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Correspondence and Subject Files: Secretariat, 2006; 2008-2018.","Boards and Committees"],"title_filing_ssi":"Boards and Committees","title_ssm":["Boards and Committees"],"title_tesim":["Boards and Committees"],"normalized_title_ssm":["Boards and Committees"],"component_level_isim":[2],"repository_ssim":["Library of Virginia"],"collection_ssim":["Records of the Virginia Secretary of Finance, \n1992; 1994; 2000-2018 (bulk 2013-2017)"],"has_online_content_ssim":["false"],"child_component_count_isi":4,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":2,"_nest_path_":"/components#0/components#0","timestamp":"2026-05-21T10:07:35.921Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vi_vi05905","ead_ssi":"vi_vi05905","_root_":"vi_vi05905","_nest_parent_":"vi_vi05905","ead_source_url_ssi":"data/lva/vi05905.xml","title_ssm":["Records of the Virginia Secretary of Finance, \n1992; 1994; 2000-2018 (bulk 2013-2017)"],"title_tesim":["Records of the Virginia Secretary of Finance, \n1992; 1994; 2000-2018 (bulk 2013-2017)"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["52169\n"],"text":["52169\n","Records of the Virginia Secretary of Finance, \n1992; 1994; 2000-2018 (bulk 2013-2017)","20.84 cubic feet (30 Boxes)","Confidential information is restricted from public access for 75 years per Code of Virginia 42.1-78 and 2.2-3808.1. Restricted documents have been sealed within the collection. Types of records restricted include, but are not limited to: attorney-client privilege, mediation and settlement discussions,  and bank account numbers. \n","This collection is arranged into the following series:","Series I. Correspondence and Subject Files: Secretariat, 2006; 2008-2018; Series II. Bond Rating, 1992; 1994; 2000-2017; Series III. Decision Briefs, 2014-2017; Series IV. Joint Money Committee Meetings Files, 2005; 2007-2014; 2016-2017; Series V. Planning and Budget Files, 2004-2006; 2013-2017; Series VI. Public Relations-Presentations, 2008; 2008; 2010; 2013-2014; 2017; Series VII. Special Projects and Studies, 2012; 2014; 2016-2017.","Chronological\n \t\t","Chronological\n \t\t","Chronological\n \t\t","Chronological\n \t\t","In 1970, the Governor's Management Commission Study recommended the creation of six \"Deputy Governors\" to assist the Chief Executive in his managerial duties. Compatible functions of government were grouped under these administrative heads, who would serve as the Governors top management team or \"secretariats,\" as they are called now. The General Assembly in 1972 created six Secretariats positions initially. As government reorganized, that number fluctuated when government agencies expanded or consolidated.\n","Since the establishment of a secretarial system in 1972, there have been several reorganizations of that system. The financial management function of the state has shifted from under the direction of the Secretary of Finance to the Secretary of Administration; then to Secretary of Administration and Finance and currently back to the Secretary of Finance, through various reorganizations of state government from 1970's to the present. The function of the secretary is to provide sound fiscal management and recommend to the Governor a comprehensive budget for those agencies under his jurisdiction. The secretary's responsibilities are: to monitor programs, services and performance of subordinate state agencies to develop state policies programs for long-range planning and policy formulation; and approve solicitation or acceptance of any donations, gifts or grants; to hold agency heads accountable for their agency's administrative, fiscal and program performance. All secretaries are appointed by the governor and serve at his will. \n","Governor Terry McAuliffe (2014-2018) reappointed Richard \"Ric\" D. Brown to serve as Secretary of Finance. Richard Brown was appointed as Secretary of Finance by Governor Timothy Kaine in 2008, reappointed by Governor Robert McDonnell in 2010, and continued to serve until he retired in 2018. Prior to his appointment as Secretary of Finance, Brown worked in the Virginia Department of Planning and budget beginning in 1971. He served as agency head from 2001 to 2008.\n","Records, 1992, 1994, 2000-2018, of Secretary of Finance Richard \"Ric\" D. Brown during the administrations of Governor Tim M. Kaine (2006-2010), Governor Robert F. McDonnell (2010-2014) and Terry McAuliffe (2014-2018). The collection is housed in 30 boxes and includes budget and financial presentations, decision briefs, revenue reports, correspondence, and Secretary of Finance department subject files. Information on the state budget, revenue forecasting, Virginia's bond rating, and Medicaid expansion can be found throughout the collection. Also included are records from Brown's tenure at the Virginia Department of Planning and Budget.  \n","Series I. Correspondence and Subject Files, 2006, 2008-2018, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 4 record center boxes. This series documents communication and subject matter with boards and committees that the secretary was a member of: Virginia Tobacco Commission (VTC)/Virginia Tobacco Region Revitalization Commission (VTRRC), Virginia Research Investment Committee (VRIC) and Virginia Growth and Opportunity Board (GO Virginia). This series includes agendas, correspondence, handouts, memorandums, minutes, email and reports.\n","In 1998, the Attorneys General of 46 states signed the Master Settlement Agreement (MSA) with the four largest tobacco companies in the United States to settle state suits and recover billions of dollars in costs associated with treating smoking-related illnesses. The Tobacco Region Revitalization Commission is a 28-member body created by the 1999 General Assembly. Its mission is the promotion of economic growth and development in formerly tobacco-dependent communities, using proceeds of the national tobacco settlement. To date, the Commission has created tens of thousands of jobs and hundreds of millions of dollars of investment in Southern and Southwest Virginia. Originally called the Virginia Tobacco Commission, the name was changed in 2016. Source: website of the Commission, https://revitalizeva.org/ (accessed 19 July 2024). Originally called the Virginia Tobacco Commission, the name was changed in 2015.\n \t\t","The Virginia Research Investment Committee (VRIC) and the Virginia Research Investment Fund were established by the General Assembly in 2016 as a part of the GO Virginia Initiative. To position the Commonwealth as a national leader in science-based and technology-based research, VRIC makes investments in innovative and collaborative research, development, and commercialization projects and programs from Virginia’s public colleges and universities that have a high potential for economic development and job creation opportunities. Source: website GO Virginia, https://govirginia.org/initiatives/research-and-innovation/ (accessed 19 July 2024).\n \t\t","The Virginia Economic Development Partnership (VEDP) is the state economic development authority for the Commonwealth of Virginia. Created in 1995, VEDP collaborates with local, regional, and state partners to encourage the expansion and diversification of Virginia’s economy. VEDP works to accomplish these objectives through a variety of activities, including marketing and lead generation; business retention, expansion, and attraction; trade development; business intelligence; competitive benchmarking; site development; performance-based incentives; and talent solutions. Source: website of the Virginia Economic Development Partnership, https://www.vedp.org/(accessed 19 July 2024).\n \t\t","GO Virginia is an initiative by Virginia’s senior business leaders to foster private-sector growth and job creation through state incentives for regional collaboration by business, education, and government. GO Virginia Coalition launched in July 2015 by Virginia's senior business leadership with broad bipartisan support. These records document the creation of GO Virginia. Source: website of GO Virginia, https://govirginia.org/(accessed 19 July 2024).