995). The Center was set up by the Virginia Council of Higher Education to study the concept of change in individuals, and institutions in the arts, humanities, sciences, and social sciences. It also viewed the changes that develop in cultural, social, and political situations in African, Asian, and other non-western societies. The \"New Literary History\" Journal published articles and activities of the Center. In 2010 Cohen became the Provost's Distinguished Professor at James Madison University where he taught courses on Writing, Rhetoric, and Technical Communication. Cohen's innovative concept of technology led to the establishment of the Cohen Center for the Study of Technological Humanism at James Madison University. His celebrated transactive classroom strategies frequently attracted colleagues and devoted students to his courses. He taught and mentored many generations of students, preparing them for lives and careers as teachers and scholars. He maintained contact with many of his students and made recommendations supporting their teaching, fellowships, and tenure positions throughout their careers. Cohen was a dedicated teacher who examined the changing concepts and styles found in literature and other disciplines of study. Cohen led his students towards deeper insights into understanding cultural changes for society and increased awareness of their perceptions in professional and daily life. Cohen was the editor and author of many articles and books including, \"The Art of Discrimination\" (1964), \"The Essential David Hume\" (1965), \"The Unfolding of 'The Season\" (1970),\"New Directions in Literary History\" (1974), \"Studies in Eighteenth-Century British Art and Aesthetics\" (1985), \"The Future of Literary Theory\" (1989), \"Studies in Historical Change\" (1992), \"History and...: Histories Within the Human Sciences\" (1995), and \"Literature and History\". He was well respected as an author and was best known for promoting the work of his colleagues through editing and publishing their articles.","He was married to Libby Okun Cohen for more than 70 years. She was born in St. Petersburg, Russia on July 11, 1913. Due to persecution, her family emigrated to Vilna (now Vilnius) early in her life. She was a frequent companion in Ralph's classes and at his speaking engagements around the world, intent both on supporting her husband and continuing her own education. She co-wrote the index of Volumes I-X for the \"New Literary History\". She was a librarian at California State College Northridge and created the library at the Tandem Friends School where she was the librarian from 1970 to 1986. Under her inspired and challenging guidance, the multifaceted library generated unprecedented dialogue and quickly became known as \"Tandem's Cultural Center. The Tandem library honored her by naming it the Libby O. Cohen Library. She also helped build the multicultural library at the University's Sundberg International Center. She spoke many languages and partnered with her husband as a promoter of education and multiculturalism.  James Madison University established the Libby Okun Cohen Chair in technological humanism while her husband was teaching there. She was also an author of children stories, an independent genealogy researcher, a project coordinator for an oral history project that interviewed survivors from Nazi Germany, and an intergenerational program L'Dor V'Dor for young students to learn and share in the lives of older individuals.  Ralph and Libby Cohen had two children, Ruth Cohen Morris, and David Cohen who were both born during World War II. Ruth Morris followed in her mother's footsteps by completing a doctorate in Information and Library Science at the University of Michigan, thereby initiating her career as a distinguished librarian. She was married to David B. Morris who co-taught some courses with Ralph Cohen.  Libby Cohen died at age 99 in 2013. Ralph Cohen also died at age 99 in 2016.","Sources:\nhttp://best-hashtags.com/hashtag/teacherappreciation/\nhttps://news.virginia.edu/content/memoriam-ralph-cohen-professor-who-transformed-literary-criticism-0\nhttps://muse.jhu.edu/article/380552/pdf\nhttps://dailyprogress.com/ralph-cohen/article_de380d0a-185c-510e-b74d-3a33511feed3.html\nhttps://www.jstor.org/stable/469184?seq=1\nhttps://www.jmu.edu/cohencenter/our-people/cohen-ralph.shtml\nhttps://www.researchgate.net/publication/236774952_History_and_Change_An_Interview_with_Ralph_Cohen\nhttps://play.google.com/store/books/details/Genre_Theory_and_Historical_Change_Theoretical_Ess?id=0PsmDwAAQBAJ\u0026hl=sw\nhttps://www.amazon.co.jp/-/en/Ralph-Cohen/dp/0813940117\nRalph Cohen, \"Notes for a History\" (from within the collection)\nVideo interview: \nhttps://www.jmu.edu/news/2010/10/18-ralph-cohen.shtml"],"prefercite_html_tesm":["\u003cp\u003eRG-24/54/1.151, Ralph Cohen papers and New Literary History records, Small Special Collections Library, University of Virginia Library\u003c/p\u003e  "],"prefercite_tesim":["RG-24/54/1.151, Ralph Cohen papers and New Literary History records, Small Special Collections Library, University of Virginia Library"],"processinfo_html_tesm":["\u003cp\u003eA special box was created by Preservation staff for this item. Dimensions are 15 1/2 x 12.\u003c/p\u003e","\u003cp\u003eA special box was made by Preservation staff for this item. Dimensions are 12 x 15 1/2.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information","Processing Information","Processing Information"],"processinfo_tesim":["A special box was created by Preservation staff for this item. Dimensions are 15 1/2 x 12.","A special box was made by Preservation staff for this item. Dimensions are 12 x 15 1/2."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the teaching, research, and personal papers of Ralph Cohen, the William R. Kenan, Jr. professor of English from the University of Virginia from 1948-2016; and the records of the \"New Literary History\", an international, interdisciplinary, award-winning journal that Cohen founded and edited from 1969 to 2009 at the University of Virginia. The records of the New Literary History Journal (1969-2016) (Series 1) contain correspondence, contributors' articles, proofs, financial information, audiocassettes of prominent scholars (of literary theory in the 1990's), computer disks with contributor's articles (1998-2006), and information from the Commonwealth Center of Literary and Cultural Change (1988-1995). The Center was founded and directed by Ralph Cohen at the University of Virginia and is represented in a quarterly issue of the New Literary History Journal (starting with Volume 20 in 1990). Some of the correspondence and articles from contributors are not included for some issues. (See Arrangement for details). The last issue of correspondence and articles represented in the paper collection is Volume 28 (1997). \u003c/p\u003e","\u003cp\u003eBoth the highly regarded New Literary History Journal and the Commonwealth Center for Literary and Cultural Change reflect Cohen's belief that there is a need to understand multiple disciplines when evaluating literature and human nature. He also felt that it is necessary to nurture a genuine respect for different perspectives of other individuals as a pathway to becoming a better society. Each issue of the New Literary History Journal selects a theme and invites authors to create opposing dialogues. As a strong promoter of multiculturalism and feminism, he included authors from the non-western world, and men and women with varying points of view and different backgrounds. Frequent authors/contributors are George Garrett, Joyce A. Joyce, Ihab Hassan, Toril Moi, Xiaoying Wang, Henry Louis Gates, Jr., David Bleich, Hayden White, Paul Ricoeur, Helene Cixous, William K. Winsat, Robert Weimann, Jonathan Culler, Martha Nussbaum, E. D. Hirsch, Jr., Gerald Graff, Murray Krieger, Michael Riffaterre, Barbara Hernstein Smith, Fredric Jameson, Jerome McGann, Wolfgang Iser, Jean Starobinski, Northrup Frye, Geoffrey Hartman, Wolf Lupenies, Eddie Tomarken, Rene Welleck, Marshall McCluhan, Tzvetan Todorov, Terry Eagleton, Brian Stock, Catharine R. Stimpson, Frances Ferguson, Rita Felski, Rey Chow, Cora Diamond, Michael Prince, Winfried Fluck, Sandra Gilbert, Gary Saul Morson, Katherine Neeley, Stanley Fish, James M. Holquist, Keith Moxey, Richard Rorty, Walter Sokel, and many others.\u003c/p\u003e","\u003cp\u003eIn Series 2 the Ralph Cophen papers reflect his teaching and lecturing from the years 1948 to 2011 on Eighteenth-Century literature and literary theory such as correspondence, lecture notes, class materials, articles, conferences, manuscripts, and printed journals. The content in this part of the collection spans Ancient and Medieval Literature (\"The Greats\"), English and Continental Literature 1660-1770, English and Continental Literature 1770 to 1900, British Literature, American 19th and 20th Century Literature and literary history, literary change, literary criticism, aesthetics, psychology, and genre. These materials cover a complete and impressive range of literary authors and their works throughout the history of literature including the Bible, ballads and medieval manuscripts, Chaucer, Homer, Virgil, Pope, Donne, Blake, Hume, Thomson, Dryden, Milton, Machiavelli, Dante, Shakespeare, Goldsmith, Austen, Cather, T.S. Eliot, George Elliot, Ellen Glasgow, Emily Dickenson, the Romantics, the Nature Poets, Swift, Olaudah Equiano, James, Faulkner, Fitzgerald, Woolf, and many more. These lecture notes reveal the scope and wealth of Ralph Cohen's vast knowledge of literature and offer an opportunity for others to continue learning through his papers. \u003c/p\u003e","\u003cp\u003eOf interest are papers written by Ralph Cohen when he was a young college student, and which are included with the papers written by his students on similar subjects. There are also drafts of articles by Ralph Cohen outlining his plans for the New Literary History, and interviews with Ralph Cohen about his teaching. As an editor, Ralph Cohen sought to publish the work of his colleagues, but this collection has some of his original drafts of articles on literary theory. (Series 2: Box 85 and 86)\u003c/p\u003e","\u003cp\u003eThe collection also includes the personal papers of Ralph Cohen's family including his wife, Libby Okun Cohen and their two children, Ruth Cohen Morris, and David Morris. The Cohen's daughter was married to David B. Morris who co-taught some classes with Ralph Cohen. There are mementos and readings documenting many of the family Seder (Pesach Haggadah).  Libby Cohens' papers show her love of learning; her work in an intergenerational project (L'Dor V'Dor) with students and older generations; a Holocaust Oral History project, independent research in genealogy, and her career as an outstanding librarian.\u003c/p\u003e  ","\u003cp\u003eSee also Ralph Cohen correspondence in Series 2. His correspondence includes topics for the \"New Literary History Journal\" and communication with his colleagues and students about teaching. This correspondence is in Series 1 and Series 2 and is kept separate because that was the original order of the collection.\u003c/p\u003e","\u003cp\u003eThe correspondence also contains some personal greetings and general correspondence.\u003c/p\u003e","\u003cp\u003eRalph Cohen correspondence about New Literary History and about teaching. See also Series 2 correspondence.\u003c/p\u003e","\u003cp\u003ethere is one letter from December 6,1985\u003c/p\u003e","\u003cp\u003eRandolph Wadsworth\u003c/p\u003e","\u003cp\u003eJames Sosnoski correspondence\u003c/p\u003e","\u003cp\u003eTranslation to be published in \"New Literary History\" Volume 24 No. 1 Winter (February) 1993.\u003c/p\u003e","\u003cp\u003eThe correspondence is arranged by journal issue and alphabetically by author's name. Articles and commentaries are included with the correspondence. There are no files for volumes I-III,VIII-X,XV,23,24,25,and 27. There are gaps within some of the volumes. Volume IV does not have No. 1, Volume XIV does not have No. 3. Volume XVI does not have No.1 and No. 2. Volume 22 does not have No. 2. Starting with Volume 19, the issues use cardinal numbers instead of roman numerals. Volume 21,and later issues are published 4 times a year, not 3. At this time (2021) the articles in the New Literary History Journal are available online in JSTOR on their URL: https://www.jstor.org\u003c/p\u003e","\u003cp\u003eIncluded are photographs of ads with Diane Von Furstenberg (one with her signature)\u003c/p\u003e","\u003cp\u003eIncluded are other articles that were written collectively by Paul Peron, Paul Ricoeur, Frank Collins, Guy De Maupassant, A. J. Greimas and others. (\"The Piece of String\", \"On Narrativity\", \"The Veridiction Contract\", Figurative Semiotics and the Semotics of the Plastic Arts\")\u003c/p\u003e","\u003cp\u003eThis article came with a disk.\u003c/p\u003e","\u003cp\u003eThere are 686 audio cassette tapes that contain conversations of prominent literary theory scholars from the 1990's. An Excel spreadsheet inventory of the audio cassettes is available upon request. Some of the scholars are Ralph Cohen, Robert Weiman, Toril Moi, Brian Stock, Hayden White, Wolfgang Iser, Ashin Nandy, Wolf Lupenies, Martha Nussbaum, Keith Moxey, Cora Diamond, Henry Louis Gates, Jr., Jerry Ward, Gary Saul Morson, Helene Cixous, Walter Sokel, Catharine R. Stimpson, Katherine Neeley, Frederick Turner, Emmanuel Akyeampong, Ivor Indyk, Hans Ulrich Gumbrecht, Jerome McGann, Ji Wei Ci, R. S. Khare,Tzvetan Todorov, Richard Rorty, Geoffrey Hartman and many others.\u003c/p\u003e","\u003cp\u003eA list of the digital files is available upon request. Some of the authors (contributors) are Ralph Cohen, Tzvetan Todorov, Lydia Nakashima Degarrod, David B. Morris, Xiaoying Wang, Martha Nussbaum, Fredric Jameson, Jerome McGann, Terry Eagleton, Brian Stock, Frances Ferguson, Rita Felski, Rey Chow, Michael Prince, Winfried Fluck, Sandra Gilbert and many others.\u003c/p\u003e","\u003cp\u003eSeries 2 Ralph Cophen papers reflect his teaching and lecturing from the years 1948 to 2011 on Eighteenth-Century literature and literary theory and includes mostly lecture notes but also correspondence, class materials, articles, conferences, manuscripts and printed journals. The content in this part of the collection spans Ancient and Medieval Literature (\"The Greats\"), English and Continental Literature 1660-1770, English and Continental Literature 1770 to 1900, British Literature, American 19th and 20th Century Literature and literary history, literary change, literary criticism, aesthetics, psychology, and genre. These materials cover a complete and impressive range of literary authors and their works throughout the history of literature including the Bible, Ballads, Chaucer, Homer, Virgil, Pope, Donne, Blake, Hume, Thomson, Dryden, Milton, Machiavelli, Dante, Shakespeare, Goldsmith, Austen, Cather, T.S. Eliot, George Elliot, Ellen Glasgow, Emily Dickenson, the Romantics, the Nature Poets, Swift, Olaudah Equiano, James, Faulkner, Fitzgerald, Woolf, and many more.\u003c/p\u003e","\u003cp\u003eRalph Cohen correspondence about New Literary History and teaching. See also correspondence in series 1. In addition to Ralph Cohen correspondence there is correspondence related to his work in organizations including the Modern Language Association, Conference of Editors of Learned Journals (CELJ), The Eighteenth-Century Committee, the University of Virginia, and many more.\u003c/p\u003e","\u003cp\u003eExxon sponsored the Commonwealth Center for Literary and Cultural Change\u003c/p\u003e","\u003cp\u003eContent from teaching classes, lecture notes (research) on Ancient History through 20th Century: The Greats, Medieval Literature, English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, to American 19th-20th Century,British 20th Century, Classic to Romantic Poetry, literary change, literary history, literary theory, genre, and aesthetics/psychology,including course packets, syllabi,conferences, articles, printed, and bibliographic research. Much of this material is undated.\u003c/p\u003e","\u003cp\u003ePaper by Ralph Cohen when he was a student at New York Teacher's College\u003c/p\u003e","\u003cp\u003ePaper by Ralph Cohen when he was a student.\u003c/p\u003e","\u003cp\u003eA. O. Lovejoy, C. L. Wrenn, (\"Romanticism and the History of Ideas), Martin Kallich (The Association of Ideas and Critical Theory: Hobbes, Locke, and Addison\"), James Buziger, \"Organic Unity\"), Bertrand Bronson (\"Personification Reconsidered\")\u003c/p\u003e","\u003cp\u003eIncludes article by Ralph Cohen, \"Association of Ideas and Poetic Unity\"\u003c/p\u003e","\u003cp\u003eEnglish 167 contains blank exam questions about Pope, Swift, and Sterne.\u003c/p\u003e","\u003cp\u003eIncludes articles New York Times Book Review, New Yorker (re Dickens,Sterne's Tristram Shandy)\u003c/p\u003e","\u003cp\u003eConstance Strickland\u003c/p\u003e","\u003cp\u003eSee also oversize concordance\u003c/p\u003e","\u003cp\u003e\"New York Times Book Review\" and \"New Yorker\" magazine\u003c/p\u003e","\u003cp\u003enews clippings \u0026amp; bibliography\u003c/p\u003e","\u003cp\u003e\"On the Interrelation of Eighteenth-Century Literary Forms\"; \"Innovation and Variation\"; \"The Augustan Mode in English Poetry\"; \"Some Thoughts on the Problems of Literary Change\"; \"Historical Knowledge and Literary Understanding\"\u003c/p\u003e","\u003cp\u003eIncludes letters about John Rowlett's compilation of Cohen essays\u003c/p\u003e","\u003cp\u003eRalph Cohen, \"Some Thoughts on the Problems of Literary Change\"\u003c/p\u003e","\u003cp\u003eE. D. Hirsch, Jr., F. R. Leavis, W. W. Robson, Stephen C. Pepper, Ivan A. Richards, Paul Goodman, Murray Krieger, Feher \u0026amp; Heller, Maro Praz, M. H. Abrams, Roman Ingarden, Monroe C. Beardsley, and Paul de Man.\u003c/p\u003e","\u003cp\u003eMany of the Student Blue Books are from classes from Classic to Romantic Poetry\u003c/p\u003e","\u003cp\u003eChinese certificates\u003c/p\u003e","\u003cp\u003eSome Hawaii slides are commercial.\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"],"scopecontent_tesim":["This collection contains the teaching, research, and personal papers of Ralph Cohen, the William R. Kenan, Jr. professor of English from the University of Virginia from 1948-2016; and the records of the \"New Literary History\", an international, interdisciplinary, award-winning journal that Cohen founded and edited from 1969 to 2009 at the University of Virginia. The records of the New Literary History Journal (1969-2016) (Series 1) contain correspondence, contributors' articles, proofs, financial information, audiocassettes of prominent scholars (of literary theory in the 1990's), computer disks with contributor's articles (1998-2006), and information from the Commonwealth Center of Literary and Cultural Change (1988-1995). The Center was founded and directed by Ralph Cohen at the University of Virginia and is represented in a quarterly issue of the New Literary History Journal (starting with Volume 20 in 1990). Some of the correspondence and articles from contributors are not included for some issues. (See Arrangement for details). The last issue of correspondence and articles represented in the paper collection is Volume 28 (1997).","Both the highly regarded New Literary History Journal and the Commonwealth Center for Literary and Cultural Change reflect Cohen's belief that there is a need to understand multiple disciplines when evaluating literature and human nature. He also felt that it is necessary to nurture a genuine respect for different perspectives of other individuals as a pathway to becoming a better society. Each issue of the New Literary History Journal selects a theme and invites authors to create opposing dialogues. As a strong promoter of multiculturalism and feminism, he included authors from the non-western world, and men and women with varying points of view and different backgrounds. Frequent authors/contributors are George Garrett, Joyce A. Joyce, Ihab Hassan, Toril Moi, Xiaoying Wang, Henry Louis Gates, Jr., David Bleich, Hayden White, Paul Ricoeur, Helene Cixous, William K. Winsat, Robert Weimann, Jonathan Culler, Martha Nussbaum, E. D. Hirsch, Jr., Gerald Graff, Murray Krieger, Michael Riffaterre, Barbara Hernstein Smith, Fredric Jameson, Jerome McGann, Wolfgang Iser, Jean Starobinski, Northrup Frye, Geoffrey Hartman, Wolf Lupenies, Eddie Tomarken, Rene Welleck, Marshall McCluhan, Tzvetan Todorov, Terry Eagleton, Brian Stock, Catharine R. Stimpson, Frances Ferguson, Rita Felski, Rey Chow, Cora Diamond, Michael Prince, Winfried Fluck, Sandra Gilbert, Gary Saul Morson, Katherine Neeley, Stanley Fish, James M. Holquist, Keith Moxey, Richard Rorty, Walter Sokel, and many others.","In Series 2 the Ralph Cophen papers reflect his teaching and lecturing from the years 1948 to 2011 on Eighteenth-Century literature and literary theory such as correspondence, lecture notes, class materials, articles, conferences, manuscripts, and printed journals. The content in this part of the collection spans Ancient and Medieval Literature (\"The Greats\"), English and Continental Literature 1660-1770, English and Continental Literature 1770 to 1900, British Literature, American 19th and 20th Century Literature and literary history, literary change, literary criticism, aesthetics, psychology, and genre. These materials cover a complete and impressive range of literary authors and their works throughout the history of literature including the Bible, ballads and medieval manuscripts, Chaucer, Homer, Virgil, Pope, Donne, Blake, Hume, Thomson, Dryden, Milton, Machiavelli, Dante, Shakespeare, Goldsmith, Austen, Cather, T.S. Eliot, George Elliot, Ellen Glasgow, Emily Dickenson, the Romantics, the Nature Poets, Swift, Olaudah Equiano, James, Faulkner, Fitzgerald, Woolf, and many more. These lecture notes reveal the scope and wealth of Ralph Cohen's vast knowledge of literature and offer an opportunity for others to continue learning through his papers.","Of interest are papers written by Ralph Cohen when he was a young college student, and which are included with the papers written by his students on similar subjects. There are also drafts of articles by Ralph Cohen outlining his plans for the New Literary History, and interviews with Ralph Cohen about his teaching. As an editor, Ralph Cohen sought to publish the work of his colleagues, but this collection has some of his original drafts of articles on literary theory. (Series 2: Box 85 and 86)","The collection also includes the personal papers of Ralph Cohen's family including his wife, Libby Okun Cohen and their two children, Ruth Cohen Morris, and David Morris. The Cohen's daughter was married to David B. Morris who co-taught some classes with Ralph Cohen. There are mementos and readings documenting many of the family Seder (Pesach Haggadah).  