\n \t\t","Series II. Bond Rating, 1992; 1994; 2000-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 3 boxes. This series documents the fiscal health and credit worthiness of the Commonwealth as it pertains to obtaining and defending its bond rating. Included are meeting records between Commonwealth officials and three credit rating companies: Fitch, IBCA; Standard and Poor's; and Moody's. This series includes reports, presentations, agendas, meeting notes, and correspondence.\n","Series III. Decision Briefs, 2014-2017, created and maintained by Secretary of Finance Ric Brown, during the administration of Governor Ralph Northam, is housed in 3 boxes. This series documents the history of decision briefs sent by the staff to the Secretary of Finance or the Governor for approval. This series includes decision memoranda and supporting documentation from assigned agency heads asking the Secretary's permission to perform a major function or policy initiative within their agency. Arranged in reverse chronological order by last action taken.\n","Series IV. Joint Money Committee Meetings Files, 2005; 2007-2014; 2016-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 4 boxes. This series contains presentations to the Joint Money Committee (House Appropriation and Senate Finance) and supporting documentation (correspondence, speeches, meeting notes and reports). Subjects include the state budget, revenue reports, tax impact assessments, and fiscal trends and forecasts.\n","Series V. Planning and Budget Files, 2004-2006; 2012-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 13 boxes. This series documents the interactions between the Office of the Secretary of Finance and the Governor's staff, state agencies, and the Department of Planning and Budget regarding the development and modification of the Commonwealth's budget. This series may include, but is not limited to: incoming and outgoing correspondence, email, budget reports, budget amendments, capital outlay, notes and supporting documentation. This series appears to be in loose chronological order by legislative session. Capitol Outlay records are in loose reverse chronological order. While some records were foldered, none of them were labeled. Subjects include the state budget, state agency budget reduction plans, Medicaid expansion, legislation, revenue forecasts, and the Governor's Advisory Council on Revenue Estimates.\n","Series VI. Public Relations-Presentations, 2008; 2010; 2013-2014; 2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in two boxes. This series documents presentations made by the Secretary of Finance not covered in other series. \n\t","Series VI. Public Relations-Presentations, 2008; 2010; 2013-2014; 2017, created and maintained by Secretary of Finance Ric Brown, during the  gubernatorial administrations of Robert McDonnell and Terry McAuliffe, is housed in two boxes. This series documents the office's interaction with and oversight of various projects and studies. The four projects and studies for the Secretary of Finance were: Catalog of State and Federal Mandates on Local Governments, Amazon (Retail Sales and Use Tax) Washington Redskins (now Washington Commanders) (financial incentives to move their practice facility to Richmond), Petersburg financial crisis, and Capital Outlay.  \n\t","The City of Petersburg had a major financial crisis in 2016. Tax collections were below 60 percent due to the closing of a pharmaceutical plant and the move of Brown and Williamson's corporate headquarters to Georgia. Petersburg City Council hired the DC based Robert Bobb Group to help with the city's finances. The Bobb Group worked with Secretary of Finance Ric Brown to secure needed funding for the city to pay its' bills. These records arranged loosely in chronological order document the actions taken by the secretary to stabilize Petersburg's finances in 2016 and 2017.","There are no restrictions.\n","English\n"],"unitid_tesim":["52169\n"],"normalized_title_ssm":["Records of the Virginia Secretary of Finance, \n1992; 1994; 2000-2018 (bulk 2013-2017)"],"collection_title_tesim":["Records of the Virginia Secretary of Finance, \n1992; 1994; 2000-2018 (bulk 2013-2017)"],"collection_ssim":["Records of the Virginia Secretary of Finance, \n1992; 1994; 2000-2018 (bulk 2013-2017)"],"repository_ssm":["Library of Virginia"],"repository_ssim":["Library of Virginia"],"creator_ssm":["Virginia Secretary of Finance\n"],"creator_ssim":["Virginia Secretary of Finance\n"],"acqinfo_ssim":["Transferred from the Virginia Secretary of Finance on 8 January 2018.\n"],"has_online_content_ssim":["false"],"physdesc_tesim":["20.84 cubic feet (30 Boxes)"],"accessrestrict_html_tesm":["\u003cp\u003eConfidential information is restricted from public access for 75 years per Code of Virginia 42.1-78 and 2.2-3808.1. Restricted documents have been sealed within the collection. Types of records restricted include, but are not limited to: attorney-client privilege, mediation and settlement discussions,  and bank account numbers. \n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions\n"],"accessrestrict_tesim":["Confidential information is restricted from public access for 75 years per Code of Virginia 42.1-78 and 2.2-3808.1. Restricted documents have been sealed within the collection. Types of records restricted include, but are not limited to: attorney-client privilege, mediation and settlement discussions,  and bank account numbers. \n"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into the following series:\u003c/p\u003e","\u003clist type=\"simple\"\u003e\n        \u003citem\u003eSeries I. Correspondence and Subject Files: Secretariat, 2006; 2008-2018;\u003c/item\u003e\n        \u003citem\u003eSeries II. Bond Rating, 1992; 1994; 2000-2017;\u003c/item\u003e\n\t\u003citem\u003eSeries III. Decision Briefs, 2014-2017;\u003c/item\u003e\n\t\u003citem\u003eSeries IV. Joint Money Committee Meetings Files, 2005; 2007-2014; 2016-2017;\u003c/item\u003e\n        \u003citem\u003eSeries V. Planning and Budget Files, 2004-2006; 2013-2017;\u003c/item\u003e\n\t\u003citem\u003eSeries VI. Public Relations-Presentations, 2008; 2008; 2010; 2013-2014; 2017;\u003c/item\u003e\n\t\u003citem\u003eSeries VII. Special Projects and Studies, 2012; 2014; 2016-2017.\u003c/item\u003e\n\n      \u003c/list\u003e","\u003cp\u003eChronological\n \t\t\u003c/p\u003e","\u003cp\u003eChronological\n \t\t\u003c/p\u003e","\u003cp\u003eChronological\n \t\t\u003c/p\u003e","\u003cp\u003eChronological\n \t\t\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["This collection is arranged into the following series:","Series I. Correspondence and Subject Files: Secretariat, 2006; 2008-2018; Series II. Bond Rating, 1992; 1994; 2000-2017; Series III. Decision Briefs, 2014-2017; Series IV. Joint Money Committee Meetings Files, 2005; 2007-2014; 2016-2017; Series V. Planning and Budget Files, 2004-2006; 2013-2017; Series VI. Public Relations-Presentations, 2008; 2008; 2010; 2013-2014; 2017; Series VII. Special Projects and Studies, 2012; 2014; 2016-2017.","Chronological\n \t\t","Chronological\n \t\t","Chronological\n \t\t","Chronological\n \t\t"],"bioghist_html_tesm":["\u003cp\u003eIn 1970, the Governor's Management Commission Study recommended the creation of six \"Deputy Governors\" to assist the Chief Executive in his managerial duties. Compatible functions of government were grouped under these administrative heads, who would serve as the Governors top management team or \"secretariats,\" as they are called now. The General Assembly in 1972 created six Secretariats positions initially. As government reorganized, that number fluctuated when government agencies expanded or consolidated.