Libby Cohens' papers show her love of learning; her work in an intergenerational project (L'Dor V'Dor) with students and older generations; a Holocaust Oral History project, independent research in genealogy, and her career as an outstanding librarian.","See also Ralph Cohen correspondence in Series 2. His correspondence includes topics for the \"New Literary History Journal\" and communication with his colleagues and students about teaching. This correspondence is in Series 1 and Series 2 and is kept separate because that was the original order of the collection.","The correspondence also contains some personal greetings and general correspondence.","Ralph Cohen correspondence about New Literary History and about teaching. See also Series 2 correspondence.","there is one letter from December 6,1985","Randolph Wadsworth","James Sosnoski correspondence","Translation to be published in \"New Literary History\" Volume 24 No. 1 Winter (February) 1993.","The correspondence is arranged by journal issue and alphabetically by author's name. Articles and commentaries are included with the correspondence. There are no files for volumes I-III,VIII-X,XV,23,24,25,and 27. There are gaps within some of the volumes. Volume IV does not have No. 1, Volume XIV does not have No. 3. Volume XVI does not have No.1 and No. 2. Volume 22 does not have No. 2. Starting with Volume 19, the issues use cardinal numbers instead of roman numerals. Volume 21,and later issues are published 4 times a year, not 3. At this time (2021) the articles in the New Literary History Journal are available online in JSTOR on their URL: https://www.jstor.org","Included are photographs of ads with Diane Von Furstenberg (one with her signature)","Included are other articles that were written collectively by Paul Peron, Paul Ricoeur, Frank Collins, Guy De Maupassant, A. J. Greimas and others. (\"The Piece of String\", \"On Narrativity\", \"The Veridiction Contract\", Figurative Semiotics and the Semotics of the Plastic Arts\")","This article came with a disk.","There are 686 audio cassette tapes that contain conversations of prominent literary theory scholars from the 1990's. An Excel spreadsheet inventory of the audio cassettes is available upon request. Some of the scholars are Ralph Cohen, Robert Weiman, Toril Moi, Brian Stock, Hayden White, Wolfgang Iser, Ashin Nandy, Wolf Lupenies, Martha Nussbaum, Keith Moxey, Cora Diamond, Henry Louis Gates, Jr., Jerry Ward, Gary Saul Morson, Helene Cixous, Walter Sokel, Catharine R. Stimpson, Katherine Neeley, Frederick Turner, Emmanuel Akyeampong, Ivor Indyk, Hans Ulrich Gumbrecht, Jerome McGann, Ji Wei Ci, R. S. Khare,Tzvetan Todorov, Richard Rorty, Geoffrey Hartman and many others.","A list of the digital files is available upon request. Some of the authors (contributors) are Ralph Cohen, Tzvetan Todorov, Lydia Nakashima Degarrod, David B. Morris, Xiaoying Wang, Martha Nussbaum, Fredric Jameson, Jerome McGann, Terry Eagleton, Brian Stock, Frances Ferguson, Rita Felski, Rey Chow, Michael Prince, Winfried Fluck, Sandra Gilbert and many others.","Series 2 Ralph Cophen papers reflect his teaching and lecturing from the years 1948 to 2011 on Eighteenth-Century literature and literary theory and includes mostly lecture notes but also correspondence, class materials, articles, conferences, manuscripts and printed journals. The content in this part of the collection spans Ancient and Medieval Literature (\"The Greats\"), English and Continental Literature 1660-1770, English and Continental Literature 1770 to 1900, British Literature, American 19th and 20th Century Literature and literary history, literary change, literary criticism, aesthetics, psychology, and genre. These materials cover a complete and impressive range of literary authors and their works throughout the history of literature including the Bible, Ballads, Chaucer, Homer, Virgil, Pope, Donne, Blake, Hume, Thomson, Dryden, Milton, Machiavelli, Dante, Shakespeare, Goldsmith, Austen, Cather, T.S. Eliot, George Elliot, Ellen Glasgow, Emily Dickenson, the Romantics, the Nature Poets, Swift, Olaudah Equiano, James, Faulkner, Fitzgerald, Woolf, and many more.","Ralph Cohen correspondence about New Literary History and teaching. See also correspondence in series 1. In addition to Ralph Cohen correspondence there is correspondence related to his work in organizations including the Modern Language Association, Conference of Editors of Learned Journals (CELJ), The Eighteenth-Century Committee, the University of Virginia, and many more.","Exxon sponsored the Commonwealth Center for Literary and Cultural Change","Content from teaching classes, lecture notes (research) on Ancient History through 20th Century: The Greats, Medieval Literature, English and Continental Literature 1660-1770, English and Continental Literature 1770-1900, to American 19th-20th Century,British 20th Century, Classic to Romantic Poetry, literary change, literary history, literary theory, genre, and aesthetics/psychology,including course packets, syllabi,conferences, articles, printed, and bibliographic research. Much of this material is undated.","Paper by Ralph Cohen when he was a student at New York Teacher's College","Paper by Ralph Cohen when he was a student.","A. O. Lovejoy, C. L. Wrenn, (\"Romanticism and the History of Ideas), Martin Kallich (The Association of Ideas and Critical Theory: Hobbes, Locke, and Addison\"), James Buziger, \"Organic Unity\"), Bertrand Bronson (\"Personification Reconsidered\")","Includes article by Ralph Cohen, \"Association of Ideas and Poetic Unity\"","English 167 contains blank exam questions about Pope, Swift, and Sterne.","Includes articles New York Times Book Review, New Yorker (re Dickens,Sterne's Tristram Shandy)","Constance Strickland","See also oversize concordance","\"New York Times Book Review\" and \"New Yorker\" magazine","news clippings \u0026 bibliography","\"On the Interrelation of Eighteenth-Century Literary Forms\"; \"Innovation and Variation\"; \"The Augustan Mode in English Poetry\"; \"Some Thoughts on the Problems of Literary Change\"; \"Historical Knowledge and Literary Understanding\"","Includes letters about John Rowlett's compilation of Cohen essays","Ralph Cohen, \"Some Thoughts on the Problems of Literary Change\"","E. D. Hirsch, Jr., F. R. Leavis, W. W. Robson, Stephen C. Pepper, Ivan A. Richards, Paul Goodman, Murray Krieger, Feher \u0026 Heller, Maro Praz, M. H. Abrams, Roman Ingarden, Monroe C. Beardsley, and Paul de Man.","Many of the Student Blue Books are from classes from Classic to Romantic Poetry","Chinese certificates","Some Hawaii slides are commercial."],"userestrict_html_tesm":["\u003cp\u003eThis collection is open for use except for restricted materials due to FERPA Boxes 138-150.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is open for use except for restricted materials due to FERPA Boxes 138-150."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Cohen, Ralph, 1917-2016"],"names_ssim":["Albert and Shirley Small Special Collections Library","Cohen, Ralph, 1917-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2151,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:30:00.774Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_950_c02_c02"}},{"id":"viw_repositories_2_resources_695_c07_c08","type":"Sub-Series","attributes":{"title":"Claudia Stevens Papers (Mss. Acc. 2013.033), 1972/1985","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_695_c07_c08#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eReel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_695_c07_c08#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_695_c07_c08","ref_ssm":["viw_repositories_2_resources_695_c07_c08"],"id":"viw_repositories_2_resources_695_c07_c08","ead_ssi":"viw_repositories_2_resources_695","_root_":"viw_repositories_2_resources_695","_nest_parent_":"viw_repositories_2_resources_695_c07","parent_ssi":"viw_repositories_2_resources_695_c07","parent_ssim":["Manuscripts Audiovisual Collection, 1920/2013","Series 7: Reel-to-Reel Audiotapes"],"parent_ids_ssim":["viw_repositories_2_resources_695","viw_repositories_2_resources_695_c07"],"title_filing_ssi":"Claudia Stevens Papers (Mss. Acc. 2013.033)","title_ssm":["Claudia Stevens Papers (Mss. Acc. 2013.033)"],"title_tesim":["Claudia Stevens Papers (Mss. Acc. 2013.033)"],"normalized_title_ssm":["Claudia Stevens Papers (Mss. Acc. 2013.033), 1972/1985"],"text":["Claudia Stevens Papers (Mss. Acc. 2013.033), 1972/1985","Manuscripts Audiovisual Collection, 1920/2013","Series 7: Reel-to-Reel Audiotapes","Reel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary."],"parent_unittitles_ssm":["Manuscripts Audiovisual Collection, 1920/2013","Series 7: Reel-to-Reel Audiotapes"],"parent_unittitles_tesim":["Manuscripts Audiovisual Collection, 1920/2013","Series 7: Reel-to-Reel Audiotapes"],"normalized_date_ssm":["1972/1985"],"unitdate_inclusive_ssm":["1972-1985"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[2],"sort_isi":953,"repository_ssim":["College of William and Mary"],"collection_ssim":["Manuscripts Audiovisual Collection, 1920/2013"],"has_online_content_ssim":["false"],"child_component_count_isi":10,"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 reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985],"scopecontent_html_tesm":["\u003cp\u003eReel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Reel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary."],"_nest_path_":"/components#6/components#7","timestamp":"2026-06-23T07:44:41.677Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_695","ead_ssi":"viw_repositories_2_resources_695","_root_":"viw_repositories_2_resources_695","_nest_parent_":"viw_repositories_2_resources_695","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_695.xml","title_filing_ssi":"Audiovisual, Manuscripts Collection","title_ssm":["Manuscripts Audiovisual Collection"],"title_tesim":["Manuscripts Audiovisual Collection"],"unitdate_ssm":["1920-2013"],"unitdate_inclusive_ssm":["1920-2013"],"normalized_date_ssm":["1920/2013"],"normalized_title_ssm":["Manuscripts Audiovisual Collection, 1920/2013"],"text":["Manuscripts Audiovisual Collection, 1920/2013","01/Mss. 1.04","/repositories/2/resources/695","Audiocassettes","DVDs","Video recordings","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.","Additions are being made to this collection on an ongoing basis.","Many of the audiovisual recordings inventoried in this collection came to the Special Collections Research Center as part of a collection of personal papers or organizational records. Those relationships are documented when known.","The physical condition of some audiovisual formats may restrict access to the original recordings.","Special equipment is required to listen to or view audiovisual recordings.","The Manuscripts Audiovisual Collection includes audiovisual formats from a variety of personal papers and organizational records collections.","Contains videocassete tapes that were pulled from the Vincent DeVita Papers (Mss. 84 D49).","One VHS tape.","One VHS tape","One VHS tape","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","Two VHS tapes.","One VHS tape","One VHS tape","One VHS tape","Contains videocassette tapes that were pulled from the Richard J. Davis Papers (Mss. 86 D27).","One VHS tape","Contains videocassette tapes that were pulled from the Glenn Close Papers (Mss. 93 C62). See Mss. Acc. 2010.601 below for more videocassette tapes from the Glenn Close Papers.","One VHS tape","One VHS Tape","One VHS tape","One Betamax tape.","One VHS tape.","One VHS tape.","One VHS show.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape, performed at Deutsches Theater, Berlin.","One VHS tape.","One VHS tape.","One VHS tape.","Two VHS tapes.","One oversize VHS tape.  Stored at the end of Series 1.","Running time 13:34. One oversize VHS tape. Stored at the end of the series.","Contains videocassette tapes that were pulled from the Henry Chapin Papers (Mss. 1993.005).","Three VHS tapes.","Contains videocassette tapes that were pulled from the Lee Family Papers (Mss. 1993.006-01).","One VHS tape.","1930. The Geddy Family of Williamsburg 1931. The Yorktown Sesquicentennial 1933. Miami No date. Arizona Desert School - Tuscon","Contains videocassette tapes that were pulled from the Rosa Marie and James A. Fuller Papers (Mss. 2001 F95).","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2001.50 of the Louis E. Catron Papers. For more, see also Sub-Series 9.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2002.034 of the Woman's Club of Williamsburg Records.","Two U-matic tapes.","One VHS tape.","Running time 30 min. One oversize VHS tape. Stored at the end of the series.","Contains videocassette tapes that were pulled from Mss. Acc. 2002.039 of the Louis E. Catron Papers. For more, see Sub-Series 7.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from the James A. Bill Papers (Mss. Acc. 2003.066).","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","For more, see audio cassette tapes.","One VHS tape of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).","Jive.  C-SPAN.  One VHS tape.","Berlin, NYC.  One VHS tape.","One VHS tape of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).","Contains videocassette tapes that were pulled from the Art Song of Williamsburg Records (Mss. Acc. 2007.058).","One VHS tape.","One VHS tape.","One VHS tape.","Marketing video with cassette tape which was to be placed with video. One VHS tape.","Contains videocassette tapes that were pulled from the Williamsburg Regional Commission on Growth and Historic Triangle Growth Management Group Papers (Mss. 2008.077).","One VHS tape.","One VHS tape.","One VHS tape.","For more, see Sub-Series 17. There are also audio cassettes and computer discs from this collection.","One VHS tape.","Tape features a health program, a continual candidates forum, Williamsburg City Council meeting.  One VHS tape.","1 VHS tape, running time 18 min.","One VHS tape, running time 12 min.","One VHS Tape.","One VHS tape.","One VHS tape.","Virginia Senate District 3, VA Delegates District 96 \u0026 97, Candidates Forum, Stryker Building, Williamsburg. One VHS tape.","One VHS tape.","One VHS tape.","Produced by the Alliance for Better Campaigns, running time 9 minutes, 1 VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.114 of the Claudia Stevens Papers. For more, see Sub-Series 16.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Three VHS tapes.","One VHS tape.","Two VHS tapes.","One VHS tape.","One oversized VHS tape.  Stored at the end of the series.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.139 of the Hamilton Family Papers.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.601 of the Claudia Stevens Papers. For more, see Sub-Series 14.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2010.342 of the League of Women Voters of the Williamsburg Area Records. For more, see Sub-Series 13. There are also audio cassettes and computer disks from this collection.","Two VHS tapes.","One Betacam tape with two WWE wrestlers.","This accession also includes an oversize video tape and a cassette tape.","Running time 63 minutes. One VHS tape.","Redford. One VHS tape.","The Kanew Company. Tape Dub. One VHS tape.","One VHS tape. 1 hr 37 min.","Length: 11:30. One VHS tape.","Starring Gloria Swanson, Lionel Barrymore, and Raoul Walsh.  One VHS tape.","One VHS tape.","Roughcut. Viewing cassette. One VHS tape.","One VHS tape.","Sesame Street. One VHS tape.","The Lifetime Channel. One VHS tape.","One VHS tape.","Dub. One VHS tape.","Greta Cammermeyer - Prime Time Live. One VHS tape.","Walt Disney Pictures. 60 sec. One VHS tape.","Rough Publicity Clip. TRT: 1:04. Glenn Close Clip. One VHS tape.","Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.","Los Angeles Coverage. One VHS tape.","One VHS tape.","Guests: Glenn Close, Vanessa Mae, Martin Sheen, Malik Yoba. One VHS tape.","Walt Disney Pictures. Electronic Press Kit. One VHS tape.","One VHS tape.","TCA Highlights. One VHS tape.","TCA Highlights. One VHS tape.","Avid Cut. RT: 11:03. One VHS tape.","TRT - 45:00. One VHS tape.","Columbia Pictures. Length 1:54. One VHS tape.","Columbia Pictures. Length 1:54. One VHS tape.","Includes Tribute Speeches by Jane Seymour and Glenn Close. One VHS tape.","Trailers. One VHS tape.","Columbia Pictures. Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.","Nightline. One VHS tape.","Columbia Pictures. Featurette. Length: 5:59. One VHS tape.","Hosted by Glenn Close. Starring Aaliyah, Shirley Caesar, Deana Carter, Hanson and Thomas Hampson. One VHS tape.","Winner Communications. 105:00. One VHS tape.","Sarajevo Package. One VHS tape.","Subject - Sarajevo. One VHS tape.","Columbia Tristar Home Video. 1. Access Hollywood. KNBC TV (NBC) Los Angeles. 3:32. 1 October 1998. 2. Entertainment Tonight. KCBS TV (CBS) Los Angeles. :27. 2 November 1998. 3. Good Morning America. ABC-TV Network. 6:58. 3 November 1998. One VHS tape.","Walt Disney Pictures. EPK Materials. 9:40. 1. Character Voices 2. Kala and Kerchak 3. Terk and Tantor One VHS tape.","One VHS tape.","Sizzle Piece v. 5. TRT: 3:00. One VHS tape.","Walt Disney Pictures. Select B-Roll. Revised V 2.1. TRT: 54:37. One VHS tape.","Walt Disney Pictures. Electronic Press Kit. Select Soundbites Cut #3. TRT 36:42. One VHS tape.","Walt Disney Pictures. Rough Clips #2. TRT 23:10. One VHS tape.","ABC Entertainment. Press Tour Clip. Version 1. 20 min. TRT 21:54. One VHS tape.","One VHS tape.","ABC Hollywood. One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","TRT : 59:30. One VHS tape.","B-Roll selects. One VHS tape.","Master Dub. One VHS tape.","Press Tour. One VHS tape.","One VHS tape.","B-Roll selects. One VHS tape.","B-Roll. Running Time 9:00. One VHS tape.","Rabbit Ears Productions. 30 mins. One VHS tape.","One VHS tape.","One VHS tape.","1. 213ST - Bravo Logo 2. #2 PSA - Reggie Rivers/Denver Arts PSA One VHS tape.","Scott Mauro Entertainment. 12:36. One VHS tape.","EP # 1083. For Talent. Stereo TRT 20:49. One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Videocassette tape of a piano solo by Claudia Stevens of Schumann's Piano Concerto with The Richmond Symphony conducted by Jacques Houtmann. The performance was from a live broadcast by the Public Broadcasting Service affiliate. The video also features an interview with Stevens.","Video exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long. A DVD version of the video is avaiable in Series 4.","Three Cassette Tapes.","Basil Rathbone.  Dupont Theatre.  Two Cassette Tapes.","One Cassette Tape.","Nine Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One cassette tape.","Nine Cassette Tapes. For more, see Sub-Series 6.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Chapel of the Wren Building, at the College of William and Mary. One Cassette Tape.","Accession number 1990-36. One cassette tape.","One Cassette Tape.","One Cassette Tape.","Recorded interviews on James City County history.","One cassette tape.","One cassette tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","Four Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape. See Doris Wildenburger.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape. No transcripts, cassette dated 12/8/87.","Three Cassette Tapes.","One Cassette Tape.","Three Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","For more, see Sub-Series 3.","One Cassette Tape.","Jeremiah Clarke - The Prince of Denmark's March; Trumpet Tune; Almand in D; Round O in a; Jigg in A. From Choice Lessons. One cassette tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","80 min. One Cassette Tape.","One Cassette Tape.","40 min. One Cassette Tape.","Svec was a neighbor of Aleksandr Solzhenitsyn, the Nobel Prize Winning Russian dissident writer. Interview by Frank Shatz. 10 min. One Cassette Tape.","Frank Shatz is the interviewer. Run time 20 min. One Cassette Tape.","Running time 20 minutes. One Cassette Tape.","Running times 20min and 30 min, respectively. One Cassette Tape.","Frank Shatz is the interviewer. One Cassette Tape.","Interviewer is Frank Shatz. Running Time 25 min. One Cassette Tape.","Interviewer Frank Shatz. 15 minutes. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Six Cassette Tapes.","Jack \u0026 Catherine Morpurgo. Community Arts Programme, Caldwell Idaho. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. 30 min. One Cassette Tape.","Frank Shatz is the interviewer. 5-6 minutes. One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 40 min. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Frank Shatz is the interviewer. 40 min. One Cassette Tape.","Frank Shatz is the interviewer. 15 minutes. One Cassette Tape.","Frank Shatz is the interviewer. 30 min. One Cassette Tape.","Frank Shatz is the interviewer. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Tapes are CLOSED.","Interviewer is Frank Shatz. 25 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 30 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 30 min. One Cassette Tape.","Interviewer is Frank Shatz. 25 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 20 min. One Cassette Tape.","Fifty-four audio cassette tapes of interviews by James A. Bill.","Two Cassette Tapes.","Two Cassette Tapes.","Two Cassette Tapes.","Three Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","Two Cassette Tapes.","New York. One Cassette Tape.","Austin, TX. One Cassette Tape.","Washington, D.C. One Cassette Tape.","Washington, D.C. One Cassette Tape.","Williamsburg, VA. One Cassette Tape.","One Cassette Tape.","Princeton. One Cassette Tape.","One Cassette Tape.","Williamsburg, VA. One Cassette Tape.","New York. One Cassette Tape.","New York City. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Washington, D.C. One Cassette Tape.","Cambridge, MA. One Cassette Tape.","One audio cassette tape.","One audio cassette tape.","One audio cassette tape interview possibly covering the Iran-Contra affair.","Tapes are CLOSED.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Frank Shatz is the Interviewer, 20 min. One Cassette Tape.","Frank Shatz is the Interviewer. One Cassette Tape.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Tapes are CLOSED.","Reves Center Global Forum, 40 min. One Cassette Tape.","Frank Shatz is the Interviewer, 20 min. One Cassette Tape.","Read by Scott Martin. Two cassette tapes.","Tapes are CLOSED.","Frank Shatz is the interviewer. 20 min. One cassette tape.","Frank Shatz is the interviewer. 15 min. One cassette tape.","Frank Shatz is the interviewer.  20 min.  One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Tapes are CLOSED.","Interviewer is Frank Shatz. One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Recorded by Frank Shatz. One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Frank Shatz, Gene Nichol, Paul Verkuil, Tim Sullivan, and Dr. Kern Wildenthal. One cassette tape.","Tapes are CLOSED.","Telephone Interview by Frank Shatz. One cassette tape.","Interview by Frank Shatz. One cassette tape.","Interviews on cassette tapes.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape. For more, see B side of tape 52.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Two cassette tapes.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","Two cassette tapes.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape. More of Laurence (Larry) Deutsch on the B Side.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Three cassette tapes.","Two cassette tapes.","Three cassette tapes.","One cassette tape.","One cassette tape.","By League of Women Voters. Williamsburg Public Library. One cassette tape.","Four cassette tapes.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Five cassette tapes with music for common year (?).","One cassette tape.","One cassette tape.","Three cassette tape.","GC-4089 and GC-4088. One cassette tape.","GC-4107 and GC-4085. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Tapes are CLOSED. Nine cassette tapes.","Interview at the Reves Center with Frank Shatz. 20 min. One cassette tape.","Interview by Frank Shatz. 15 min. One cassette tape.","Interview by Frank Shatz. 15 min. One cassette tape.","Interview by Frank Shatz. 20 min. One cassette tape.","Interview by Frank Shatz. 40 min. One cassette tape.","Interview by Frank Shatz. 25 min. One cassette tape.","Interview by Frank Shatz. 35 min. One cassette tape.","Interview by Frank Shatz. 20 min. One cassette tape.","Audio cassettes relating to the Berkeley Art Center Production of \"A Very Large Mole,\" October 17, 2009.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","The radio broadcast for \"NPR Playhouse.\"  One cassette tape.","Tapes are CLOSED. Thirteen tapes.","Frank Shatz is the interviewer. 25 min. One cassette tape.","Frank Shatz is the interviewer. 35 min. One cassette tape.","One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. 20 min. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer.  Running time 10 min.  One cassette tape.","Frank Shatz is the interviewer. Running time 40 min. One cassette tape.","Frank Shatz is the interviewer. Running time 45 min. One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. Running time 40 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Tapes are CLOSED.","Interview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 20 minutes long. One audiocassette tape.","Interview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 10 minutes long. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Fank Shatz is the interviewer. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Audiocassette tapes of piano performances by Claudia Stevens.","One audiocassette tape of a live concert with piano music by Clauida Stevens. The program was also repeated on March 12, 1981 at the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts and on March 13, 1981 at Bennington College. The program included the following pieces: Beethoven, Bagatelles, Opus 126 Copland, Piano Fantasy Schumann, Sonata in F minor, Opus 14","Audiocassette tape of a piano recital by Claudia Stevens performing the Elliott Carter Piano Concerto that was recorded and broadcasted on KERA (an National Public Radio affiliate).","Scope and Contents Audiocassette tape of a piano concert by Claudia Stevens issued by \"Perspectives of New Music, 1983-1984\" . Includes short pieces by Ellen Taaffe Zwilich, Jeffery Mumford, Ira Taxin, Claudia Stevens (\"Widmung\" ), Joel Chadabe, and Betsy Jolas.","Scope and Contents Audiocassette tape of a piano performance by Claudia Stevens featuring the Currents New Music Ensemble with Fred Cohen as director. Stevens brought the performance to Phi Beta Kappa Hall at William and Mary the following week. It was the only William and Mary performance of \"Pierrot Lunaire\" .","Scope and Contents Audiocassette tape of a piano performance by Claudia Stevens featured on the hour-long live broadcast on National Public Radio's \"Performance Today.\" Included are \"Piano Fantasy\" and \"Piano Variations\" by Copland. The first broadcast was in 1981 at the National Gallery which was attended by Copland.","Tapes are closed.","Interview by Frank Shatz. The tape is approximately 30 minutes in length.","Interview by Frank Shatz of Colin Campbell, president of Colonial Williamsburg. Tape length is approximately 20 minutes in length.","Interview by Frank Shatz with Tim O'Brien, writer. Tape lenght is approximately 20 minutes in length.","One CD.","Three CDs of first, second, and final transcription of selected letters by Lonnie Dobbs.","One CD.","One CD.","One CD.","Piano, 1816, owned by William \u0026 Mary, 2003. Conservation by John Watson \u0026 Louis Dolive, Colonial Williamsburg. One CD.","Recordings of Claudia Stevens' piano concerts, including programs.","One CD.","One CD.","One CD.","Two CDs related to Jamestown Commemorative Postage Stamp.","One CD.","One CD.","Inaugural concert. With Lisa Edwards-Burrs, soprano, and Ruth Easterling Winters, pianist. One CD.","With Will Crutchfield, lecturer/pianist, and Steven Tharp, tenor. One CD.","With Michael Posey, tenor, and Ruth Easterling Winters, pianist. Two CDs.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. Five CDs.","With Pamela Armstrong, soprano, and Melanie Day, pianist. Four CDs.","Branch Fields, with Ruth Easterling Winters. One CD.","With Martha Slay, mezzo-soprano, and Charles Staples, pianist. One CD.","With Branch Fields, bass, and Ruth Easterling Winters, pianist.  One CD.","With Branch Fields, bass, and Ruth Easterling Winters, pianist.  Two CDs.","With Stephen Tharp, tenor, and Will Crutchfield, pianist. One CD.","With Georgeann Paddock, soprano, Jonathan Hays, baritone, and Ruth Easterling Winters, pianist. Two CDs.","With Robynne Redmon, mezzo-soprano, and Charles Woodward, pianist. Four CDs.","With Lisa Edwards-Burrs, soprano, and Melanie Day, pianist. One CD.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. One CD.","With Tracey Welborn, Tenor, and Tamara Sanikidze, piano. One CD.","With Matthew Burns, bass-baritone, and Melanie Day, piano. Four CDs.","With Catarina Lundgren, soprano, Heikki Pellinen, piano. Two CDs.","With Andrew Garland, baritone, and Donna Loewy, pianist. Three CDs.","With Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. One CD.","With Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Four CDs.","CD-roms of Bucktrout and Draughtsman map imaged by Colonial Williamsburg.","One CD.","One CD.","One CD.","One CD.","One CD.","One CD.","Five Seasons, as performed at Atlanta Memorial Arts Center, Atlanta, GA. First performed February 6, 1979, recorded February 27, 1979. By Merritt Ierley, Lavinia Phillips, Soprano, and Judith Shulz, Pianist. One CD.","Two unopened CDs.","One CD.","One CD.","One CD.","One CD.","One CD.","In PDF format. One CD.","April 2005, February 2005, Flag Day 2005, January 2005, May 2005. One CD.","Veterans' Day, 2007. One CD.","Veterans' Day, 2010. One CD.","Memorial Day, 2010. One CD.","One CD.","One CD.","Performed live (mostly) at the Celebration of William Cabbell's 300th Birthday, October 21-22, 2000 at the Williasmburg Lodge.","Recording of a campaign rally for state Senator Garland Gray. Speakers include Russell M. Carneal, Robert Hornsby, H. W. Stryker, Fred M. Flanary, Davis Y. Paschall, and Garland Gray.","One compact disc of digital transcripts of letters from Julia Cherney (Bateman) to Clara Walde (Lawrence) while serving as a missionary in China from 1909 to 1923. From the Clara Lawrence Papers, Mss. Acc. 2009.299, series 1, box 3.","Played on the organ of Bruton Parish Church by James Darling, organist.","Two copies of a DVD on John Marshall. Running time 29 min.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","One DVD of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.","One DVD of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.","One DVD case.","One DVD.","Hightlights from Queen Elizabeth II and Prince Philip's visit to Jamestown and Williamsburg, commemorating the 400th anniversary of the Jamestown settlement. One DVD.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. One DVD.","With Tracey Welborn, Tenor, and Tamara Sanikidze, piano. Four DVDs.","With Matthew Burns, bass-baritone, and Melanie Day, piano. Three DVDs.","With Catarina Lundgren, soprano, Heikki Pellinen, piano. Two DVDs.","With Andrew Garland, baritone, and Donna Loewy, pianist. Three DVDs.","With Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. Five DVDs.","With Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Seven DVDs.","One DVD.","Two DVDs.","One DVD.","Meredith College Convocation. Series 14. This live performance included original intro and two endings. Later, both were revised. One DVD.","Ida Green Arena Theater. Item 12. One DVD.","One DVD.","Herbst Theater, War Memorial and Performing Arts Center, San Francisco. One DVD.","Recorded at Berkeley Art Center. One DVD.","A solo play in one act, written and performed by Claudia Stevens, with music composed by Allen Shearer. One DVD.","Baltimore Theater. One DVD.","Charlotte Kaufman, director. An Opera in Two Acts, being Mr. Doggett's farce of The Country Wake altered after the manner of The Beggar's Opera. By John Hippisley, 1729. Harvard Unitarian Church, Harvard, Mass. One DVD.","Charlotte Kaufman, Director. A Ballad Opera Farce. Remis Auditorium. One DVD.","Charlotte Kaufman, director and harpsichord. Staged by Craig Wich. Remis Auditorian. One DVD.","One DVD.","Two DVDs.","One DVD.","A film by Julia Melchoir and Sebastian Denhardt. One DVD.","At St. John's Kirk, Perth, Scotland. One DVD.","Contains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.","Contains three files relating to the Cabell Family homes and graveyards in Nelson, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.","Video exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Format is Word Perfect 5.1. One 3.5 inch floppy disk.","WHRA","Two 3.5 inch floppy disks.","One disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","FS- 95/96, 96/97, 97/98; Dues 97/98; Treasurer's Job; Envelope. One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Four disks with office files.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Pictures, files. Four 3.5 inch floppy disks","President's files.","Brochure, handbook, letterhead, fax form, agenda, invoice, membership renewal form. One 3.5 inch floppy disk.","LWVWA 2000-2001 Education proposal, Education positions, LWVWA Education study proposal, working on a LWV study (P. Kent). One 3.5 inch floppy disk.","Newsletter and labels, invitations and flyers. One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Board meetings, agenda, letter. One 3.5 inch floppy disk.","Policies, by-laws, positions, annual meeting handout, grant applications. One 3.5 inch floppy disk.","Scope and Contents Must be played with wooden \"Kacti\" needle. One record.","An example of material distributed during political campaigns. One 33 rpm disk.","By R. B. Tisdale. One 33 1/3 rpm disk.","Songs: Ballet, Allemande, Country Dance, Reap \u0026 Sow, Diggers, Weary Eyes.  One 33 1/3 rpm disk.","Dunmore - Bouree - Fireworks. One 33 1/3 rpm disk.","Country dance. Reserve copy. Two cuttings. One 33 1/3 rpm disk.","Dunmore Ballet, Scarlotti, Allemande, Gallop, Country Dance. \"Too fast!\" One disk.","Dunmore Ballet, Allemande, Gallop, Country Dance, Scarlotti. One disk.","Sowers \u0026 Reapers - plus (?) Diggers - Orch. Band I + II - Yankee Doodle Band III + IV - One disk.","One disk.","One 33 1/3 rpm disk.","One disk.","Side 1: Music from The Common Glory (Musical Synopsis) Side 2: Common Glory Concert Choir One 33 1/3 rpm disk.","Dunmore Ballet, Rainy Night. One 33 1/3 rpm disk.","Ballet, Allemande, Country Dance, Reap \u0026 Sow, Diggers, Weary Ones. One 33 1/3 rpm disk.","Recorded by Ray Charles Singers with orchestra. Three Ships, Pocahontas, The Old Church Tower, Jamestown. One disk.","One disk.","One 33 1/3 rpm disk.","One disk. Damaged.","Dave Remington Quartet. Lyrics by P. Quinto, S. Spilmon, M. Vallo. Music by Vincent Chiarelli. One 45 rpm disk.","One 78 rpm disk.","One disk.","One 33 1/3 rpm disk.","George Passage News.  Recorded in Richmond, Va.  Three 78 rpm disks.","Roanoke, Va.  One 33 1/3 rpm disk.","Richmond, Va.  Three 78 rpm disks.","Three 33 1/3 rpm disks.","Political Anns. Open \u0026 Closing included.  One 33 1/3 rpm disk.","José Iturbi, pianist.  One disk.","Scope and Contents Record (78 rpm) of \"Sing-out 66,\" a group Glenn Close sang with sponsored by the Moral Majority. Featured on the record are two songs by Ms. Close: \"The Happy Song\" and \"Run and Catch the Wind.\" This album sold at a performance in Phi Beta Kappa Hall, 1966. The traveling show was called \"Up with People.\" Ms. Close was a featured soloist before entering the College of William and Mary.","Two records. Includes note from Glenn Close to Howard Scammon, May 31, 1985.","Transferred from the music library.","Soundtrack to the musical by Stephen Sondheim and directed by Harold Prince. With Angela Lansbury and Len Cariou. Case is signed by the cast members. Two records.","Scope and Contents A \"back-alley opera\" narrated by David Wayne. With Carol Channing and Eddie Bracken. One record.","A musical by Cy Coleman and Michael Stewart. With Glenn Close and Jim Dale. In original case signed by cast members. One record.","Eleven songs performed by Dudley Moore (piano) and Cleo Laine (vocals). Case signed by Cleo and the producer. One record.","Soundtrack of the musical by Jerry Herman and Harvey Firestein. With George Hearn and Gene Barry. Record case signed by cast. One record.","Album by Perry Como. Case signed by the artist. One record.","The Common Glory orchestra and soloists from the Common Glory choir (including members of the William and Mary choir) in a concert performace of Act 1 of \"The Marriage of Figaro.\" Monday, August 20, 1956, in Blow Gymnasium at the College of William and Mary. Program and two 33 1/3 LP records.","Recording of the musical program presented by WVEC-TV on January 29, 1960, honoring the 350th anniversary of the city of Hampton, Virginia.","\"A report to all Armstrong men and women of our operating results.\" Stockholders address from Armstrong Cork Company. One 7 inch 45 rpm record and booklet.","Directed by Mr. C. W. Moore. Four tracks. One 33 1/3 rpm record","Narrated by Ralph Cooper. Recorded in Washington D.C., August 28, 1963. One 33 1/3 rpm record.","Performed by J. S. Darling on the Wren Chapel Organ at the College of William and Mary. Produced by Colonial Williamsburg Foundation.","State Capitol. One 1/4 inch audio reel.","Audio tape, along with a letter from Governor Godwin's office and a transcript of the tape.  The tape was broadcast by 50 stations on September 6, 1968.  One 1/4 inch reel.","Two 1/4 inch audio reels.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","Audio recording of the 1952 program \"At Home with Lindy,\" sponsored by the Colonial Dames of Lexington, VA. Probably belonging to Mary Meares Galt. One 1/4 inch audio reel.","One 1/4 inch audio reel.","Probably belonging to Mary M. Galt. One 1/4 inch audio reel.","One 1/4 inch audio reel.","Radford, VA. 5 min overall length. Two copies, 1/4 inch audio reels.","One 1/4 inch audio reel.","Reel #41, Machine #2. Program time 29:30. Tape speed 7 1/2. Recorded by Bill. One 1/4 inch audio reel.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","Audiotape of a lecture in which Dr. Koontz participated. One 1/4 inch audio tape. Folder includes typed information on lecture.","Box 1. Tape 14, letter number 61. Contents unknown. One 1/4 inch audio reel.","Box 2. Contents unknown. One 1/4 inch audio reel.","Box 3. Contents unknown. One 1/4 inch audio reel.","Box 4. Contents unknown. One 1/4 inch audio reel.","Box 5. Contents unknown. One 1/4 inch audio reel.","Box 6. Contents unknown. One 1/4 inch audio reel.","Box 7. Contents unknown. One 1/4 inch audio reel.","Box 8. Contents unknown. One 1/4 inch audio reel.","Box 9. Contents unknown. One 1/4 inch audio reel.","Box 10. Contents unknown. One 1/4 inch audio reel.","Collection is CLOSED.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","Fives Pieces: Roger Sessions. Four Short Pieces: Gamer, Imbrie, Fine, Diamond. Mouromata: Becker. Six short pieces: Martino, Babbit, Cansky, Spies, Weisgall, Lewin. Sonta #1: Sessions. One audio reel. Includes CD and program.","One sixty second radio spot. 7 1/2 ips - mono, one reel.","One sixty second radio spot.  7 1/2 ips - mono, one reel.","One sixty second radio spot. One reel.","One sixty second radio spot. 7 1/2 ips - mono master, one reel.","Reel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary.","The program was presented on October 7, 1977 at the Library and Museum of the Performing Arts at Lincoln Center, New York and on October 2, 1977 at Keller Hall, University of Richmond. Includes Beethoven, Sonata, Opus 101; Mozart, Rondo in A minor, K511; Sessions, Sonata no. 1; and Schumann, Humoreske, Opus 29.","Portions of this program were included in Stevens' recital on the guest artist series of the University of California, Berkeley (Committee for Arts and Lectures) at Hertz Hall, summer, 1978. The program includes Brahms, Klavierstucke, Opus 119 (complete); Schubert, Sonata in C minor, Opus posth.; Mozart, sonata in B flat Major, K570; and Berg, Sonata, Opus 1.","Scope and Contents Portions of this program were included in the recital by Stevens at Jordan Hall in Boston, Massachusetts on October 23, 1979, on the \"Enchanted Circle\" new music series, and on a recital at Virginia Commonwealth University on March 18, 1980, presented by the Virginia Music Teachers Association. The program includes Piano Variations by Aaron Copland; Schumann, Sonata in F minor, Concerto Without Orchestra; and twelve recently composed pieces (1976-1979) by Donald Martino, Vivian Fine, Carlton, Gamer, David Diamond, Leon Kirchner, Andrew imlorie, Hugo Weisgall, Paul Lansky, Claudio Spies, Milton Babbitt, David Lewin, and Richard Becker.","Program includes new pieces by Vivian Fine, Shulamit Ran, Andrew Imbrie, Allen Shearer, and Robert Xavier Rodriguez. A week earlier (October 23, 1983), Stevens gave the program on a guest artist recital at Old Cabell Hall, University of Virginia - the world premieres of the five new pieces. On December 5, 1983, the Composers Forum of New York presented the recital, with the addition of six miniatures composed for the occasion in their world premiers, at Carnegie Recital Hall. The program then toured Virginia under a grant from the Virginia Commission for the Arts, Claudia Stevens, pianist.","Program includes Schumann Humoreske, Opus 20; Beethoven, Sonata, Opus 111 in C minor; Berg, Sonata, Opus 1; and short, contemporary pieces by Carlton Gamer, David Diamond, Vivian Fine, David Lewin, and Hugo Weisgall.","Conducted by Peter Black. Program includes Brahms Piano Concerto in D minor, Opus 15.","Program includes Brahms Variations on an Original Theme, Opus 21; Schumann Kreisleriana; Elliott Carter Piano Sonata; Chopin Ballade in F minor.","Program includes Schumann Fantasy in C, Opus 17; Roger Sessions: Five Pieces for Piano, 1975 (premiere in Virginia); and Sessions Sonata no. 1.","Program includes Brahms, Sonata in F minor, Opus 5; Mozart, Sonata in F major, K533-494; and Schoenberg, Five Pieces, Opus 23.","Scope and Contents Program includes Beethoven, Sonata in A Major, Opus 2, no. 2; Debussy, Preludes, including \"Feux d'artifice\" (\"Fireworks\" ). The program was also presented at Camp Theater, University of Richmond, on November 23, 1975.","Contains three reel-to-reel audiotapes of theater productions including \"Fairy Stones,\" \"Greek Rhapsody,\" and a tape labelled \"Chapman Tape I.