\n\u003c/p\u003e","\u003cp\u003eSince the establishment of a secretarial system in 1972, there have been several reorganizations of that system. The financial management function of the state has shifted from under the direction of the Secretary of Finance to the Secretary of Administration; then to Secretary of Administration and Finance and currently back to the Secretary of Finance, through various reorganizations of state government from 1970's to the present. The function of the secretary is to provide sound fiscal management and recommend to the Governor a comprehensive budget for those agencies under his jurisdiction. The secretary's responsibilities are: to monitor programs, services and performance of subordinate state agencies to develop state policies programs for long-range planning and policy formulation; and approve solicitation or acceptance of any donations, gifts or grants; to hold agency heads accountable for their agency's administrative, fiscal and program performance. All secretaries are appointed by the governor and serve at his will. \n\u003c/p\u003e","\u003cp\u003eGovernor Terry McAuliffe (2014-2018) reappointed Richard \"Ric\" D. Brown to serve as Secretary of Finance. Richard Brown was appointed as Secretary of Finance by Governor Timothy Kaine in 2008, reappointed by Governor Robert McDonnell in 2010, and continued to serve until he retired in 2018. Prior to his appointment as Secretary of Finance, Brown worked in the Virginia Department of Planning and budget beginning in 1971. He served as agency head from 2001 to 2008.\n\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["In 1970, the Governor's Management Commission Study recommended the creation of six \"Deputy Governors\" to assist the Chief Executive in his managerial duties. Compatible functions of government were grouped under these administrative heads, who would serve as the Governors top management team or \"secretariats,\" as they are called now. The General Assembly in 1972 created six Secretariats positions initially. As government reorganized, that number fluctuated when government agencies expanded or consolidated.\n","Since the establishment of a secretarial system in 1972, there have been several reorganizations of that system. The financial management function of the state has shifted from under the direction of the Secretary of Finance to the Secretary of Administration; then to Secretary of Administration and Finance and currently back to the Secretary of Finance, through various reorganizations of state government from 1970's to the present. The function of the secretary is to provide sound fiscal management and recommend to the Governor a comprehensive budget for those agencies under his jurisdiction. The secretary's responsibilities are: to monitor programs, services and performance of subordinate state agencies to develop state policies programs for long-range planning and policy formulation; and approve solicitation or acceptance of any donations, gifts or grants; to hold agency heads accountable for their agency's administrative, fiscal and program performance. All secretaries are appointed by the governor and serve at his will. \n","Governor Terry McAuliffe (2014-2018) reappointed Richard \"Ric\" D. Brown to serve as Secretary of Finance. Richard Brown was appointed as Secretary of Finance by Governor Timothy Kaine in 2008, reappointed by Governor Robert McDonnell in 2010, and continued to serve until he retired in 2018. Prior to his appointment as Secretary of Finance, Brown worked in the Virginia Department of Planning and budget beginning in 1971. He served as agency head from 2001 to 2008.\n"],"prefercite_html_tesm":["\u003cp\u003eRecords of the Virginia Secretary of Finance, 1992; 1994; 2000-2018 (bulk 2013-2017). Accession 52169, State government records collection, The Library of Virginia, Richmond, Va. 23219.\n\u003c/p\u003e"],"prefercite_tesim":["Records of the Virginia Secretary of Finance, 1992; 1994; 2000-2018 (bulk 2013-2017). Accession 52169, State government records collection, The Library of Virginia, Richmond, Va. 23219.\n"],"scopecontent_html_tesm":["\u003cp\u003eRecords, 1992, 1994, 2000-2018, of Secretary of Finance Richard \"Ric\" D. Brown during the administrations of Governor Tim M. Kaine (2006-2010), Governor Robert F. McDonnell (2010-2014) and Terry McAuliffe (2014-2018). The collection is housed in 30 boxes and includes budget and financial presentations, decision briefs, revenue reports, correspondence, and Secretary of Finance department subject files. Information on the state budget, revenue forecasting, Virginia's bond rating, and Medicaid expansion can be found throughout the collection. Also included are records from Brown's tenure at the Virginia Department of Planning and Budget.  \n\u003c/p\u003e","\u003cp\u003eSeries I. Correspondence and Subject Files, 2006, 2008-2018, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 4 record center boxes. This series documents communication and subject matter with boards and committees that the secretary was a member of: Virginia Tobacco Commission (VTC)/Virginia Tobacco Region Revitalization Commission (VTRRC), Virginia Research Investment Committee (VRIC) and Virginia Growth and Opportunity Board (GO Virginia). This series includes agendas, correspondence, handouts, memorandums, minutes, email and reports.\n\u003c/p\u003e","\u003cp\u003eIn 1998, the Attorneys General of 46 states signed the Master Settlement Agreement (MSA) with the four largest tobacco companies in the United States to settle state suits and recover billions of dollars in costs associated with treating smoking-related illnesses. The Tobacco Region Revitalization Commission is a 28-member body created by the 1999 General Assembly. Its mission is the promotion of economic growth and development in formerly tobacco-dependent communities, using proceeds of the national tobacco settlement. To date, the Commission has created tens of thousands of jobs and hundreds of millions of dollars of investment in Southern and Southwest Virginia. Originally called the Virginia Tobacco Commission, the name was changed in 2016. Source: website of the Commission, https://revitalizeva.org/ (accessed 19 July 2024). Originally called the Virginia Tobacco Commission, the name was changed in 2015.\n \t\t\u003c/p\u003e","\u003cp\u003eThe Virginia Research Investment Committee (VRIC) and the Virginia Research Investment Fund were established by the General Assembly in 2016 as a part of the GO Virginia Initiative. To position the Commonwealth as a national leader in science-based and technology-based research, VRIC makes investments in innovative and collaborative research, development, and commercialization projects and programs from Virginia’s public colleges and universities that have a high potential for economic development and job creation opportunities. Source: website GO Virginia, https://govirginia.org/initiatives/research-and-innovation/ (accessed 19 July 2024).\n \t\t\u003c/p\u003e","\u003cp\u003eThe Virginia Economic Development Partnership (VEDP) is the state economic development authority for the Commonwealth of Virginia. Created in 1995, VEDP collaborates with local, regional, and state partners to encourage the expansion and diversification of Virginia’s economy. VEDP works to accomplish these objectives through a variety of activities, including marketing and lead generation; business retention, expansion, and attraction; trade development; business intelligence; competitive benchmarking; site development; performance-based incentives; and talent solutions. Source: website of the Virginia Economic Development Partnership, https://www.vedp.org/(accessed 19 July 2024).\n \t\t\u003c/p\u003e","\u003cp\u003eGO Virginia is an initiative by Virginia’s senior business leaders to foster private-sector growth and job creation through state incentives for regional collaboration by business, education, and government. GO Virginia Coalition launched in July 2015 by Virginia's senior business leadership with broad bipartisan support. These records document the creation of GO Virginia. Source: website of GO Virginia, https://govirginia.org/(accessed 19 July 2024).\n \t\t\u003c/p\u003e","\u003cp\u003eSeries II. Bond Rating, 1992; 1994; 2000-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 3 boxes. This series documents the fiscal health and credit worthiness of the Commonwealth as it pertains to obtaining and defending its bond rating. Included are meeting records between Commonwealth officials and three credit rating companies: Fitch, IBCA; Standard and Poor's; and Moody's. This series includes reports, presentations, agendas, meeting notes, and correspondence.\n\u003c/p\u003e","\u003cp\u003eSeries III. Decision Briefs, 2014-2017, created and maintained by Secretary of Finance Ric Brown, during the administration of Governor Ralph Northam, is housed in 3 boxes. This series documents the history of decision briefs sent by the staff to the Secretary of Finance or the Governor for approval. This series includes decision memoranda and supporting documentation from assigned agency heads asking the Secretary's permission to perform a major function or policy initiative within their agency. Arranged in reverse chronological order by last action taken.