\"","Scope and Contents One 7\" reel-to-reel audiotape of a production called \"Family Stones\" that was once owned by William and Mary Theatre Director Howard Scammon. The tape speed is 3 3/4.","One 2500 ft. reel-to-reel audiotape that is labeled \"Chapman Tape I.\" The audiotape was once owned by William and Mary Theatre Director Howard Scammon.","Scope and Contents One 2500 ft. reel-to-reel audiotape from a production entitled \"Chapman II\" that was once owned by William and Mary Theatre Director Howard Scammon. The audiotape was recorded at 7 1/2 inches per second. The approximate lenght of the tape is one hour.","One reel-to-reel audiotape labeled Mine workers monologues...European History.","Could have been filmed by CW or the VA Chamber of Commerce. No sound, black and white. One oversize video reel.","No sound, black and white. Raw footage. Lathen Zimmer, Virginia Bray, Zeke Friedman. One video reel.","Run time approximately 10 minutes. No sound, full color. Collage of scenes and dances. One video reel.","Run time 1 minute. One color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 60 seconds. Filmed by Colonial Williamsburg. One color video reel with sound.","One 16mm video reel.","Run time 30 seconds. One 16mm color video reel.","Promo film, run time 60 seconds. Retired March 1976. One 16mm video reel.","Promo film, run time 60 seconds. Retired March 1976. One 16mm video reel.","Presented to Governor Mills E. Godwin, Jr. by the Virginia Association of Electric Cooperatives.  One oversize 16mm video reel with audio.","TV video reel, black and white with sound.  One 50 mm oversize video reel.","One 16mm video reel with audio.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","Running time 15 minutes.  One 1/2 inch audio and video reel.","No good - damaged. One oversize 1/2 inch audio and video reel.","Shipped to Lutheran TV Productions in St. Louis, Missouri. One oversize 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","From 2005.38 addition. One small reel to reel video tape in plastic case.","Audiovisual material from Acc. 2013.246 was pulled from the Bruton Parish Church (Williamsburg, Virginia) Records and was added to this collection on 10/11/2013.","Mss. Acc. 2014.003 were previously described under Acc. 2009.252 (\"Fairy Stones), Acc. 2009.253 (\"Chapman 1), and Acc. 2009.254 (\"Chapman II\") in the University Archives Audiovisual Collection.","Mss. Acc. 2003.66.044-.046 were previously part of the James Bill Papers and were added to this collection on 3/6/2014.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Manuscripts Audiovisual Collection, 1920/2013"],"collection_ssim":["Manuscripts Audiovisual Collection, 1920/2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["01/Mss. 1.04","/repositories/2/resources/695"],"unitid_tesim":["01/Mss. 1.04","/repositories/2/resources/695"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"access_subjects_ssim":["Audiocassettes","DVDs","Video recordings"],"access_subjects_ssm":["Audiocassettes","DVDs","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["20.0 Linear Feet"],"extent_tesim":["20.0 Linear Feet"],"genreform_ssim":["Audiocassettes","DVDs","Video recordings"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"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."],"accruals_html_tesm":["\u003cp\u003eAdditions are being made to this collection on an ongoing basis.\u003c/p\u003e  "],"accruals_heading_ssm":["Accruals:"],"accruals_tesim":["Additions are being made to this collection on an ongoing basis."],"custodhist_html_tesm":["\u003cp\u003eMany of the audiovisual recordings inventoried in this collection came to the Special Collections Research Center as part of a collection of personal papers or organizational records. Those relationships are documented when known.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History:"],"custodhist_tesim":["Many of the audiovisual recordings inventoried in this collection came to the Special Collections Research Center as part of a collection of personal papers or organizational records. Those relationships are documented when known."],"phystech_html_tesm":["\u003cp\u003eThe physical condition of some audiovisual formats may restrict access to the original recordings.\u003c/p\u003e","\u003cp\u003e Special equipment is required to listen to or view audiovisual recordings.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics or Technical Requirements:"],"phystech_tesim":["The physical condition of some audiovisual formats may restrict access to the original recordings.","Special equipment is required to listen to or view audiovisual recordings."],"prefercite_html_tesm":["\u003cp\u003eManuscripts Audiovisual Collection, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Manuscripts Audiovisual Collection, Special Collections Research Center, Swem Library, College of William and Mary."],"scopecontent_html_tesm":["\u003cp\u003eThe Manuscripts Audiovisual Collection includes audiovisual formats from a variety of personal papers and organizational records collections.\u003c/p\u003e  ","\u003cp\u003eContains videocassete tapes that were pulled from the Vincent DeVita Papers (Mss. 84 D49).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eTwo VHS tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Richard J. Davis Papers (Mss. 86 D27).\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Glenn Close Papers (Mss. 93 C62). See Mss. Acc. 2010.601 below for more videocassette tapes from the Glenn Close Papers.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS Tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne Betamax tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS show.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape, performed at Deutsches Theater, Berlin.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTwo VHS tapes.\u003c/p\u003e","\u003cp\u003eOne oversize VHS tape.  Stored at the end of Series 1.\u003c/p\u003e","\u003cp\u003eRunning time 13:34. One oversize VHS tape. Stored at the end of the series.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Henry Chapin Papers (Mss. 1993.005).\u003c/p\u003e","\u003cp\u003eThree VHS tapes.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Lee Family Papers (Mss. 1993.006-01).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003e1930. The Geddy Family of Williamsburg 1931. The Yorktown Sesquicentennial 1933. Miami No date. Arizona Desert School - Tuscon\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Rosa Marie and James A. Fuller Papers (Mss. 2001 F95).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2001.50 of the Louis E. Catron Papers. For more, see also Sub-Series 9.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2002.034 of the Woman's Club of Williamsburg Records.\u003c/p\u003e","\u003cp\u003eTwo U-matic tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eRunning time 30 min. One oversize VHS tape. Stored at the end of the series.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2002.039 of the Louis E. Catron Papers. For more, see Sub-Series 7.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the James A. Bill Papers (Mss. Acc. 2003.066).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eFor more, see audio cassette tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).\u003c/p\u003e","\u003cp\u003eJive.  C-SPAN.  One VHS tape.\u003c/p\u003e","\u003cp\u003eBerlin, NYC.  One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Art Song of Williamsburg Records (Mss. Acc. 2007.058).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eMarketing video with cassette tape which was to be placed with video. One VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Williamsburg Regional Commission on Growth and Historic Triangle Growth Management Group Papers (Mss. 2008.077).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eFor more, see Sub-Series 17. There are also audio cassettes and computer discs from this collection.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTape features a health program, a continual candidates forum, Williamsburg City Council meeting.  One VHS tape.\u003c/p\u003e","\u003cp\u003e1 VHS tape, running time 18 min.\u003c/p\u003e","\u003cp\u003eOne VHS tape, running time 12 min.\u003c/p\u003e","\u003cp\u003eOne VHS Tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eVirginia Senate District 3, VA Delegates District 96 \u0026amp; 97, Candidates Forum, Stryker Building, Williamsburg. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eProduced by the Alliance for Better Campaigns, running time 9 minutes, 1 VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2009.114 of the Claudia Stevens Papers. For more, see Sub-Series 16.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eThree VHS tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTwo VHS tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne oversized VHS tape.  Stored at the end of the series.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2009.139 of the Hamilton Family Papers.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2009.601 of the Claudia Stevens Papers. For more, see Sub-Series 14.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2010.342 of the League of Women Voters of the Williamsburg Area Records. For more, see Sub-Series 13. There are also audio cassettes and computer disks from this collection.\u003c/p\u003e","\u003cp\u003eTwo VHS tapes.\u003c/p\u003e","\u003cp\u003eOne Betacam tape with two WWE wrestlers.\u003c/p\u003e","\u003cp\u003eThis accession also includes an oversize video tape and a cassette tape.\u003c/p\u003e","\u003cp\u003eRunning time 63 minutes. One VHS tape.\u003c/p\u003e","\u003cp\u003eRedford. One VHS tape.\u003c/p\u003e","\u003cp\u003eThe Kanew Company. Tape Dub. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape. 1 hr 37 min.\u003c/p\u003e","\u003cp\u003eLength: 11:30. One VHS tape.\u003c/p\u003e","\u003cp\u003eStarring Gloria Swanson, Lionel Barrymore, and Raoul Walsh.  One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eRoughcut. Viewing cassette. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eSesame Street. One VHS tape.\u003c/p\u003e","\u003cp\u003eThe Lifetime Channel. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eDub. One VHS tape.\u003c/p\u003e","\u003cp\u003eGreta Cammermeyer - Prime Time Live. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. 60 sec. One VHS tape.\u003c/p\u003e","\u003cp\u003eRough Publicity Clip. TRT: 1:04. Glenn Close Clip. One VHS tape.\u003c/p\u003e","\u003cp\u003eEntertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.\u003c/p\u003e","\u003cp\u003eLos Angeles Coverage. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eGuests: Glenn Close, Vanessa Mae, Martin Sheen, Malik Yoba. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. Electronic Press Kit. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTCA Highlights. One VHS tape.\u003c/p\u003e","\u003cp\u003eTCA Highlights. One VHS tape.\u003c/p\u003e","\u003cp\u003eAvid Cut. RT: 11:03. One VHS tape.\u003c/p\u003e","\u003cp\u003eTRT - 45:00. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Pictures. Length 1:54. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Pictures. Length 1:54. One VHS tape.\u003c/p\u003e","\u003cp\u003eIncludes Tribute Speeches by Jane Seymour and Glenn Close. One VHS tape.\u003c/p\u003e","\u003cp\u003eTrailers. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Pictures. Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.\u003c/p\u003e","\u003cp\u003eNightline. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Pictures. Featurette. Length: 5:59. One VHS tape.\u003c/p\u003e","\u003cp\u003eHosted by Glenn Close. Starring Aaliyah, Shirley Caesar, Deana Carter, Hanson and Thomas Hampson. One VHS tape.\u003c/p\u003e","\u003cp\u003eWinner Communications. 105:00. One VHS tape.\u003c/p\u003e","\u003cp\u003eSarajevo Package. One VHS tape.\u003c/p\u003e","\u003cp\u003eSubject - Sarajevo. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Tristar Home Video. 1. Access Hollywood. KNBC TV (NBC) Los Angeles. 3:32. 1 October 1998. 2. Entertainment Tonight. KCBS TV (CBS) Los Angeles. :27. 2 November 1998. 3. Good Morning America. ABC-TV Network. 6:58. 3 November 1998. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. EPK Materials. 9:40. 1. Character Voices 2. Kala and Kerchak 3. Terk and Tantor One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eSizzle Piece v. 5. TRT: 3:00. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. Select B-Roll. Revised V 2.1. TRT: 54:37. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. Electronic Press Kit. Select Soundbites Cut #3. TRT 36:42. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. Rough Clips #2. TRT 23:10. One VHS tape.\u003c/p\u003e","\u003cp\u003eABC Entertainment. Press Tour Clip. Version 1. 20 min. TRT 21:54. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eABC Hollywood. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTRT : 59:30. One VHS tape.\u003c/p\u003e","\u003cp\u003eB-Roll selects. One VHS tape.\u003c/p\u003e","\u003cp\u003eMaster Dub. One VHS tape.\u003c/p\u003e","\u003cp\u003ePress Tour. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eB-Roll selects. One VHS tape.\u003c/p\u003e","\u003cp\u003eB-Roll. Running Time 9:00. One VHS tape.\u003c/p\u003e","\u003cp\u003eRabbit Ears Productions. 30 mins. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003e1. 213ST - Bravo Logo 2. #2 PSA - Reggie Rivers/Denver Arts PSA One VHS tape.\u003c/p\u003e","\u003cp\u003eScott Mauro Entertainment. 12:36. One VHS tape.\u003c/p\u003e","\u003cp\u003eEP # 1083. For Talent. Stereo TRT 20:49. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eVideocassette tape of a piano solo by Claudia Stevens of Schumann's Piano Concerto with The Richmond Symphony conducted by Jacques Houtmann. The performance was from a live broadcast by the Public Broadcasting Service affiliate. The video also features an interview with Stevens.\u003c/p\u003e","\u003cp\u003eVideo exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long. A DVD version of the video is avaiable in Series 4.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eBasil Rathbone.  Dupont Theatre.  Two Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eNine Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eNine Cassette Tapes. For more, see Sub-Series 6.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eChapel of the Wren Building, at the College of William and Mary. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eAccession number 1990-36. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eRecorded interviews on James City County history.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eFour Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape. See Doris Wildenburger.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape. No transcripts, cassette dated 12/8/87.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eFor more, see Sub-Series 3.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eJeremiah Clarke - The Prince of Denmark's March; Trumpet Tune; Almand in D; Round O in a; Jigg in A. From Choice Lessons. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003e80 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003e40 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eSvec was a neighbor of Aleksandr Solzhenitsyn, the Nobel Prize Winning Russian dissident writer. Interview by Frank Shatz. 10 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Run time 20 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eRunning time 20 minutes. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eRunning times 20min and 30 min, respectively. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. Running Time 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer Frank Shatz. 15 minutes. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eSix Cassette Tapes.\u003c/p\u003e","\u003cp\u003eJack \u0026amp; Catherine Morpurgo. Community Arts Programme, Caldwell Idaho. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 5-6 minutes. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 40 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 40 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 15 minutes. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 20 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFifty-four audio cassette tapes of interviews by James A. Bill.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eNew York. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eAustin, TX. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eWashington, D.C. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eWashington, D.C. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eWilliamsburg, VA. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003ePrinceton. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eWilliamsburg, VA. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eNew York. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eNew York City. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eWashington, D.C. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eCambridge, MA. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne audio cassette tape.\u003c/p\u003e","\u003cp\u003eOne audio cassette tape.\u003c/p\u003e","\u003cp\u003eOne audio cassette tape interview possibly covering the Iran-Contra affair.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 20 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eReves Center Global Forum, 40 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 20 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eRead by Scott Martin. Two cassette tapes.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 15 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  20 min.  One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One cassette tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One cassette tape.\u003c/p\u003e","\u003cp\u003eRecorded by Frank Shatz. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz, Gene Nichol, Paul Verkuil, Tim Sullivan, and Dr. Kern Wildenthal. One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eTelephone Interview by Frank Shatz. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterviews on cassette tapes.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape. For more, see B side of tape 52.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eTwo cassette tapes.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eTwo cassette tapes.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape. More of Laurence (Larry) Deutsch on the B Side.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eThree cassette tapes.\u003c/p\u003e","\u003cp\u003eTwo cassette tapes.\u003c/p\u003e","\u003cp\u003eThree cassette tapes.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eBy League of Women Voters. Williamsburg Public Library. One cassette tape.\u003c/p\u003e","\u003cp\u003eFour cassette tapes.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eFive cassette tapes with music for common year (?).\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eThree cassette tape.\u003c/p\u003e","\u003cp\u003eGC-4089 and GC-4088. One cassette tape.\u003c/p\u003e","\u003cp\u003eGC-4107 and GC-4085. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED. Nine cassette tapes.\u003c/p\u003e","\u003cp\u003eInterview at the Reves Center with Frank Shatz. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 15 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 15 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 40 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 25 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 35 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eAudio cassettes relating to the Berkeley Art Center Production of \"A Very Large Mole,\" October 17, 2009.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eThe radio broadcast for \"NPR Playhouse.\"  One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED. Thirteen tapes.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 25 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 35 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  Running time 10 min.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 40 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 45 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 40 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 20 minutes long. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 10 minutes long. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eFank Shatz is the interviewer. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eAudiocassette tapes of piano performances by Claudia Stevens.\u003c/p\u003e","\u003cp\u003eOne audiocassette tape of a live concert with piano music by Clauida Stevens. The program was also repeated on March 12, 1981 at the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts and on March 13, 1981 at Bennington College. The program included the following pieces: Beethoven, Bagatelles, Opus 126 Copland, Piano Fantasy Schumann, Sonata in F minor, Opus 14\u003c/p\u003e","\u003cp\u003eAudiocassette tape of a piano recital by Claudia Stevens performing the Elliott Carter Piano Concerto that was recorded and broadcasted on KERA (an National Public Radio affiliate).\u003c/p\u003e","\u003cp\u003eScope and Contents Audiocassette tape of a piano concert by Claudia Stevens issued by \"Perspectives of New Music, 1983-1984\" . Includes short pieces by Ellen Taaffe Zwilich, Jeffery Mumford, Ira Taxin, Claudia Stevens (\"Widmung\" ), Joel Chadabe, and Betsy Jolas.\u003c/p\u003e","\u003cp\u003eScope and Contents Audiocassette tape of a piano performance by Claudia Stevens featuring the Currents New Music Ensemble with Fred Cohen as director. Stevens brought the performance to Phi Beta Kappa Hall at William and Mary the following week. It was the only William and Mary performance of \"Pierrot Lunaire\" .\u003c/p\u003e","\u003cp\u003eScope and Contents Audiocassette tape of a piano performance by Claudia Stevens featured on the hour-long live broadcast on National Public Radio's \"Performance Today.\" Included are \"Piano Fantasy\" and \"Piano Variations\" by Copland. The first broadcast was in 1981 at the National Gallery which was attended by Copland.\u003c/p\u003e","\u003cp\u003eTapes are closed.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. The tape is approximately 30 minutes in length.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz of Colin Campbell, president of Colonial Williamsburg. Tape length is approximately 20 minutes in length.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz with Tim O'Brien, writer. Tape lenght is approximately 20 minutes in length.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eThree CDs of first, second, and final transcription of selected letters by Lonnie Dobbs.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003ePiano, 1816, owned by William \u0026amp; Mary, 2003. Conservation by John Watson \u0026amp; Louis Dolive, Colonial Williamsburg. One CD.\u003c/p\u003e","\u003cp\u003eRecordings of Claudia Stevens' piano concerts, including programs.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eTwo CDs related to Jamestown Commemorative Postage Stamp.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eInaugural concert. With Lisa Edwards-Burrs, soprano, and Ruth Easterling Winters, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Will Crutchfield, lecturer/pianist, and Steven Tharp, tenor. One CD.\u003c/p\u003e","\u003cp\u003eWith Michael Posey, tenor, and Ruth Easterling Winters, pianist. Two CDs.\u003c/p\u003e","\u003cp\u003eWith Barbara Quintiliani, soprano, and Charles Woodward, pianist. Five CDs.\u003c/p\u003e","\u003cp\u003eWith Pamela Armstrong, soprano, and Melanie Day, pianist. Four CDs.\u003c/p\u003e","\u003cp\u003eBranch Fields, with Ruth Easterling Winters. One CD.\u003c/p\u003e","\u003cp\u003eWith Martha Slay, mezzo-soprano, and Charles Staples, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Branch Fields, bass, and Ruth Easterling Winters, pianist.  One CD.\u003c/p\u003e","\u003cp\u003eWith Branch Fields, bass, and Ruth Easterling Winters, pianist.  Two CDs.\u003c/p\u003e","\u003cp\u003eWith Stephen Tharp, tenor, and Will Crutchfield, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Georgeann Paddock, soprano, Jonathan Hays, baritone, and Ruth Easterling Winters, pianist. Two CDs.\u003c/p\u003e","\u003cp\u003eWith Robynne Redmon, mezzo-soprano, and Charles Woodward, pianist. Four CDs.\u003c/p\u003e","\u003cp\u003eWith Lisa Edwards-Burrs, soprano, and Melanie Day, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Barbara Quintiliani, soprano, and Charles Woodward, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Tracey Welborn, Tenor, and Tamara Sanikidze, piano. One CD.\u003c/p\u003e","\u003cp\u003eWith Matthew Burns, bass-baritone, and Melanie Day, piano. Four CDs.\u003c/p\u003e","\u003cp\u003eWith Catarina Lundgren, soprano, Heikki Pellinen, piano. Two CDs.\u003c/p\u003e","\u003cp\u003eWith Andrew Garland, baritone, and Donna Loewy, pianist. Three CDs.\u003c/p\u003e","\u003cp\u003eWith Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. One CD.\u003c/p\u003e","\u003cp\u003eWith Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Four CDs.\u003c/p\u003e","\u003cp\u003eCD-roms of Bucktrout and Draughtsman map imaged by Colonial Williamsburg.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eFive Seasons, as performed at Atlanta Memorial Arts Center, Atlanta, GA. First performed February 6, 1979, recorded February 27, 1979. By Merritt Ierley, Lavinia Phillips, Soprano, and Judith Shulz, Pianist. One CD.\u003c/p\u003e","\u003cp\u003eTwo unopened CDs.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eIn PDF format. One CD.\u003c/p\u003e","\u003cp\u003eApril 2005, February 2005, Flag Day 2005, January 2005, May 2005. One CD.\u003c/p\u003e","\u003cp\u003eVeterans' Day, 2007. One CD.\u003c/p\u003e","\u003cp\u003eVeterans' Day, 2010. One CD.\u003c/p\u003e","\u003cp\u003eMemorial Day, 2010. One CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003ePerformed live (mostly) at the Celebration of William Cabbell's 300th Birthday, October 21-22, 2000 at the Williasmburg Lodge.\u003c/p\u003e","\u003cp\u003eRecording of a campaign rally for state Senator Garland Gray. Speakers include Russell M. Carneal, Robert Hornsby, H. W. Stryker, Fred M. Flanary, Davis Y. Paschall, and Garland Gray.\u003c/p\u003e","\u003cp\u003eOne compact disc of digital transcripts of letters from Julia Cherney (Bateman) to Clara Walde (Lawrence) while serving as a missionary in China from 1909 to 1923. From the Clara Lawrence Papers, Mss. Acc. 2009.299, series 1, box 3.\u003c/p\u003e","\u003cp\u003ePlayed on the organ of Bruton Parish Church by James Darling, organist.\u003c/p\u003e","\u003cp\u003eTwo copies of a DVD on John Marshall. Running time 29 min.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eOne DVD of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.\u003c/p\u003e","\u003cp\u003eOne DVD of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.\u003c/p\u003e","\u003cp\u003eOne DVD case.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eHightlights from Queen Elizabeth II and Prince Philip's visit to Jamestown and Williamsburg, commemorating the 400th anniversary of the Jamestown settlement. One DVD.\u003c/p\u003e","\u003cp\u003eWith Barbara Quintiliani, soprano, and Charles Woodward, pianist. One DVD.\u003c/p\u003e","\u003cp\u003eWith Tracey Welborn, Tenor, and Tamara Sanikidze, piano. Four DVDs.\u003c/p\u003e","\u003cp\u003eWith Matthew Burns, bass-baritone, and Melanie Day, piano. Three DVDs.\u003c/p\u003e","\u003cp\u003eWith Catarina Lundgren, soprano, Heikki Pellinen, piano. Two DVDs.\u003c/p\u003e","\u003cp\u003eWith Andrew Garland, baritone, and Donna Loewy, pianist. Three DVDs.\u003c/p\u003e","\u003cp\u003eWith Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. Five DVDs.\u003c/p\u003e","\u003cp\u003eWith Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Seven DVDs.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eTwo DVDs.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eMeredith College Convocation. Series 14. This live performance included original intro and two endings. Later, both were revised. One DVD.\u003c/p\u003e","\u003cp\u003eIda Green Arena Theater. Item 12. One DVD.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eHerbst Theater, War Memorial and Performing Arts Center, San Francisco. One DVD.\u003c/p\u003e","\u003cp\u003eRecorded at Berkeley Art Center. One DVD.\u003c/p\u003e","\u003cp\u003eA solo play in one act, written and performed by Claudia Stevens, with music composed by Allen Shearer. One DVD.\u003c/p\u003e","\u003cp\u003eBaltimore Theater. One DVD.\u003c/p\u003e","\u003cp\u003eCharlotte Kaufman, director. An Opera in Two Acts, being Mr. Doggett's farce of The Country Wake altered after the manner of The Beggar's Opera. By John Hippisley, 1729. Harvard Unitarian Church, Harvard, Mass. One DVD.\u003c/p\u003e","\u003cp\u003eCharlotte Kaufman, Director. A Ballad Opera Farce. Remis Auditorium. One DVD.\u003c/p\u003e","\u003cp\u003eCharlotte Kaufman, director and harpsichord. Staged by Craig Wich. Remis Auditorian. One DVD.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eTwo DVDs.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eA film by Julia Melchoir and Sebastian Denhardt. One DVD.\u003c/p\u003e","\u003cp\u003eAt St. John's Kirk, Perth, Scotland. One DVD.\u003c/p\u003e","\u003cp\u003eContains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.\u003c/p\u003e","\u003cp\u003eContains three files relating to the Cabell Family homes and graveyards in Nelson, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.\u003c/p\u003e","\u003cp\u003eVideo exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eFormat is Word Perfect 5.1. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eWHRA\u003c/p\u003e","\u003cp\u003eTwo 3.5 inch floppy disks.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eFS- 95/96, 96/97, 97/98; Dues 97/98; Treasurer's Job; Envelope. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eFour disks with office files.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003ePictures, files. Four 3.5 inch floppy disks\u003c/p\u003e","\u003cp\u003ePresident's files.\u003c/p\u003e","\u003cp\u003eBrochure, handbook, letterhead, fax form, agenda, invoice, membership renewal form. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eLWVWA 2000-2001 Education proposal, Education positions, LWVWA Education study proposal, working on a LWV study (P. Kent). One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eNewsletter and labels, invitations and flyers. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eBoard meetings, agenda, letter. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003ePolicies, by-laws, positions, annual meeting handout, grant applications. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eScope and Contents Must be played with wooden \"Kacti\" needle. One record.\u003c/p\u003e","\u003cp\u003eAn example of material distributed during political campaigns. One 33 rpm disk.\u003c/p\u003e","\u003cp\u003eBy R. B. Tisdale. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eSongs: Ballet, Allemande, Country Dance, Reap \u0026amp; Sow, Diggers, Weary Eyes.  One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eDunmore - Bouree - Fireworks. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eCountry dance. Reserve copy. Two cuttings. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eDunmore Ballet, Scarlotti, Allemande, Gallop, Country Dance. \"Too fast!\" One disk.\u003c/p\u003e","\u003cp\u003eDunmore Ballet, Allemande, Gallop, Country Dance, Scarlotti. One disk.\u003c/p\u003e","\u003cp\u003eSowers \u0026amp; Reapers - plus (?) Diggers - Orch. Band I + II - Yankee Doodle Band III + IV - One disk.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eOne 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eSide 1: Music from The Common Glory (Musical Synopsis) Side 2: Common Glory Concert Choir One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eDunmore Ballet, Rainy Night. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eBallet, Allemande, Country Dance, Reap \u0026amp; Sow, Diggers, Weary Ones. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eRecorded by Ray Charles Singers with orchestra. Three Ships, Pocahontas, The Old Church Tower, Jamestown. One disk.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eOne 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eOne disk. Damaged.\u003c/p\u003e","\u003cp\u003eDave Remington Quartet. Lyrics by P. Quinto, S. Spilmon, M. Vallo. Music by Vincent Chiarelli. One 45 rpm disk.\u003c/p\u003e","\u003cp\u003eOne 78 rpm disk.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eOne 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eGeorge Passage News.  Recorded in Richmond, Va.  Three 78 rpm disks.\u003c/p\u003e","\u003cp\u003eRoanoke, Va.  One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eRichmond, Va.  Three 78 rpm disks.\u003c/p\u003e","\u003cp\u003eThree 33 1/3 rpm disks.\u003c/p\u003e","\u003cp\u003ePolitical Anns. Open \u0026amp; Closing included.  One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eJosé Iturbi, pianist.  One disk.\u003c/p\u003e","\u003cp\u003eScope and Contents Record (78 rpm) of \"Sing-out 66,\" a group Glenn Close sang with sponsored by the Moral Majority. Featured on the record are two songs by Ms. Close: \"The Happy Song\" and \"Run and Catch the Wind.\" This album sold at a performance in Phi Beta Kappa Hall, 1966. The traveling show was called \"Up with People.\" Ms. Close was a featured soloist before entering the College of William and Mary.\u003c/p\u003e","\u003cp\u003eTwo records. Includes note from Glenn Close to Howard Scammon, May 31, 1985.\u003c/p\u003e","\u003cp\u003eTransferred from the music library.\u003c/p\u003e","\u003cp\u003eSoundtrack to the musical by Stephen Sondheim and directed by Harold Prince. With Angela Lansbury and Len Cariou. Case is signed by the cast members. Two records.\u003c/p\u003e","\u003cp\u003eScope and Contents A \"back-alley opera\" narrated by David Wayne. With Carol Channing and Eddie Bracken. One record.\u003c/p\u003e","\u003cp\u003eA musical by Cy Coleman and Michael Stewart. With Glenn Close and Jim Dale. In original case signed by cast members. One record.\u003c/p\u003e","\u003cp\u003eEleven songs performed by Dudley Moore (piano) and Cleo Laine (vocals). Case signed by Cleo and the producer. One record.\u003c/p\u003e","\u003cp\u003eSoundtrack of the musical by Jerry Herman and Harvey Firestein. With George Hearn and Gene Barry. Record case signed by cast. One record.\u003c/p\u003e","\u003cp\u003eAlbum by Perry Como. Case signed by the artist. One record.\u003c/p\u003e","\u003cp\u003eThe Common Glory orchestra and soloists from the Common Glory choir (including members of the William and Mary choir) in a concert performace of Act 1 of \"The Marriage of Figaro.\" Monday, August 20, 1956, in Blow Gymnasium at the College of William and Mary. Program and two 33 1/3 LP records.\u003c/p\u003e","\u003cp\u003eRecording of the musical program presented by WVEC-TV on January 29, 1960, honoring the 350th anniversary of the city of Hampton, Virginia.\u003c/p\u003e","\u003cp\u003e\"A report to all Armstrong men and women of our operating results.\" Stockholders address from Armstrong Cork Company. One 7 inch 45 rpm record and booklet.\u003c/p\u003e","\u003cp\u003eDirected by Mr. C. W. Moore. Four tracks. One 33 1/3 rpm record\u003c/p\u003e","\u003cp\u003eNarrated by Ralph Cooper. Recorded in Washington D.C., August 28, 1963. One 33 1/3 rpm record.\u003c/p\u003e","\u003cp\u003ePerformed by J. S. Darling on the Wren Chapel Organ at the College of William and Mary. Produced by Colonial Williamsburg Foundation.\u003c/p\u003e","\u003cp\u003eState Capitol. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eAudio tape, along with a letter from Governor Godwin's office and a transcript of the tape.  The tape was broadcast by 50 stations on September 6, 1968.  One 1/4 inch reel.\u003c/p\u003e","\u003cp\u003eTwo 1/4 inch audio reels.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eAudio recording of the 1952 program \"At Home with Lindy,\" sponsored by the Colonial Dames of Lexington, VA. Probably belonging to Mary Meares Galt. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eProbably belonging to Mary M. Galt. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eRadford, VA. 5 min overall length. Two copies, 1/4 inch audio reels.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eReel #41, Machine #2. Program time 29:30. Tape speed 7 1/2. Recorded by Bill. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eAudiotape of a lecture in which Dr. Koontz participated. One 1/4 inch audio tape. Folder includes typed information on lecture.\u003c/p\u003e","\u003cp\u003eBox 1. Tape 14, letter number 61. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 2. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 3. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 4. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 5. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 6. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 7. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 8. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 9. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 10. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eCollection is CLOSED.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eFives Pieces: Roger Sessions. Four Short Pieces: Gamer, Imbrie, Fine, Diamond. Mouromata: Becker. Six short pieces: Martino, Babbit, Cansky, Spies, Weisgall, Lewin. Sonta #1: Sessions. One audio reel. Includes CD and program.\u003c/p\u003e","\u003cp\u003eOne sixty second radio spot. 7 1/2 ips - mono, one reel.\u003c/p\u003e","\u003cp\u003eOne sixty second radio spot.  7 1/2 ips - mono, one reel.\u003c/p\u003e","\u003cp\u003eOne sixty second radio spot. One reel.\u003c/p\u003e","\u003cp\u003eOne sixty second radio spot. 7 1/2 ips - mono master, one reel.\u003c/p\u003e","\u003cp\u003eReel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary.\u003c/p\u003e","\u003cp\u003eThe program was presented on October 7, 1977 at the Library and Museum of the Performing Arts at Lincoln Center, New York and on October 2, 1977 at Keller Hall, University of Richmond. Includes Beethoven, Sonata, Opus 101; Mozart, Rondo in A minor, K511; Sessions, Sonata no. 1; and Schumann, Humoreske, Opus 29.\u003c/p\u003e","\u003cp\u003ePortions of this program were included in Stevens' recital on the guest artist series of the University of California, Berkeley (Committee for Arts and Lectures) at Hertz Hall, summer, 1978. The program includes Brahms, Klavierstucke, Opus 119 (complete); Schubert, Sonata in C minor, Opus posth.; Mozart, sonata in B flat Major, K570; and Berg, Sonata, Opus 1.\u003c/p\u003e","\u003cp\u003eScope and Contents Portions of this program were included in the recital by Stevens at Jordan Hall in Boston, Massachusetts on October 23, 1979, on the \"Enchanted Circle\" new music series, and on a recital at Virginia Commonwealth University on March 18, 1980, presented by the Virginia Music Teachers Association. The program includes Piano Variations by Aaron Copland; Schumann, Sonata in F minor, Concerto Without Orchestra; and twelve recently composed pieces (1976-1979) by Donald Martino, Vivian Fine, Carlton, Gamer, David Diamond, Leon Kirchner, Andrew imlorie, Hugo Weisgall, Paul Lansky, Claudio Spies, Milton Babbitt, David Lewin, and Richard Becker.\u003c/p\u003e","\u003cp\u003eProgram includes new pieces by Vivian Fine, Shulamit Ran, Andrew Imbrie, Allen Shearer, and Robert Xavier Rodriguez. A week earlier (October 23, 1983), Stevens gave the program on a guest artist recital at Old Cabell Hall, University of Virginia - the world premieres of the five new pieces. On December 5, 1983, the Composers Forum of New York presented the recital, with the addition of six miniatures composed for the occasion in their world premiers, at Carnegie Recital Hall. The program then toured Virginia under a grant from the Virginia Commission for the Arts, Claudia Stevens, pianist.\u003c/p\u003e","\u003cp\u003eProgram includes Schumann Humoreske, Opus 20; Beethoven, Sonata, Opus 111 in C minor; Berg, Sonata, Opus 1; and short, contemporary pieces by Carlton Gamer, David Diamond, Vivian Fine, David Lewin, and Hugo Weisgall.\u003c/p\u003e","\u003cp\u003eConducted by Peter Black. Program includes Brahms Piano Concerto in D minor, Opus 15.\u003c/p\u003e","\u003cp\u003eProgram includes Brahms Variations on an Original Theme, Opus 21; Schumann Kreisleriana; Elliott Carter Piano Sonata; Chopin Ballade in F minor.\u003c/p\u003e","\u003cp\u003eProgram includes Schumann Fantasy in C, Opus 17; Roger Sessions: Five Pieces for Piano, 1975 (premiere in Virginia); and Sessions Sonata no. 1.\u003c/p\u003e","\u003cp\u003eProgram includes Brahms, Sonata in F minor, Opus 5; Mozart, Sonata in F major, K533-494; and Schoenberg, Five Pieces, Opus 23.\u003c/p\u003e","\u003cp\u003eScope and Contents Program includes Beethoven, Sonata in A Major, Opus 2, no. 2; Debussy, Preludes, including \"Feux d'artifice\" (\"Fireworks\" ). The program was also presented at Camp Theater, University of Richmond, on November 23, 1975.\u003c/p\u003e","\u003cp\u003eContains three reel-to-reel audiotapes of theater productions including \"Fairy Stones,\" \"Greek Rhapsody,\" and a tape labelled \"Chapman Tape I.