\n\u003c/p\u003e","\u003cp\u003eSeries IV. Joint Money Committee Meetings Files, 2005; 2007-2014; 2016-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 4 boxes. This series contains presentations to the Joint Money Committee (House Appropriation and Senate Finance) and supporting documentation (correspondence, speeches, meeting notes and reports). Subjects include the state budget, revenue reports, tax impact assessments, and fiscal trends and forecasts.\n\u003c/p\u003e","\u003cp\u003eSeries V. Planning and Budget Files, 2004-2006; 2012-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 13 boxes. This series documents the interactions between the Office of the Secretary of Finance and the Governor's staff, state agencies, and the Department of Planning and Budget regarding the development and modification of the Commonwealth's budget. This series may include, but is not limited to: incoming and outgoing correspondence, email, budget reports, budget amendments, capital outlay, notes and supporting documentation. This series appears to be in loose chronological order by legislative session. Capitol Outlay records are in loose reverse chronological order. While some records were foldered, none of them were labeled. Subjects include the state budget, state agency budget reduction plans, Medicaid expansion, legislation, revenue forecasts, and the Governor's Advisory Council on Revenue Estimates.\n\u003c/p\u003e","\u003cp\u003eSeries VI. Public Relations-Presentations, 2008; 2010; 2013-2014; 2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in two boxes. This series documents presentations made by the Secretary of Finance not covered in other series. \n\t\u003c/p\u003e","\u003cp\u003eSeries VI. Public Relations-Presentations, 2008; 2010; 2013-2014; 2017, created and maintained by Secretary of Finance Ric Brown, during the  gubernatorial administrations of Robert McDonnell and Terry McAuliffe, is housed in two boxes. This series documents the office's interaction with and oversight of various projects and studies. The four projects and studies for the Secretary of Finance were: Catalog of State and Federal Mandates on Local Governments, Amazon (Retail Sales and Use Tax) Washington Redskins (now Washington Commanders) (financial incentives to move their practice facility to Richmond), Petersburg financial crisis, and Capital Outlay.  \n\t\u003c/p\u003e","\u003cp\u003eThe City of Petersburg had a major financial crisis in 2016. Tax collections were below 60 percent due to the closing of a pharmaceutical plant and the move of Brown and Williamson's corporate headquarters to Georgia. Petersburg City Council hired the DC based Robert Bobb Group to help with the city's finances. The Bobb Group worked with Secretary of Finance Ric Brown to secure needed funding for the city to pay its' bills. These records arranged loosely in chronological order document the actions taken by the secretary to stabilize Petersburg's finances in 2016 and 2017.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["Records, 1992, 1994, 2000-2018, of Secretary of Finance Richard \"Ric\" D. Brown during the administrations of Governor Tim M. Kaine (2006-2010), Governor Robert F. McDonnell (2010-2014) and Terry McAuliffe (2014-2018). The collection is housed in 30 boxes and includes budget and financial presentations, decision briefs, revenue reports, correspondence, and Secretary of Finance department subject files. Information on the state budget, revenue forecasting, Virginia's bond rating, and Medicaid expansion can be found throughout the collection. Also included are records from Brown's tenure at the Virginia Department of Planning and Budget.  \n","Series I. Correspondence and Subject Files, 2006, 2008-2018, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 4 record center boxes. This series documents communication and subject matter with boards and committees that the secretary was a member of: Virginia Tobacco Commission (VTC)/Virginia Tobacco Region Revitalization Commission (VTRRC), Virginia Research Investment Committee (VRIC) and Virginia Growth and Opportunity Board (GO Virginia). This series includes agendas, correspondence, handouts, memorandums, minutes, email and reports.\n","In 1998, the Attorneys General of 46 states signed the Master Settlement Agreement (MSA) with the four largest tobacco companies in the United States to settle state suits and recover billions of dollars in costs associated with treating smoking-related illnesses. The Tobacco Region Revitalization Commission is a 28-member body created by the 1999 General Assembly. Its mission is the promotion of economic growth and development in formerly tobacco-dependent communities, using proceeds of the national tobacco settlement. To date, the Commission has created tens of thousands of jobs and hundreds of millions of dollars of investment in Southern and Southwest Virginia. Originally called the Virginia Tobacco Commission, the name was changed in 2016. Source: website of the Commission, https://revitalizeva.org/ (accessed 19 July 2024). Originally called the Virginia Tobacco Commission, the name was changed in 2015.\n \t\t","The Virginia Research Investment Committee (VRIC) and the Virginia Research Investment Fund were established by the General Assembly in 2016 as a part of the GO Virginia Initiative. To position the Commonwealth as a national leader in science-based and technology-based research, VRIC makes investments in innovative and collaborative research, development, and commercialization projects and programs from Virginia’s public colleges and universities that have a high potential for economic development and job creation opportunities. Source: website GO Virginia, https://govirginia.org/initiatives/research-and-innovation/ (accessed 19 July 2024).\n \t\t","The Virginia Economic Development Partnership (VEDP) is the state economic development authority for the Commonwealth of Virginia. Created in 1995, VEDP collaborates with local, regional, and state partners to encourage the expansion and diversification of Virginia’s economy. VEDP works to accomplish these objectives through a variety of activities, including marketing and lead generation; business retention, expansion, and attraction; trade development; business intelligence; competitive benchmarking; site development; performance-based incentives; and talent solutions. Source: website of the Virginia Economic Development Partnership, https://www.vedp.org/(accessed 19 July 2024).\n \t\t","GO Virginia is an initiative by Virginia’s senior business leaders to foster private-sector growth and job creation through state incentives for regional collaboration by business, education, and government. GO Virginia Coalition launched in July 2015 by Virginia's senior business leadership with broad bipartisan support. These records document the creation of GO Virginia. Source: website of GO Virginia, https://govirginia.org/(accessed 19 July 2024).\n \t\t","Series II. Bond Rating, 1992; 1994; 2000-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 3 boxes. This series documents the fiscal health and credit worthiness of the Commonwealth as it pertains to obtaining and defending its bond rating. Included are meeting records between Commonwealth officials and three credit rating companies: Fitch, IBCA; Standard and Poor's; and Moody's. This series includes reports, presentations, agendas, meeting notes, and correspondence.\n","Series III. Decision Briefs, 2014-2017, created and maintained by Secretary of Finance Ric Brown, during the administration of Governor Ralph Northam, is housed in 3 boxes. This series documents the history of decision briefs sent by the staff to the Secretary of Finance or the Governor for approval. This series includes decision memoranda and supporting documentation from assigned agency heads asking the Secretary's permission to perform a major function or policy initiative within their agency. Arranged in reverse chronological order by last action taken.\n","Series IV. Joint Money Committee Meetings Files, 2005; 2007-2014; 2016-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 4 boxes. This series contains presentations to the Joint Money Committee (House Appropriation and Senate Finance) and supporting documentation (correspondence, speeches, meeting notes and reports). Subjects include the state budget, revenue reports, tax impact assessments, and fiscal trends and forecasts.\n","Series V. Planning and Budget Files, 2004-2006; 2012-2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in 13 boxes. This series documents the interactions between the Office of the Secretary of Finance and the Governor's staff, state agencies, and the Department of Planning and Budget regarding the development and modification of the Commonwealth's budget. This series may include, but is not limited to: incoming and outgoing correspondence, email, budget reports, budget amendments, capital outlay, notes and supporting documentation. This series appears to be in loose chronological order by legislative session. Capitol Outlay records are in loose reverse chronological order. While some records were foldered, none of them were labeled. Subjects include the state budget, state agency budget reduction plans, Medicaid expansion, legislation, revenue forecasts, and the Governor's Advisory Council on Revenue Estimates.\n","Series VI. Public Relations-Presentations, 2008; 2010; 2013-2014; 2017, created and maintained by Secretary of Finance Ric Brown, during multiple gubernatorial administrations, is housed in two boxes. This series documents presentations made by the Secretary of Finance not covered in other series. \n\t","Series VI. Public Relations-Presentations, 2008; 2010; 2013-2014; 2017, created and maintained by Secretary of Finance Ric Brown, during the  gubernatorial administrations of Robert McDonnell and Terry McAuliffe, is housed in two boxes. This series documents the office's interaction with and oversight of various projects and studies. The four projects and studies for the Secretary of Finance were: Catalog of State and Federal Mandates on Local Governments, Amazon (Retail Sales and Use Tax) Washington Redskins (now Washington Commanders) (financial incentives to move their practice facility to Richmond), Petersburg financial crisis, and Capital Outlay.  \n\t","The City of Petersburg had a major financial crisis in 2016. Tax collections were below 60 percent due to the closing of a pharmaceutical plant and the move of Brown and Williamson's corporate headquarters to Georgia. Petersburg City Council hired the DC based Robert Bobb Group to help with the city's finances. The Bobb Group worked with Secretary of Finance Ric Brown to secure needed funding for the city to pay its' bills. These records arranged loosely in chronological order document the actions taken by the secretary to stabilize Petersburg's finances in 2016 and 2017."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["There are no restrictions.\n"],"language_ssim":["English\n"],"total_component_count_is":451,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T10:07:35.921Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vi_vi05905_c01_c01"}},{"id":"viblbv_repositories_2_resources_2315_c01_c01_c02","type":"Subgroup","attributes":{"title":"Bolivia","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2315_c01_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2315_c01_c01_c02","ref_ssm":["viblbv_repositories_2_resources_2315_c01_c01_c02"],"id":"viblbv_repositories_2_resources_2315_c01_c01_c02","ead_ssi":"viblbv_repositories_2_resources_2315","_root_":"viblbv_repositories_2_resources_2315","_nest_parent_":"viblbv_repositories_2_resources_2315_c01_c01","parent_ssi":"viblbv_repositories_2_resources_2315_c01_c01","parent_ssim":["viblbv_repositories_2_resources_2315","viblbv_repositories_2_resources_2315_c01","viblbv_repositories_2_resources_2315_c01_c01"],"parent_ids_ssim":["viblbv_repositories_2_resources_2315","viblbv_repositories_2_resources_2315_c01","viblbv_repositories_2_resources_2315_c01_c01"],"parent_unittitles_ssm":["Leonard J. Currie Papers,","Series I: Photographs, Negatives, A/V Materials,","Subseries A: Travel and International Work Photographs,"],"parent_unittitles_tesim":["Leonard J. Currie Papers,","Series I: Photographs, Negatives, A/V Materials,","Subseries A: Travel and International Work Photographs,"],"text":["Leonard J. Currie Papers,","Series I: Photographs, Negatives, A/V Materials,","Subseries A: Travel and International Work Photographs,","Bolivia"],"title_filing_ssi":"Bolivia","title_ssm":["Bolivia"],"title_tesim":["Bolivia"],"normalized_title_ssm":["Bolivia"],"component_level_isim":[3],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Leonard J. Currie Papers,"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":5,"parent_access_restrict_tesm":["Collection is open for research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"_nest_path_":"/components#0/components#0/components#1","timestamp":"2026-05-21T02:08:14.629Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2315","ead_ssi":"viblbv_repositories_2_resources_2315","_root_":"viblbv_repositories_2_resources_2315","_nest_parent_":"viblbv_repositories_2_resources_2315","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2315.xml","title_filing_ssi":"Currie, Leonard J. Papers","title_ssm":["Leonard J. Currie Papers,"],"title_tesim":["Leonard J. Currie Papers,"],"unitdate_ssm":["1920-2001"],"unitdate_inclusive_ssm":["1920-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2007.028"],"text":["Ms.2007.028","Leonard J. Currie Papers,","Blacksburg (Va.)","Architects","Architects -- Virginia","Faculty and staff","Montgomery County (Va.)","Local/Regional History and Appalachian South","University History","Collection is open for research.","Please note: Photographs are arranged as their own series, since many rolls of film contain both personal and professional/project related photographs and negatives. Within the series, photographs are arranged in travel/international work, US buildings/projects, and personal subseries. See the series note below on Series I: Photographs and Negatives for more on their arrangement.","The guide to the Leonard J. Currie Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","Office of the Vice-President, Louis A. Pardue, 1950-1963. RG 3/3","Records of the Office of the President, Walter S. Newman, 1947-1962 (Bulk 1947-1961). RG 2/10","Ute Westrom Architectural Papers, 1968-1996. Ms1996-023","Virginia M. Hertz Currie Papers, 1934-2000. Ms2001-005","Walter Gropius/ G. Preston Frazer Papers, 1969-1992. Ms1992-052","Currie received a Bachelor of Architecture from University of Minnesota in 1936, married Virginia M. Herz in 1937, and earned a Masters degree from Harvard in 1938, then served an two-year apprenticeship with Marcel Breuer and Walter Gropius at their firm. After that he worked on many projects in Latin America, taught at Harvard, and headed the architecture departments of Virginia Tech and University of Illinois at Chicago. He practiced architecture privately in firms from the 1970s to the 1990s, and became a Fellow of the American Institute of Architects (AIA) in 1993. The 1961 house he designed for his family in Blacksburg, Virginia, commonly called the \"Pagoda House,\" won awards from the AIA and is on the National Register of Historic Places. The Currie Papers include sets of blueprints and drawings for about 25 architectural projects and papers relating to his teaching. There are also files and reports on his work in Latin America, both on historic sites and improving housing for the poor. Unprocessed.","When known, site locations are provided. A majority of the residences are from the Blacksburg/Southwest Virginia area, since this is where Currie was based from the late 1980s to the mid-1990s. Projects known to be located in other states are listed by state in subseries below.