\"\u003c/p\u003e","\u003cp\u003eScope and Contents One 7\" reel-to-reel audiotape of a production called \"Family Stones\" that was once owned by William and Mary Theatre Director Howard Scammon. The tape speed is 3 3/4.\u003c/p\u003e","\u003cp\u003eOne 2500 ft. reel-to-reel audiotape that is labeled \"Chapman Tape I.\" The audiotape was once owned by William and Mary Theatre Director Howard Scammon.\u003c/p\u003e","\u003cp\u003eScope and Contents One 2500 ft. reel-to-reel audiotape from a production entitled \"Chapman II\" that was once owned by William and Mary Theatre Director Howard Scammon. The audiotape was recorded at 7 1/2 inches per second. The approximate lenght of the tape is one hour.\u003c/p\u003e","\u003cp\u003eOne reel-to-reel audiotape labeled Mine workers monologues...European History.\u003c/p\u003e","\u003cp\u003eCould have been filmed by CW or the VA Chamber of Commerce. No sound, black and white. One oversize video reel.\u003c/p\u003e","\u003cp\u003eNo sound, black and white. Raw footage. Lathen Zimmer, Virginia Bray, Zeke Friedman. One video reel.\u003c/p\u003e","\u003cp\u003eRun time approximately 10 minutes. No sound, full color. Collage of scenes and dances. One video reel.\u003c/p\u003e","\u003cp\u003eRun time 1 minute. One color video reel with sound.\u003c/p\u003e","\u003cp\u003eRun time 28 seconds. One 16mm color video reel with sound.\u003c/p\u003e","\u003cp\u003eRun time 28 seconds. One 16mm color video reel with sound.\u003c/p\u003e","\u003cp\u003eRun time 28 seconds. One 16mm color video reel with sound.\u003c/p\u003e","\u003cp\u003eRun time 60 seconds. Filmed by Colonial Williamsburg. One color video reel with sound.\u003c/p\u003e","\u003cp\u003eOne 16mm video reel.\u003c/p\u003e","\u003cp\u003eRun time 30 seconds. One 16mm color video reel.\u003c/p\u003e","\u003cp\u003ePromo film, run time 60 seconds. Retired March 1976. One 16mm video reel.\u003c/p\u003e","\u003cp\u003ePromo film, run time 60 seconds. Retired March 1976. One 16mm video reel.\u003c/p\u003e","\u003cp\u003ePresented to Governor Mills E. Godwin, Jr. by the Virginia Association of Electric Cooperatives.  One oversize 16mm video reel with audio.\u003c/p\u003e","\u003cp\u003eTV video reel, black and white with sound.  One 50 mm oversize video reel.\u003c/p\u003e","\u003cp\u003eOne 16mm video reel with audio.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eRunning time 15 minutes.  One 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eNo good - damaged. One oversize 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eShipped to Lutheran TV Productions in St. Louis, Missouri. One oversize 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eFrom 2005.38 addition. One small reel to reel video tape in plastic case.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and 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Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","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 Manuscripts Audiovisual Collection includes audiovisual formats from a variety of personal papers and organizational records collections.","Contains videocassete tapes that were pulled from the Vincent DeVita Papers (Mss. 84 D49).","One VHS tape.","One VHS tape","One VHS tape","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","Two VHS tapes.","One VHS tape","One VHS tape","One VHS tape","Contains videocassette tapes that were pulled from the Richard J. Davis Papers (Mss. 86 D27).","One VHS tape","Contains videocassette tapes that were pulled from the Glenn Close Papers (Mss. 93 C62). See Mss. Acc. 2010.601 below for more videocassette tapes from the Glenn Close Papers.","One VHS tape","One VHS Tape","One VHS tape","One Betamax tape.","One VHS tape.","One VHS tape.","One VHS show.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape, performed at Deutsches Theater, Berlin.","One VHS tape.","One VHS tape.","One VHS tape.","Two VHS tapes.","One oversize VHS tape.  Stored at the end of Series 1.","Running time 13:34. One oversize VHS tape. Stored at the end of the series.","Contains videocassette tapes that were pulled from the Henry Chapin Papers (Mss. 1993.005).","Three VHS tapes.","Contains videocassette tapes that were pulled from the Lee Family Papers (Mss. 1993.006-01).","One VHS tape.","1930. The Geddy Family of Williamsburg 1931. The Yorktown Sesquicentennial 1933. Miami No date. Arizona Desert School - Tuscon","Contains videocassette tapes that were pulled from the Rosa Marie and James A. Fuller Papers (Mss. 2001 F95).","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2001.50 of the Louis E. Catron Papers. For more, see also Sub-Series 9.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2002.034 of the Woman's Club of Williamsburg Records.","Two U-matic tapes.","One VHS tape.","Running time 30 min. One oversize VHS tape. Stored at the end of the series.","Contains videocassette tapes that were pulled from Mss. Acc. 2002.039 of the Louis E. Catron Papers. For more, see Sub-Series 7.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from the James A. Bill Papers (Mss. Acc. 2003.066).","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","For more, see audio cassette tapes.","One VHS tape of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).","Jive.  C-SPAN.  One VHS tape.","Berlin, NYC.  One VHS tape.","One VHS tape of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).","Contains videocassette tapes that were pulled from the Art Song of Williamsburg Records (Mss. Acc. 2007.058).","One VHS tape.","One VHS tape.","One VHS tape.","Marketing video with cassette tape which was to be placed with video. One VHS tape.","Contains videocassette tapes that were pulled from the Williamsburg Regional Commission on Growth and Historic Triangle Growth Management Group Papers (Mss. 2008.077).","One VHS tape.","One VHS tape.","One VHS tape.","For more, see Sub-Series 17. There are also audio cassettes and computer discs from this collection.","One VHS tape.","Tape features a health program, a continual candidates forum, Williamsburg City Council meeting.  One VHS tape.","1 VHS tape, running time 18 min.","One VHS tape, running time 12 min.","One VHS Tape.","One VHS tape.","One VHS tape.","Virginia Senate District 3, VA Delegates District 96 \u0026 97, Candidates Forum, Stryker Building, Williamsburg. One VHS tape.","One VHS tape.","One VHS tape.","Produced by the Alliance for Better Campaigns, running time 9 minutes, 1 VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.114 of the Claudia Stevens Papers. For more, see Sub-Series 16.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Three VHS tapes.","One VHS tape.","Two VHS tapes.","One VHS tape.","One oversized VHS tape.  Stored at the end of the series.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.139 of the Hamilton Family Papers.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.601 of the Claudia Stevens Papers. For more, see Sub-Series 14.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2010.342 of the League of Women Voters of the Williamsburg Area Records. For more, see Sub-Series 13. There are also audio cassettes and computer disks from this collection.","Two VHS tapes.","One Betacam tape with two WWE wrestlers.","This accession also includes an oversize video tape and a cassette tape.","Running time 63 minutes. One VHS tape.","Redford. One VHS tape.","The Kanew Company. Tape Dub. One VHS tape.","One VHS tape. 1 hr 37 min.","Length: 11:30. One VHS tape.","Starring Gloria Swanson, Lionel Barrymore, and Raoul Walsh.  One VHS tape.","One VHS tape.","Roughcut. Viewing cassette. One VHS tape.","One VHS tape.","Sesame Street. One VHS tape.","The Lifetime Channel. One VHS tape.","One VHS tape.","Dub. One VHS tape.","Greta Cammermeyer - Prime Time Live. One VHS tape.","Walt Disney Pictures. 60 sec. One VHS tape.","Rough Publicity Clip. TRT: 1:04. Glenn Close Clip. One VHS tape.","Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.","Los Angeles Coverage. One VHS tape.","One VHS tape.","Guests: Glenn Close, Vanessa Mae, Martin Sheen, Malik Yoba. One VHS tape.","Walt Disney Pictures. Electronic Press Kit. One VHS tape.","One VHS tape.","TCA Highlights. One VHS tape.","TCA Highlights. One VHS tape.","Avid Cut. RT: 11:03. One VHS tape.","TRT - 45:00. One VHS tape.","Columbia Pictures. Length 1:54. One VHS tape.","Columbia Pictures. Length 1:54. One VHS tape.","Includes Tribute Speeches by Jane Seymour and Glenn Close. One VHS tape.","Trailers. One VHS tape.","Columbia Pictures. Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.","Nightline. One VHS tape.","Columbia Pictures. Featurette. Length: 5:59. One VHS tape.","Hosted by Glenn Close. Starring Aaliyah, Shirley Caesar, Deana Carter, Hanson and Thomas Hampson. One VHS tape.","Winner Communications. 105:00. One VHS tape.","Sarajevo Package. One VHS tape.","Subject - Sarajevo. One VHS tape.","Columbia Tristar Home Video. 1. Access Hollywood. KNBC TV (NBC) Los Angeles. 3:32. 1 October 1998. 2. Entertainment Tonight. KCBS TV (CBS) Los Angeles. :27. 2 November 1998. 3. Good Morning America. ABC-TV Network. 6:58. 3 November 1998. One VHS tape.","Walt Disney Pictures. EPK Materials. 9:40. 1. Character Voices 2. Kala and Kerchak 3. Terk and Tantor One VHS tape.","One VHS tape.","Sizzle Piece v. 5. TRT: 3:00. One VHS tape.","Walt Disney Pictures. Select B-Roll. Revised V 2.1. TRT: 54:37. One VHS tape.","Walt Disney Pictures. Electronic Press Kit. Select Soundbites Cut #3. TRT 36:42. One VHS tape.","Walt Disney Pictures. Rough Clips #2. TRT 23:10. One VHS tape.","ABC Entertainment. Press Tour Clip. Version 1. 20 min. TRT 21:54. One VHS tape.","One VHS tape.","ABC Hollywood. One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","TRT : 59:30. One VHS tape.","B-Roll selects. One VHS tape.","Master Dub. One VHS tape.","Press Tour. One VHS tape.","One VHS tape.","B-Roll selects. One VHS tape.","B-Roll. Running Time 9:00. One VHS tape.","Rabbit Ears Productions. 30 mins. One VHS tape.","One VHS tape.","One VHS tape.","1. 213ST - Bravo Logo 2. #2 PSA - Reggie Rivers/Denver Arts PSA One VHS tape.","Scott Mauro Entertainment. 12:36. One VHS tape.","EP # 1083. For Talent. Stereo TRT 20:49. One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Videocassette tape of a piano solo by Claudia Stevens of Schumann's Piano Concerto with The Richmond Symphony conducted by Jacques Houtmann. The performance was from a live broadcast by the Public Broadcasting Service affiliate. The video also features an interview with Stevens.","Video exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long. A DVD version of the video is avaiable in Series 4.","Three Cassette Tapes.","Basil Rathbone.  Dupont Theatre.  Two Cassette Tapes.","One Cassette Tape.","Nine Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One cassette tape.","Nine Cassette Tapes. For more, see Sub-Series 6.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Chapel of the Wren Building, at the College of William and Mary. One Cassette Tape.","Accession number 1990-36. One cassette tape.","One Cassette Tape.","One Cassette Tape.","Recorded interviews on James City County history.","One cassette tape.","One cassette tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","Four Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape. See Doris Wildenburger.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape. No transcripts, cassette dated 12/8/87.","Three Cassette Tapes.","One Cassette Tape.","Three Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","For more, see Sub-Series 3.","One Cassette Tape.","Jeremiah Clarke - The Prince of Denmark's March; Trumpet Tune; Almand in D; Round O in a; Jigg in A. From Choice Lessons. One cassette tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","80 min. One Cassette Tape.","One Cassette Tape.","40 min. One Cassette Tape.","Svec was a neighbor of Aleksandr Solzhenitsyn, the Nobel Prize Winning Russian dissident writer. Interview by Frank Shatz. 10 min. One Cassette Tape.","Frank Shatz is the interviewer. Run time 20 min. One Cassette Tape.","Running time 20 minutes. One Cassette Tape.","Running times 20min and 30 min, respectively. One Cassette Tape.","Frank Shatz is the interviewer. One Cassette Tape.","Interviewer is Frank Shatz. Running Time 25 min. One Cassette Tape.","Interviewer Frank Shatz. 15 minutes. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Six Cassette Tapes.","Jack \u0026 Catherine Morpurgo. Community Arts Programme, Caldwell Idaho. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. 30 min. One Cassette Tape.","Frank Shatz is the interviewer. 5-6 minutes. One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 40 min. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Frank Shatz is the interviewer. 40 min. One Cassette Tape.","Frank Shatz is the interviewer. 15 minutes. One Cassette Tape.","Frank Shatz is the interviewer. 30 min. One Cassette Tape.","Frank Shatz is the interviewer. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Tapes are CLOSED.","Interviewer is Frank Shatz. 25 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 30 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 30 min. One Cassette Tape.","Interviewer is Frank Shatz. 25 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 20 min. One Cassette Tape.","Fifty-four audio cassette tapes of interviews by James A. Bill.","Two Cassette Tapes.","Two Cassette Tapes.","Two Cassette Tapes.","Three Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","Two Cassette Tapes.","New York. One Cassette Tape.","Austin, TX. One Cassette Tape.","Washington, D.C. One Cassette Tape.","Washington, D.C. One Cassette Tape.","Williamsburg, VA. One Cassette Tape.","One Cassette Tape.","Princeton. One Cassette Tape.","One Cassette Tape.","Williamsburg, VA. One Cassette Tape.","New York. One Cassette Tape.","New York City. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Washington, D.C. One Cassette Tape.","Cambridge, MA. One Cassette Tape.","One audio cassette tape.","One audio cassette tape.","One audio cassette tape interview possibly covering the Iran-Contra affair.","Tapes are CLOSED.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Frank Shatz is the Interviewer, 20 min. One Cassette Tape.","Frank Shatz is the Interviewer. One Cassette Tape.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Tapes are CLOSED.","Reves Center Global Forum, 40 min. One Cassette Tape.","Frank Shatz is the Interviewer, 20 min. One Cassette Tape.","Read by Scott Martin. Two cassette tapes.","Tapes are CLOSED.","Frank Shatz is the interviewer. 20 min. One cassette tape.","Frank Shatz is the interviewer. 15 min. One cassette tape.","Frank Shatz is the interviewer.  20 min.  One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Tapes are CLOSED.","Interviewer is Frank Shatz. One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Recorded by Frank Shatz. One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Frank Shatz, Gene Nichol, Paul Verkuil, Tim Sullivan, and Dr. Kern Wildenthal. One cassette tape.","Tapes are CLOSED.","Telephone Interview by Frank Shatz. One cassette tape.","Interview by Frank Shatz. One cassette tape.","Interviews on cassette tapes.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape. For more, see B side of tape 52.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Two cassette tapes.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","Two cassette tapes.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape. More of Laurence (Larry) Deutsch on the B Side.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Three cassette tapes.","Two cassette tapes.","Three cassette tapes.","One cassette tape.","One cassette tape.","By League of Women Voters. Williamsburg Public Library. One cassette tape.","Four cassette tapes.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Five cassette tapes with music for common year (?).","One cassette tape.","One cassette tape.","Three cassette tape.","GC-4089 and GC-4088. One cassette tape.","GC-4107 and GC-4085. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Tapes are CLOSED. Nine cassette tapes.","Interview at the Reves Center with Frank Shatz. 20 min. One cassette tape.","Interview by Frank Shatz. 15 min. One cassette tape.","Interview by Frank Shatz. 15 min. One cassette tape.","Interview by Frank Shatz. 20 min. One cassette tape.","Interview by Frank Shatz. 40 min. One cassette tape.","Interview by Frank Shatz. 25 min. One cassette tape.","Interview by Frank Shatz. 35 min. One cassette tape.","Interview by Frank Shatz. 20 min. One cassette tape.","Audio cassettes relating to the Berkeley Art Center Production of \"A Very Large Mole,\" October 17, 2009.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","The radio broadcast for \"NPR Playhouse.\"  One cassette tape.","Tapes are CLOSED. Thirteen tapes.","Frank Shatz is the interviewer. 25 min. One cassette tape.","Frank Shatz is the interviewer. 35 min. One cassette tape.","One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. 20 min. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer.  Running time 10 min.  One cassette tape.","Frank Shatz is the interviewer. Running time 40 min. One cassette tape.","Frank Shatz is the interviewer. Running time 45 min. One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. Running time 40 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Tapes are CLOSED.","Interview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 20 minutes long. One audiocassette tape.","Interview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 10 minutes long. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Fank Shatz is the interviewer. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Audiocassette tapes of piano performances by Claudia Stevens.","One audiocassette tape of a live concert with piano music by Clauida Stevens. The program was also repeated on March 12, 1981 at the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts and on March 13, 1981 at Bennington College. The program included the following pieces: Beethoven, Bagatelles, Opus 126 Copland, Piano Fantasy Schumann, Sonata in F minor, Opus 14","Audiocassette tape of a piano recital by Claudia Stevens performing the Elliott Carter Piano Concerto that was recorded and broadcasted on KERA (an National Public Radio affiliate).","Scope and Contents Audiocassette tape of a piano concert by Claudia Stevens issued by \"Perspectives of New Music, 1983-1984\" . Includes short pieces by Ellen Taaffe Zwilich, Jeffery Mumford, Ira Taxin, Claudia Stevens (\"Widmung\" ), Joel Chadabe, and Betsy Jolas.","Scope and Contents Audiocassette tape of a piano performance by Claudia Stevens featuring the Currents New Music Ensemble with Fred Cohen as director. Stevens brought the performance to Phi Beta Kappa Hall at William and Mary the following week. It was the only William and Mary performance of \"Pierrot Lunaire\" .","Scope and Contents Audiocassette tape of a piano performance by Claudia Stevens featured on the hour-long live broadcast on National Public Radio's \"Performance Today.\" Included are \"Piano Fantasy\" and \"Piano Variations\" by Copland. The first broadcast was in 1981 at the National Gallery which was attended by Copland.","Tapes are closed.","Interview by Frank Shatz. The tape is approximately 30 minutes in length.","Interview by Frank Shatz of Colin Campbell, president of Colonial Williamsburg. Tape length is approximately 20 minutes in length.","Interview by Frank Shatz with Tim O'Brien, writer. Tape lenght is approximately 20 minutes in length.","One CD.","Three CDs of first, second, and final transcription of selected letters by Lonnie Dobbs.","One CD.","One CD.","One CD.","Piano, 1816, owned by William \u0026 Mary, 2003. Conservation by John Watson \u0026 Louis Dolive, Colonial Williamsburg. One CD.","Recordings of Claudia Stevens' piano concerts, including programs.","One CD.","One CD.","One CD.","Two CDs related to Jamestown Commemorative Postage Stamp.","One CD.","One CD.","Inaugural concert. With Lisa Edwards-Burrs, soprano, and Ruth Easterling Winters, pianist. One CD.","With Will Crutchfield, lecturer/pianist, and Steven Tharp, tenor. One CD.","With Michael Posey, tenor, and Ruth Easterling Winters, pianist. Two CDs.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. Five CDs.","With Pamela Armstrong, soprano, and Melanie Day, pianist. Four CDs.","Branch Fields, with Ruth Easterling Winters. One CD.","With Martha Slay, mezzo-soprano, and Charles Staples, pianist. One CD.","With Branch Fields, bass, and Ruth Easterling Winters, pianist.  One CD.","With Branch Fields, bass, and Ruth Easterling Winters, pianist.  Two CDs.","With Stephen Tharp, tenor, and Will Crutchfield, pianist. One CD.","With Georgeann Paddock, soprano, Jonathan Hays, baritone, and Ruth Easterling Winters, pianist. Two CDs.","With Robynne Redmon, mezzo-soprano, and Charles Woodward, pianist. Four CDs.","With Lisa Edwards-Burrs, soprano, and Melanie Day, pianist. One CD.