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Please note:  this collection is currently being processed. Portions of the collection which are fully processed are listed in this finding aid. This includes photographs and negatives, flat files and oversize drawings from personal and professional projects, and a few artifacts. As more materials are processed, additional series and subseries will be published. Other portions of the collection may be available for research--contact Special Collections (specref@vt.edu) for more information.","Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute (1944-1970)","Virginia Polytechnic Institute and State University (1970-)","Virginia Polytechnic Institute and State University. College of Architecture (1974-1978)","Virginia Polytechnic Institute and State University. College of Architecture and Urban Studies (1978-2022)","Virginia Polytechnic Institute. College of Architecture","Currie, Leonard J. (Leonard James), 1913-1996","The materials in this collection are predominantly written in English and Spanish. However, some papers also contain German, Russian, and French."],"unitid_tesim":["Ms.2007.028"],"normalized_title_ssm":["Leonard J. Currie Papers,"],"collection_title_tesim":["Leonard J. Currie Papers,"],"collection_ssim":["Leonard J. Currie Papers,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"geogname_ssm":["Blacksburg (Va.)"],"geogname_ssim":["Blacksburg (Va.)"],"creator_ssm":["Currie, Leonard J. (Leonard James), 1913-1996"],"creator_ssim":["Currie, Leonard J. (Leonard James), 1913-1996"],"creator_persname_ssim":["Currie, Leonard J. (Leonard James), 1913-1996"],"creators_ssim":["Currie, Leonard J. (Leonard James), 1913-1996"],"places_ssim":["Blacksburg (Va.)"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"access_subjects_ssim":["Architects","Architects -- Virginia","Faculty and staff","Montgomery County (Va.)","Local/Regional History and Appalachian South","University History"],"access_subjects_ssm":["Architects","Architects -- Virginia","Faculty and staff","Montgomery County (Va.)","Local/Regional History and Appalachian South","University History"],"has_online_content_ssim":["false"],"extent_ssm":["10 Cubic Feet 14 boxes; 30 oversize folders--processed materials ONLY"],"extent_tesim":["10 Cubic Feet 14 boxes; 30 oversize folders--processed materials ONLY"],"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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003ePlease note: Photographs are arranged as their own series, since many rolls of film contain both personal and professional/project related photographs and negatives. Within the series, photographs are arranged in travel/international work, US buildings/projects, and personal subseries. See the series note below on Series I: Photographs and Negatives for more on their arrangement.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Please note: Photographs are arranged as their own series, since many rolls of film contain both personal and professional/project related photographs and negatives. Within the series, photographs are arranged in travel/international work, US buildings/projects, and personal subseries. See the series note below on Series I: Photographs and Negatives for more on their arrangement."],"odd_html_tesm":["\u003cp\u003eThe guide to the Leonard J. Currie Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Leonard J. Currie Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Leonard J. Currie Papers, Ms2007-028, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Leonard J. Currie Papers, Ms2007-028, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003cextref actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00180.xml\" show=\"new\" title=\"Office of the Vice-President, Louis Pardue, 1950-1963. RG 3/3\"\u003eOffice of the Vice-President, Louis A. Pardue, 1950-1963. RG 3/3\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00086.xml\" show=\"new\" title=\"Records of the Office of the President, Walter S. Newman, 1947-1962 (Bulk 1947-1961). RG 2/10\"\u003eRecords of the Office of the President, Walter S. Newman, 1947-1962 (Bulk 1947-1961). RG 2/10\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00195.xml\" show=\"new\" title=\"Ute Westrom Architectural Papers, 1968-1996. Ms1996-023\"\u003eUte Westrom Architectural Papers, 1968-1996. Ms1996-023\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00538.xml\" show=\"new\" title=\"Virginia M. Hertz Currie Papers, 1934-2000. Ms2001-005\"\u003eVirginia M. Hertz Currie Papers, 1934-2000. Ms2001-005\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref actuate=\"onRequest\" href=\"http://ead.lib.virginia.edu/vivaxtf/view?docId=vt/viblbv00517.xml\" show=\"new\" title=\"Walter Gropius/ G. Preston Frazer Papers, 1969-1992. Ms1992-052\"\u003eWalter Gropius/ G. Preston Frazer Papers, 1969-1992. Ms1992-052\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Materials"],"relatedmaterial_tesim":["Office of the Vice-President, Louis A. Pardue, 1950-1963. RG 3/3","Records of the Office of the President, Walter S. Newman, 1947-1962 (Bulk 1947-1961). RG 2/10","Ute Westrom Architectural Papers, 1968-1996. Ms1996-023","Virginia M. Hertz Currie Papers, 1934-2000. Ms2001-005","Walter Gropius/ G. Preston Frazer Papers, 1969-1992. Ms1992-052"],"scopecontent_html_tesm":["\u003cp\u003eCurrie received a Bachelor of Architecture from University of Minnesota in 1936, married Virginia M. Herz in 1937, and earned a Masters degree from Harvard in 1938, then served an two-year apprenticeship with Marcel Breuer and Walter Gropius at their firm. After that he worked on many projects in Latin America, taught at Harvard, and headed the architecture departments of Virginia Tech and University of Illinois at Chicago. He practiced architecture privately in firms from the 1970s to the 1990s, and became a Fellow of the American Institute of Architects (AIA) in 1993. The 1961 house he designed for his family in Blacksburg, Virginia, commonly called the \"Pagoda House,\" won awards from the AIA and is on the National Register of Historic Places. The Currie Papers include sets of blueprints and drawings for about 25 architectural projects and papers relating to his teaching. There are also files and reports on his work in Latin America, both on historic sites and improving housing for the poor. Unprocessed.\u003c/p\u003e","\u003cp\u003eWhen known, site locations are provided. A majority of the residences are from the Blacksburg/Southwest Virginia area, since this is where Currie was based from the late 1980s to the mid-1990s. Projects known to be located in other states are listed by state in subseries below.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content"],"scopecontent_tesim":["Currie received a Bachelor of Architecture from University of Minnesota in 1936, married Virginia M. Herz in 1937, and earned a Masters degree from Harvard in 1938, then served an two-year apprenticeship with Marcel Breuer and Walter Gropius at their firm. After that he worked on many projects in Latin America, taught at Harvard, and headed the architecture departments of Virginia Tech and University of Illinois at Chicago. He practiced architecture privately in firms from the 1970s to the 1990s, and became a Fellow of the American Institute of Architects (AIA) in 1993. The 1961 house he designed for his family in Blacksburg, Virginia, commonly called the \"Pagoda House,\" won awards from the AIA and is on the National Register of Historic Places. The Currie Papers include sets of blueprints and drawings for about 25 architectural projects and papers relating to his teaching. There are also files and reports on his work in Latin America, both on historic sites and improving housing for the poor. Unprocessed.","When known, site locations are provided. A majority of the residences are from the Blacksburg/Southwest Virginia area, since this is where Currie was based from the late 1980s to the mid-1990s. Projects known to be located in other states are listed by state in subseries below."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_53c49d6ccac0c48afee0ee09a9f96aa8\" label=\"Abstract\"\u003e\u003cemph render=\"bold\"\u003ePlease note:\u003c/emph\u003e this collection is currently being processed. Portions of the collection which are fully processed are listed in this finding aid. This includes photographs and negatives, flat files and oversize drawings from personal and professional projects, and a few artifacts. As more materials are processed, additional series and subseries will be published. Other portions of the collection may be available for research--contact Special Collections (specref@vt.edu) for more information.