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. One CD.","With Tracey Welborn, Tenor, and Tamara Sanikidze, piano. One CD.","With Matthew Burns, bass-baritone, and Melanie Day, piano. Four CDs.","With Catarina Lundgren, soprano, Heikki Pellinen, piano. Two CDs.","With Andrew Garland, baritone, and Donna Loewy, pianist. Three CDs.","With Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. One CD.","With Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Four CDs.","CD-roms of Bucktrout and Draughtsman map imaged by Colonial Williamsburg.","One CD.","One CD.","One CD.","One CD.","One CD.","One CD.","Five Seasons, as performed at Atlanta Memorial Arts Center, Atlanta, GA. First performed February 6, 1979, recorded February 27, 1979. By Merritt Ierley, Lavinia Phillips, Soprano, and Judith Shulz, Pianist. One CD.","Two unopened CDs.","One CD.","One CD.","One CD.","One CD.","One CD.","In PDF format. One CD.","April 2005, February 2005, Flag Day 2005, January 2005, May 2005. One CD.","Veterans' Day, 2007. One CD.","Veterans' Day, 2010. One CD.","Memorial Day, 2010. One CD.","One CD.","One CD.","Performed live (mostly) at the Celebration of William Cabbell's 300th Birthday, October 21-22, 2000 at the Williasmburg Lodge.","Recording of a campaign rally for state Senator Garland Gray. Speakers include Russell M. Carneal, Robert Hornsby, H. W. Stryker, Fred M. Flanary, Davis Y. Paschall, and Garland Gray.","One compact disc of digital transcripts of letters from Julia Cherney (Bateman) to Clara Walde (Lawrence) while serving as a missionary in China from 1909 to 1923. From the Clara Lawrence Papers, Mss. Acc. 2009.299, series 1, box 3.","Played on the organ of Bruton Parish Church by James Darling, organist.","Two copies of a DVD on John Marshall. Running time 29 min.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","One DVD of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.","One DVD of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.","One DVD case.","One DVD.","Hightlights from Queen Elizabeth II and Prince Philip's visit to Jamestown and Williamsburg, commemorating the 400th anniversary of the Jamestown settlement. One DVD.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. One DVD.","With Tracey Welborn, Tenor, and Tamara Sanikidze, piano. Four DVDs.","With Matthew Burns, bass-baritone, and Melanie Day, piano. Three DVDs.","With Catarina Lundgren, soprano, Heikki Pellinen, piano. Two DVDs.","With Andrew Garland, baritone, and Donna Loewy, pianist. Three DVDs.","With Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. Five DVDs.","With Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Seven DVDs.","One DVD.","Two DVDs.","One DVD.","Meredith College Convocation. Series 14. This live performance included original intro and two endings. Later, both were revised. One DVD.","Ida Green Arena Theater. Item 12. One DVD.","One DVD.","Herbst Theater, War Memorial and Performing Arts Center, San Francisco. One DVD.","Recorded at Berkeley Art Center. One DVD.","A solo play in one act, written and performed by Claudia Stevens, with music composed by Allen Shearer. One DVD.","Baltimore Theater. One DVD.","Charlotte Kaufman, director. An Opera in Two Acts, being Mr. Doggett's farce of The Country Wake altered after the manner of The Beggar's Opera. By John Hippisley, 1729. Harvard Unitarian Church, Harvard, Mass. One DVD.","Charlotte Kaufman, Director. A Ballad Opera Farce. Remis Auditorium. One DVD.","Charlotte Kaufman, director and harpsichord. Staged by Craig Wich. Remis Auditorian. One DVD.","One DVD.","Two DVDs.","One DVD.","A film by Julia Melchoir and Sebastian Denhardt. One DVD.","At St. John's Kirk, Perth, Scotland. One DVD.","Contains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.","Contains three files relating to the Cabell Family homes and graveyards in Nelson, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.","Video exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Format is Word Perfect 5.1. One 3.5 inch floppy disk.","WHRA","Two 3.5 inch floppy disks.","One disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","FS- 95/96, 96/97, 97/98; Dues 97/98; Treasurer's Job; Envelope. One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Four disks with office files.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Pictures, files. Four 3.5 inch floppy disks","President's files.","Brochure, handbook, letterhead, fax form, agenda, invoice, membership renewal form. One 3.5 inch floppy disk.","LWVWA 2000-2001 Education proposal, Education positions, LWVWA Education study proposal, working on a LWV study (P. Kent). One 3.5 inch floppy disk.","Newsletter and labels, invitations and flyers. One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Board meetings, agenda, letter. One 3.5 inch floppy disk.","Policies, by-laws, positions, annual meeting handout, grant applications. One 3.5 inch floppy disk.","Scope and Contents Must be played with wooden \"Kacti\" needle. One record.","An example of material distributed during political campaigns. One 33 rpm disk.","By R. B. Tisdale. One 33 1/3 rpm disk.","Songs: Ballet, Allemande, Country Dance, Reap \u0026 Sow, Diggers, Weary Eyes.  One 33 1/3 rpm disk.","Dunmore - Bouree - Fireworks. One 33 1/3 rpm disk.","Country dance. Reserve copy. Two cuttings. One 33 1/3 rpm disk.","Dunmore Ballet, Scarlotti, Allemande, Gallop, Country Dance. \"Too fast!\" One disk.","Dunmore Ballet, Allemande, Gallop, Country Dance, Scarlotti. One disk.","Sowers \u0026 Reapers - plus (?) Diggers - Orch. Band I + II - Yankee Doodle Band III + IV - One disk.","One disk.","One 33 1/3 rpm disk.","One disk.","Side 1: Music from The Common Glory (Musical Synopsis) Side 2: Common Glory Concert Choir One 33 1/3 rpm disk.","Dunmore Ballet, Rainy Night. One 33 1/3 rpm disk.","Ballet, Allemande, Country Dance, Reap \u0026 Sow, Diggers, Weary Ones. One 33 1/3 rpm disk.","Recorded by Ray Charles Singers with orchestra. Three Ships, Pocahontas, The Old Church Tower, Jamestown. One disk.","One disk.","One 33 1/3 rpm disk.","One disk. Damaged.","Dave Remington Quartet. Lyrics by P. Quinto, S. Spilmon, M. Vallo. Music by Vincent Chiarelli. One 45 rpm disk.","One 78 rpm disk.","One disk.","One 33 1/3 rpm disk.","George Passage News.  Recorded in Richmond, Va.  Three 78 rpm disks.","Roanoke, Va.  One 33 1/3 rpm disk.","Richmond, Va.  Three 78 rpm disks.","Three 33 1/3 rpm disks.","Political Anns. Open \u0026 Closing included.  One 33 1/3 rpm disk.","José Iturbi, pianist.  One disk.","Scope and Contents Record (78 rpm) of \"Sing-out 66,\" a group Glenn Close sang with sponsored by the Moral Majority. Featured on the record are two songs by Ms. Close: \"The Happy Song\" and \"Run and Catch the Wind.\" This album sold at a performance in Phi Beta Kappa Hall, 1966. The traveling show was called \"Up with People.\" Ms. Close was a featured soloist before entering the College of William and Mary.","Two records. Includes note from Glenn Close to Howard Scammon, May 31, 1985.","Transferred from the music library.","Soundtrack to the musical by Stephen Sondheim and directed by Harold Prince. With Angela Lansbury and Len Cariou. Case is signed by the cast members. Two records.","Scope and Contents A \"back-alley opera\" narrated by David Wayne. With Carol Channing and Eddie Bracken. One record.","A musical by Cy Coleman and Michael Stewart. With Glenn Close and Jim Dale. In original case signed by cast members. One record.","Eleven songs performed by Dudley Moore (piano) and Cleo Laine (vocals). Case signed by Cleo and the producer. One record.","Soundtrack of the musical by Jerry Herman and Harvey Firestein. With George Hearn and Gene Barry. Record case signed by cast. One record.","Album by Perry Como. Case signed by the artist. One record.","The Common Glory orchestra and soloists from the Common Glory choir (including members of the William and Mary choir) in a concert performace of Act 1 of \"The Marriage of Figaro.\" Monday, August 20, 1956, in Blow Gymnasium at the College of William and Mary. Program and two 33 1/3 LP records.","Recording of the musical program presented by WVEC-TV on January 29, 1960, honoring the 350th anniversary of the city of Hampton, Virginia.","\"A report to all Armstrong men and women of our operating results.\" Stockholders address from Armstrong Cork Company. One 7 inch 45 rpm record and booklet.","Directed by Mr. C. W. Moore. Four tracks. One 33 1/3 rpm record","Narrated by Ralph Cooper. Recorded in Washington D.C., August 28, 1963. One 33 1/3 rpm record.","Performed by J. S. Darling on the Wren Chapel Organ at the College of William and Mary. Produced by Colonial Williamsburg Foundation.","State Capitol. One 1/4 inch audio reel.","Audio tape, along with a letter from Governor Godwin's office and a transcript of the tape.  The tape was broadcast by 50 stations on September 6, 1968.  One 1/4 inch reel.","Two 1/4 inch audio reels.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","Audio recording of the 1952 program \"At Home with Lindy,\" sponsored by the Colonial Dames of Lexington, VA. Probably belonging to Mary Meares Galt. One 1/4 inch audio reel.","One 1/4 inch audio reel.","Probably belonging to Mary M. Galt. One 1/4 inch audio reel.","One 1/4 inch audio reel.","Radford, VA. 5 min overall length. Two copies, 1/4 inch audio reels.","One 1/4 inch audio reel.","Reel #41, Machine #2. Program time 29:30. Tape speed 7 1/2. Recorded by Bill. One 1/4 inch audio reel.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","Audiotape of a lecture in which Dr. Koontz participated. One 1/4 inch audio tape. Folder includes typed information on lecture.","Box 1. Tape 14, letter number 61. Contents unknown. One 1/4 inch audio reel.","Box 2. Contents unknown. One 1/4 inch audio reel.","Box 3. Contents unknown. One 1/4 inch audio reel.","Box 4. Contents unknown. One 1/4 inch audio reel.","Box 5. Contents unknown. One 1/4 inch audio reel.","Box 6. Contents unknown. One 1/4 inch audio reel.","Box 7. Contents unknown. One 1/4 inch audio reel.","Box 8. Contents unknown. One 1/4 inch audio reel.","Box 9. Contents unknown. One 1/4 inch audio reel.","Box 10. Contents unknown. One 1/4 inch audio reel.","Collection is CLOSED.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","Fives Pieces: Roger Sessions. Four Short Pieces: Gamer, Imbrie, Fine, Diamond. Mouromata: Becker. Six short pieces: Martino, Babbit, Cansky, Spies, Weisgall, Lewin. Sonta #1: Sessions. One audio reel. Includes CD and program.","One sixty second radio spot. 7 1/2 ips - mono, one reel.","One sixty second radio spot.  7 1/2 ips - mono, one reel.","One sixty second radio spot. One reel.","One sixty second radio spot. 7 1/2 ips - mono master, one reel.","Reel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary.","The program was presented on October 7, 1977 at the Library and Museum of the Performing Arts at Lincoln Center, New York and on October 2, 1977 at Keller Hall, University of Richmond. Includes Beethoven, Sonata, Opus 101; Mozart, Rondo in A minor, K511; Sessions, Sonata no. 1; and Schumann, Humoreske, Opus 29.","Portions of this program were included in Stevens' recital on the guest artist series of the University of California, Berkeley (Committee for Arts and Lectures) at Hertz Hall, summer, 1978. The program includes Brahms, Klavierstucke, Opus 119 (complete); Schubert, Sonata in C minor, Opus posth.; Mozart, sonata in B flat Major, K570; and Berg, Sonata, Opus 1.","Scope and Contents Portions of this program were included in the recital by Stevens at Jordan Hall in Boston, Massachusetts on October 23, 1979, on the \"Enchanted Circle\" new music series, and on a recital at Virginia Commonwealth University on March 18, 1980, presented by the Virginia Music Teachers Association. The program includes Piano Variations by Aaron Copland; Schumann, Sonata in F minor, Concerto Without Orchestra; and twelve recently composed pieces (1976-1979) by Donald Martino, Vivian Fine, Carlton, Gamer, David Diamond, Leon Kirchner, Andrew imlorie, Hugo Weisgall, Paul Lansky, Claudio Spies, Milton Babbitt, David Lewin, and Richard Becker.","Program includes new pieces by Vivian Fine, Shulamit Ran, Andrew Imbrie, Allen Shearer, and Robert Xavier Rodriguez. A week earlier (October 23, 1983), Stevens gave the program on a guest artist recital at Old Cabell Hall, University of Virginia - the world premieres of the five new pieces. On December 5, 1983, the Composers Forum of New York presented the recital, with the addition of six miniatures composed for the occasion in their world premiers, at Carnegie Recital Hall. The program then toured Virginia under a grant from the Virginia Commission for the Arts, Claudia Stevens, pianist.","Program includes Schumann Humoreske, Opus 20; Beethoven, Sonata, Opus 111 in C minor; Berg, Sonata, Opus 1; and short, contemporary pieces by Carlton Gamer, David Diamond, Vivian Fine, David Lewin, and Hugo Weisgall.","Conducted by Peter Black. Program includes Brahms Piano Concerto in D minor, Opus 15.","Program includes Brahms Variations on an Original Theme, Opus 21; Schumann Kreisleriana; Elliott Carter Piano Sonata; Chopin Ballade in F minor.","Program includes Schumann Fantasy in C, Opus 17; Roger Sessions: Five Pieces for Piano, 1975 (premiere in Virginia); and Sessions Sonata no. 1.","Program includes Brahms, Sonata in F minor, Opus 5; Mozart, Sonata in F major, K533-494; and Schoenberg, Five Pieces, Opus 23.","Scope and Contents Program includes Beethoven, Sonata in A Major, Opus 2, no. 2; Debussy, Preludes, including \"Feux d'artifice\" (\"Fireworks\" ). The program was also presented at Camp Theater, University of Richmond, on November 23, 1975.","Contains three reel-to-reel audiotapes of theater productions including \"Fairy Stones,\" \"Greek Rhapsody,\" and a tape labelled \"Chapman Tape I.\"","Scope and Contents One 7\" reel-to-reel audiotape of a production called \"Family Stones\" that was once owned by William and Mary Theatre Director Howard Scammon. The tape speed is 3 3/4.","One 2500 ft. reel-to-reel audiotape that is labeled \"Chapman Tape I.\" The audiotape was once owned by William and Mary Theatre Director Howard Scammon.","Scope and Contents One 2500 ft. reel-to-reel audiotape from a production entitled \"Chapman II\" that was once owned by William and Mary Theatre Director Howard Scammon. The audiotape was recorded at 7 1/2 inches per second. The approximate lenght of the tape is one hour.","One reel-to-reel audiotape labeled Mine workers monologues...European History.","Could have been filmed by CW or the VA Chamber of Commerce. No sound, black and white. One oversize video reel.","No sound, black and white. Raw footage. Lathen Zimmer, Virginia Bray, Zeke Friedman. One video reel.","Run time approximately 10 minutes. No sound, full color. Collage of scenes and dances. One video reel.","Run time 1 minute. One color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 60 seconds. Filmed by Colonial Williamsburg. One color video reel with sound.","One 16mm video reel.","Run time 30 seconds. One 16mm color video reel.","Promo film, run time 60 seconds. Retired March 1976. One 16mm video reel.","Promo film, run time 60 seconds. Retired March 1976. One 16mm video reel.","Presented to Governor Mills E. Godwin, Jr. by the Virginia Association of Electric Cooperatives.  One oversize 16mm video reel with audio.","TV video reel, black and white with sound.  One 50 mm oversize video reel.","One 16mm video reel with audio.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","Running time 15 minutes.  One 1/2 inch audio and video reel.","No good - damaged. One oversize 1/2 inch audio and video reel.","Shipped to Lutheran TV Productions in St. Louis, Missouri. One oversize 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","From 2005.38 addition. One small reel to reel video tape in plastic case."],"separatedmaterial_html_tesm":["\u003cp\u003eAudiovisual material from Acc. 2013.246 was pulled from the Bruton Parish Church (Williamsburg, Virginia) Records and was added to this collection on 10/11/2013.\u003c/p\u003e","\u003cp\u003e Mss. Acc. 2014.003 were previously described under Acc. 2009.252 (\"Fairy Stones), Acc. 2009.253 (\"Chapman 1), and Acc. 2009.254 (\"Chapman II\") in the University Archives Audiovisual Collection.\u003c/p\u003e","\u003cp\u003e Mss. Acc. 2003.66.044-.046 were previously part of the James Bill Papers and were added to this collection on 3/6/2014.\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Materials:"],"separatedmaterial_tesim":["Audiovisual material from Acc. 2013.246 was pulled from the Bruton Parish Church (Williamsburg, Virginia) Records and was added to this collection on 10/11/2013.","Mss. Acc. 2014.003 were previously described under Acc. 2009.252 (\"Fairy Stones), Acc. 2009.253 (\"Chapman 1), and Acc. 2009.254 (\"Chapman II\") in the University Archives Audiovisual Collection.","Mss. Acc. 2003.66.044-.046 were previously part of the James Bill Papers and were added to this collection on 3/6/2014."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"total_component_count_is":1000,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:44:41.677Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_695_c07_c08"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c05","type":"Sub-Series","attributes":{"title":"\"Clean Fun: Black Artists Research\" Part 1, 1922/2015","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":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"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"],"normalized_title_ssm":["\"Clean Fun: Black Artists Research\" Part 1, 1922/2015"],"text":["\"Clean Fun: Black Artists Research\" Part 1, 1922/2015","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015","Binder in a box 5"],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1922/2015"],"unitdate_inclusive_ssm":["1922-2015"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":7,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"containers_ssim":["Binder in a box 5"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"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],"_nest_path_":"/components#0/components#0/components#4","timestamp":"2026-06-23T07:50:34.320Z","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"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"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","\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","\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","\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","\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","\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","\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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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","\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","\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","\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","\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","\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","\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","\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","\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","\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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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."],"corpname_ssim":["Special Collections Research Center"],"names_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":"2026-06-23T07:50:34.320Z"}]}},"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":"Sub-Series","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard, 1859/2012","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":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"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"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard, 1859/2012"],"text":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard, 1859/2012","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1859/2012"],"unitdate_inclusive_ssm":["1859-2012"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":19,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"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":"2026-06-23T07:50:34.320Z","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"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"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","\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","\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","\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","\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","\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","\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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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","\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","\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","\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","\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","\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","\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","\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","\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","\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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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."],"corpname_ssim":["Special Collections Research Center"],"names_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":"2026-06-23T07:50:34.320Z"}]}},"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":"Sub-Series","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, 1896/2013","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":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"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"],"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, 1896/2013"],"text":["\"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, 1896/2013","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1896/2013"],"unitdate_inclusive_ssm":["1896-2013"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":38,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"has_online_content_ssim":["false"],"child_component_count_isi":10,"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":"2026-06-23T07:50:34.320Z","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"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"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","\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","\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","\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","\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","\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","\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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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","\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","\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","\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","\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","\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","\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","\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","\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","\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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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."],"corpname_ssim":["Special Collections Research Center"],"names_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":"2026-06-23T07:50:34.320Z"}]}},"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":"Sub-Series","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\", 1900/2011","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":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"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\""],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\", 1900/2011"],"text":["\"Clean Fun: Blacks in Comics, 1930-1945, Animated Movies, The Comic Book, Tarzan, Mandrake, Sunflower St., Will Eisner, Al Hirschfeld\", 1900/2011","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1900/2011"],"unitdate_inclusive_ssm":["1900-2011"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":49,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"has_online_content_ssim":["false"],"child_component_count_isi":9,"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":"2026-06-23T07:50:34.320Z","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"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"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","\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","\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","\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","\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","\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","\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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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","\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","\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","\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","\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","\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","\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","\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","\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","\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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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."],"corpname_ssim":["Special Collections Research Center"],"names_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":"2026-06-23T07:50:34.320Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c12"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c16","type":"Sub-Series","attributes":{"title":"\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Black Images for Black People; Blacks in the Black Press; Ollie Harrington; Other Black Artists; Ebony\", 1950/2009","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c16#abstract_or_scope","type":"document_value","attributes":{"value":"\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","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c16#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c16","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c16"],"id":"viw_repositories_2_resources_9853_c01_c01_c16","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":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Black Images for Black People; Blacks in the Black Press; Ollie Harrington; Other Black Artists; Ebony\"","title_ssm":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Black Images for Black People; Blacks in the Black Press; Ollie Harrington; Other Black Artists; Ebony\""],"title_tesim":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Black Images for Black People; Blacks in the Black Press; Ollie Harrington; Other Black Artists; Ebony\""],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Black Images for Black People; Blacks in the Black Press; Ollie Harrington; Other Black Artists; Ebony\", 1950/2009"],"text":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Black Images for Black People; Blacks in the Black Press; Ollie Harrington; Other Black Artists; Ebony\", 1950/2009","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015","Binder in a Box 16","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.\""],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1950/2009"],"unitdate_inclusive_ssm":["1950-2009"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":70,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"containers_ssim":["Binder in a Box 16"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"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":[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],"scopecontent_html_tesm":["\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"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["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.\""],"_nest_path_":"/components#0/components#0/components#15","timestamp":"2026-06-23T07:50:34.320Z","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"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"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","\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","\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","\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","\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","\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","\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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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","\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","\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","\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","\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","\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","\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","\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","\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","\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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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."],"corpname_ssim":["Special Collections Research Center"],"names_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":"2026-06-23T07:50:34.320Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c16"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c14","type":"Sub-Series","attributes":{"title":"\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion, George Herriman, E. Simms Campbell\", 1973/2011","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c14#abstract_or_scope","type":"document_value","attributes":{"value":"\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","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c14#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c14","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c14"],"id":"viw_repositories_2_resources_9853_c01_c01_c14","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":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion, George Herriman, E. Simms Campbell\"","title_ssm":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion, George Herriman, E. Simms Campbell\""],"title_tesim":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion, George Herriman, E. Simms Campbell\""],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion, George Herriman, E. Simms Campbell\", 1973/2011"],"text":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion, George Herriman, E. Simms Campbell\", 1973/2011","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015","Binder in a Box 14","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.\""],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1973/2011"],"unitdate_inclusive_ssm":["1973-2011"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":68,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"containers_ssim":["Binder in a Box 14"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"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":[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],"scopecontent_html_tesm":["\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"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["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.\""],"_nest_path_":"/components#0/components#0/components#13","timestamp":"2026-06-23T07:50:34.320Z","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"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"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","\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","\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","\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","\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","\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","\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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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","\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","\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","\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","\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","\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","\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","\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","\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","\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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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."],"corpname_ssim":["Special Collections Research Center"],"names_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":"2026-06-23T07:50:34.320Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c14"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c15","type":"Sub-Series","attributes":{"title":"\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Matt Baker, Buck Brown, Morris Turner, Brumsic Brandon, Ted Shearer. Aimed at African Americans: Negro Heroes, Negro Romances, 1966/2009","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c15#abstract_or_scope","type":"document_value","attributes":{"value":"\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","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c15#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c15","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c15"],"id":"viw_repositories_2_resources_9853_c01_c01_c15","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":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Matt Baker, Buck Brown, Morris Turner, Brumsic Brandon, Ted Shearer. Aimed at African Americans: Negro Heroes, Negro Romances","title_ssm":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Matt Baker, Buck Brown, Morris Turner, Brumsic Brandon, Ted Shearer. Aimed at African Americans: Negro Heroes, Negro Romances"],"title_tesim":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Matt Baker, Buck Brown, Morris Turner, Brumsic Brandon, Ted Shearer. Aimed at African Americans: Negro Heroes, Negro Romances"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Matt Baker, Buck Brown, Morris Turner, Brumsic Brandon, Ted Shearer. Aimed at African Americans: Negro Heroes, Negro Romances, 1966/2009"],"text":["\"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Matt Baker, Buck Brown, Morris Turner, Brumsic Brandon, Ted Shearer. Aimed at African Americans: Negro Heroes, Negro Romances, 1966/2009","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015","Binder in a Box 15","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.\""],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1966/2009"],"unitdate_inclusive_ssm":["1966-2009"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":69,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"containers_ssim":["Binder in a Box 15"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"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":[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],"scopecontent_html_tesm":["\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"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["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.\""],"_nest_path_":"/components#0/components#0/components#14","timestamp":"2026-06-23T07:50:34.320Z","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"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"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","\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","\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","\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","\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","\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","\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.","Wright 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.","Wright 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.","He 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.","Outside 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.","While 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","\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","\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","\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","\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","\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","\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","\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","\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","\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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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","\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 and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" 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."],"corpname_ssim":["Special Collections Research Center"],"names_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":"2026-06-23T07:50:34.320Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c15"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Alexandria Library","value":"Alexandria Library","hits":10},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Alexandria+Library"}},{"attributes":{"label":"College of William and Mary","value":"College of William and Mary","hits":175},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=College+of+William+and+Mary"}},{"attributes":{"label":"George Mason University","value":"George Mason University","hits":224},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=George+Mason+University"}},{"attributes":{"label":"James Madison University","value":"James Madison University","hits":34},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=James+Madison+University"}},{"attributes":{"label":"Longwood University","value":"Longwood University","hits":22},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Longwood+University"}},{"attributes":{"label":"Old Dominion University","value":"Old Dominion University","hits":640},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Old+Dominion+University"}},{"attributes":{"label":"The George Washington Presidential Library at Mount Vernon","value":"The George Washington Presidential Library at Mount Vernon","hits":12},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=The+George+Washington+Presidential+Library+at+Mount+Vernon"}},{"attributes":{"label":"University of Mary Washington","value":"University of Mary Washington","hits":15},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=University+of+Mary+Washington"}},{"attributes":{"label":"University of Richmond","value":"University of Richmond","hits":5},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=University+of+Richmond"}},{"attributes":{"label":"University of Virginia, Special Collections Dept.","value":"University of Virginia, Special Collections Dept.","hits":85},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept."}},{"attributes":{"label":"Virginia Commonwealth University, Cabell Library","value":"Virginia Commonwealth University, Cabell Library","hits":35},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Virginia+Commonwealth+University%2C+Cabell+Library"}}]},"links":{"self":"https://arvasarchive.org/catalog/facet/repository_ssim.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Adele Blow Chatfield-Taylor family papers, 1899/1977","value":"Adele Blow Chatfield-Taylor family papers, 1899/1977","hits":2},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Adele+Blow+Chatfield-Taylor+family+papers%2C+1899%2F1977\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Albert L. Sturm Papers, 1904/1988","value":"Albert L. Sturm Papers, 1904/1988","hits":4},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Albert+L.+Sturm+Papers%2C+1904%2F1988\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Alexander Haight family collection, 1764/1976","value":"Alexander Haight family collection, 1764/1976","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alexander+Haight+family+collection%2C+1764%2F1976\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Alexandria Library Records (MS098), 1937/2013","value":"Alexandria Library Records (MS098), 1937/2013","hits":5},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alexandria+Library+Records+%28MS098%29%2C+1937%2F2013\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Alfred C. Payne Collection, 1917/2003","value":"Alfred C. Payne Collection, 1917/2003","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alfred+C.+Payne+Collection%2C+1917%2F2003\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Alice Langley Hsieh Papers,, 1943/1978","value":"Alice Langley Hsieh Papers,, 1943/1978","hits":2},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alice+Langley+Hsieh+Papers%2C%2C+1943%2F1978\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Allan Blank Papers, 1958/2009","value":"Allan Blank Papers, 1958/2009","hits":3},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Allan+Blank+Papers%2C+1958%2F2009\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Alleghany Chapter, National Society of the Daughters of the American Revolution Records,, 1890/2022","value":"Alleghany Chapter, National Society of the Daughters of the American Revolution Records,, 1890/2022","hits":2},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alleghany+Chapter%2C+National+Society+of+the+Daughters+of+the+American+Revolution+Records%2C%2C+1890%2F2022\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Alumni Association Records, 1833/2014, bulk 1950/2005","value":"Alumni Association Records, 1833/2014, bulk 1950/2005","hits":16},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alumni+Association+Records%2C+1833%2F2014%2C+bulk+1950%2F2005\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Alumni Association Records, 1924/2016","value":"Alumni Association Records, 1924/2016","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alumni+Association+Records%2C+1924%2F2016\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"American Association of University Women (AAUW) Records, Harrisonburg, Virginia Branch, 1929/2025","value":"American Association of University Women (AAUW) Records, Harrisonburg, Virginia Branch, 1929/2025","hits":4},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=American+Association+of+University+Women+%28AAUW%29+Records%2C+Harrisonburg%2C+Virginia+Branch%2C+1929%2F2025\u0026f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}}]},"links":{"self":"https://arvasarchive.org/catalog/facet/collection_ssim.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"type":"facet","id":"date_range_isim","attributes":{"label":"Date 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