\u003c/abstract\u003e"],"abstract_tesim":["Please note:  this collection is currently being processed. Portions of the collection which are fully processed are listed in this finding aid. This includes photographs and negatives, flat files and oversize drawings from personal and professional projects, and a few artifacts. As more materials are processed, additional series and subseries will be published. Other portions of the collection may be available for research--contact Special Collections (specref@vt.edu) for more information."],"names_coll_ssim":["Virginia Polytechnic Institute (1944-1970)","Virginia Polytechnic Institute and State University (1970-)","Virginia Polytechnic Institute and State University. College of Architecture (1974-1978)","Virginia Polytechnic Institute and State University. College of Architecture and Urban Studies (1978-2022)","Virginia Polytechnic Institute. College of Architecture"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute (1944-1970)","Virginia Polytechnic Institute and State University (1970-)","Virginia Polytechnic Institute and State University. College of Architecture (1974-1978)","Virginia Polytechnic Institute and State University. College of Architecture and Urban Studies (1978-2022)","Virginia Polytechnic Institute. College of Architecture","Currie, Leonard J. (Leonard James), 1913-1996"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute (1944-1970)","Virginia Polytechnic Institute and State University (1970-)","Virginia Polytechnic Institute and State University. College of Architecture (1974-1978)","Virginia Polytechnic Institute and State University. College of Architecture and Urban Studies (1978-2022)","Virginia Polytechnic Institute. College of Architecture"],"persname_ssim":["Currie, Leonard J. (Leonard James), 1913-1996"],"language_ssim":["The materials in this collection are predominantly written in English and Spanish. However, some papers also contain German, Russian, and French."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":334,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:08:14.629Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2315_c01_c01_c02"}},{"id":"vilxv_repositories_3_resources_730","type":"collection","attributes":{"title":"Bomb (VMI Yearbook)","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vilxv_repositories_3_resources_730#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eKnown as The Bomb, the yearbook was first published in 1885. After a nine year hiatus, it has been published continuously since 1895, with the exception of 1945 and 1946.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vilxv_repositories_3_resources_730#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxv_repositories_3_resources_730","ead_ssi":"vilxv_repositories_3_resources_730","_root_":"vilxv_repositories_3_resources_730","_nest_parent_":"vilxv_repositories_3_resources_730","ead_source_url_ssi":"data/oai/VMI/repositories_3_resources_730.xml","title_ssm":["Bomb (VMI Yearbook)"],"title_tesim":["Bomb (VMI Yearbook)"],"unitdate_ssm":["1885; 1895 - [ongoing]"],"unitdate_inclusive_ssm":["1885; 1895 - [ongoing]"],"level_ssm":["collection"],"level_ssim":["Subgroup","Collection"],"unitid_ssm":["RG.06.Bomb","/repositories/3/resources/730"],"text":["RG.06.Bomb","/repositories/3/resources/730","Bomb (VMI Yearbook)","Virginia Military Institute—Publications","Publications","Yearbooks","There are no restrictions","This text was provided by the Cadet Publications Board when the yearbooks were placed online. \"The views expressed within The Cadet newspaper and The Bomb yearbook as cadet publications are not necessarily the views of the Cadet Publications Board, Inc., or the Virginia Military Institute, but rather those of the cadet editors-in-chief of the publication or of those individuals who expressed their views in print. Cadet editors-in-chief have the authority to make all decisions related to content of their cadet publication and are responsible for the accuracy and appropriateness of the content. Any cadet publication or expression by a cadet therein, is not considered to be an expression of VMI policy, nor is it supported or condoned by VMI. The Cadet Publications Board, Inc., does not exercise editorial control or have censorship rights with regard to the content--written, drawn, photographed or displayed in any other media format--of cadet publications. The Cadet Publications Board, Inc., or any of its members, does not make any warranty, expressed or implied, or assume any legal liability or responsibility for the civility, appropriateness, accuracy, completeness, or usefulness of any information, product, or process disclosed, or represents that its use would not infringe privately owned rights.\"","Yearbooks from 1885 through 2010 are available online","Known as The Bomb, the yearbook was first published in 1885.  After a nine year hiatus, it has been published continuously since 1895, with the exception of 1945 and 1946.","Black and white images, outtakes, disks, and miscellaneous other materials located in VMI Bomb office.  This material is not complete and exists only for some years.","Publication collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may \nnot be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.","Archives stacks, Record Group 06, Publications","Virginia Military Institute Archives","English"],"unitid_tesim":["RG.06.Bomb","/repositories/3/resources/730"],"normalized_title_ssm":["Bomb (VMI Yearbook)"],"collection_title_tesim":["Bomb (VMI Yearbook)"],"collection_ssim":["Bomb (VMI Yearbook)"],"repository_ssm":["Virginia Military Institute Archives"],"repository_ssim":["Virginia Military Institute Archives"],"access_terms_ssm":["Publication collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may \nnot be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"access_subjects_ssim":["Virginia Military Institute—Publications","Publications","Yearbooks"],"access_subjects_ssm":["Virginia Military Institute—Publications","Publications","Yearbooks"],"has_online_content_ssim":["false"],"extent_ssm":["80 cubic feet"],"extent_tesim":["80 cubic feet"],"genreform_ssim":["Publications","Yearbooks"],"date_range_isim":[1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895],"accessrestrict_html_tesm":["\u003cp\u003eThere are no restrictions\u003c/p\u003e","\u003clegalstatus id=\"aspace_3b4fa79700a7499e334c229c159d1f9a\"\u003eThis text was provided by the Cadet Publications Board when the yearbooks were placed online. \"The views expressed within The Cadet newspaper and The Bomb yearbook as cadet publications are not necessarily the views of the Cadet Publications Board, Inc., or the Virginia Military Institute, but rather those of the cadet editors-in-chief of the publication or of those individuals who expressed their views in print. Cadet editors-in-chief have the authority to make all decisions related to content of their cadet publication and are responsible for the accuracy and appropriateness of the content. Any cadet publication or expression by a cadet therein, is not considered to be an expression of VMI policy, nor is it supported or condoned by VMI. The Cadet Publications Board, Inc., does not exercise editorial control or have censorship rights with regard to the content--written, drawn, photographed or displayed in any other media format--of cadet publications. The Cadet Publications Board, Inc., or any of its members, does not make any warranty, expressed or implied, or assume any legal liability or responsibility for the civility, appropriateness, accuracy, completeness, or usefulness of any information, product, or process disclosed, or represents that its use would not infringe privately owned rights.\"\u003c/legalstatus\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["There are no restrictions","This text was provided by the Cadet Publications Board when the yearbooks were placed online. \"The views expressed within The Cadet newspaper and The Bomb yearbook as cadet publications are not necessarily the views of the Cadet Publications Board, Inc., or the Virginia Military Institute, but rather those of the cadet editors-in-chief of the publication or of those individuals who expressed their views in print. Cadet editors-in-chief have the authority to make all decisions related to content of their cadet publication and are responsible for the accuracy and appropriateness of the content. Any cadet publication or expression by a cadet therein, is not considered to be an expression of VMI policy, nor is it supported or condoned by VMI. The Cadet Publications Board, Inc., does not exercise editorial control or have censorship rights with regard to the content--written, drawn, photographed or displayed in any other media format--of cadet publications. The Cadet Publications Board, Inc., or any of its members, does not make any warranty, expressed or implied, or assume any legal liability or responsibility for the civility, appropriateness, accuracy, completeness, or usefulness of any information, product, or process disclosed, or represents that its use would not infringe privately owned rights.\""],"altformavail_html_tesm":["\u003cp\u003e\u003ca href=\"http://digitalcollections.vmi.edu/cdm/search/collection/p15821coll17Yearbooks%20from%201885-2010%20are%20available%20online\"\u003eYearbooks from 1885 through 2010 are available online\u003c/a\u003e\u003c/p\u003e"],"altformavail_heading_ssm":["Online Access"],"altformavail_tesim":["Yearbooks from 1885 through 2010 are available online"],"prefercite_html_tesm":["\u003cp\u003eVirginia Military Institute Archives.  Cadet Publications.  The Bomb.\u003c/p\u003e"],"prefercite_tesim":["Virginia Military Institute Archives.  Cadet Publications.  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This material is not complete and exists only for some years."],"userestrict_html_tesm":["\u003cp\u003ePublication collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may \nnot be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Publication collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may \nnot be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_bae5464b7811fc8d8f293bd03931f794\"\u003eArchives stacks, Record Group 06, Publications\u003c/physloc\u003e"],"physloc_tesim":["Archives stacks, Record Group 06, Publications"],"names_ssim":["Virginia Military Institute Archives"],"corpname_ssim":["Virginia Military Institute Archives"],"language_ssim":["English"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:09:24.880Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxv_repositories_3_resources_730","ead_ssi":"vilxv_repositories_3_resources_730","_root_":"vilxv_repositories_3_resources_730","_nest_parent_":"vilxv_repositories_3_resources_730","ead_source_url_ssi":"data/oai/VMI/repositories_3_resources_730.xml","title_ssm":["Bomb (VMI Yearbook)"],"title_tesim":["Bomb (VMI Yearbook)"],"unitdate_ssm":["1885; 1895 - [ongoing]"],"unitdate_inclusive_ssm":["1885; 1895 - [ongoing]"],"level_ssm":["collection"],"level_ssim":["Subgroup","Collection"],"unitid_ssm":["RG.06.Bomb","/repositories/3/resources/730"],"text":["RG.06.Bomb","/repositories/3/resources/730","Bomb (VMI Yearbook)","Virginia Military Institute—Publications","Publications","Yearbooks","There are no restrictions","This text was provided by the Cadet Publications Board when the yearbooks were placed online. \"The views expressed within The Cadet newspaper and The Bomb yearbook as cadet publications are not necessarily the views of the Cadet Publications Board, Inc., or the Virginia Military Institute, but rather those of the cadet editors-in-chief of the publication or of those individuals who expressed their views in print. Cadet editors-in-chief have the authority to make all decisions related to content of their cadet publication and are responsible for the accuracy and appropriateness of the content. Any cadet publication or expression by a cadet therein, is not considered to be an expression of VMI policy, nor is it supported or condoned by VMI. The Cadet Publications Board, Inc., does not exercise editorial control or have censorship rights with regard to the content--written, drawn, photographed or displayed in any other media format--of cadet publications. The Cadet Publications Board, Inc., or any of its members, does not make any warranty, expressed or implied, or assume any legal liability or responsibility for the civility, appropriateness, accuracy, completeness, or usefulness of any information, product, or process disclosed, or represents that its use would not infringe privately owned rights.\"","Yearbooks from 1885 through 2010 are available online","Known as The Bomb, the yearbook was first published in 1885.  After a nine year hiatus, it has been published continuously since 1895, with the exception of 1945 and 1946.","Black and white images, outtakes, disks, and miscellaneous other materials located in VMI Bomb office.  This material is not complete and exists only for some years.","Publication collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may \nnot be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.","Archives stacks, Record Group 06, Publications","Virginia Military Institute Archives","English"],"unitid_tesim":["RG.06.Bomb","/repositories/3/resources/730"],"normalized_title_ssm":["Bomb (VMI Yearbook)"],"collection_title_tesim":["Bomb (VMI Yearbook)"],"collection_ssim":["Bomb (VMI Yearbook)"],"repository_ssm":["Virginia Military Institute Archives"],"repository_ssim":["Virginia Military Institute Archives"],"access_terms_ssm":["Publication collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may \nnot be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"access_subjects_ssim":["Virginia Military Institute—Publications","Publications","Yearbooks"],"access_subjects_ssm":["Virginia Military Institute—Publications","Publications","Yearbooks"],"has_online_content_ssim":["false"],"extent_ssm":["80 cubic feet"],"extent_tesim":["80 cubic feet"],"genreform_ssim":["Publications","Yearbooks"],"date_range_isim":[1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895],"accessrestrict_html_tesm":["\u003cp\u003eThere are no restrictions\u003c/p\u003e","\u003clegalstatus id=\"aspace_3b4fa79700a7499e334c229c159d1f9a\"\u003eThis text was provided by the Cadet Publications Board when the yearbooks were placed online. \"The views expressed within The Cadet newspaper and The Bomb yearbook as cadet publications are not necessarily the views of the Cadet Publications Board, Inc., or the Virginia Military Institute, but rather those of the cadet editors-in-chief of the publication or of those individuals who expressed their views in print. Cadet editors-in-chief have the authority to make all decisions related to content of their cadet publication and are responsible for the accuracy and appropriateness of the content. Any cadet publication or expression by a cadet therein, is not considered to be an expression of VMI policy, nor is it supported or condoned by VMI. The Cadet Publications Board, Inc., does not exercise editorial control or have censorship rights with regard to the content--written, drawn, photographed or displayed in any other media format--of cadet publications. The Cadet Publications Board, Inc., or any of its members, does not make any warranty, expressed or implied, or assume any legal liability or responsibility for the civility, appropriateness, accuracy, completeness, or usefulness of any information, product, or process disclosed, or represents that its use would not infringe privately owned rights.\"\u003c/legalstatus\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["There are no restrictions","This text was provided by the Cadet Publications Board when the yearbooks were placed online. \"The views expressed within The Cadet newspaper and The Bomb yearbook as cadet publications are not necessarily the views of the Cadet Publications Board, Inc., or the Virginia Military Institute, but rather those of the cadet editors-in-chief of the publication or of those individuals who expressed their views in print. Cadet editors-in-chief have the authority to make all decisions related to content of their cadet publication and are responsible for the accuracy and appropriateness of the content. Any cadet publication or expression by a cadet therein, is not considered to be an expression of VMI policy, nor is it supported or condoned by VMI. The Cadet Publications Board, Inc., does not exercise editorial control or have censorship rights with regard to the content--written, drawn, photographed or displayed in any other media format--of cadet publications. The Cadet Publications Board, Inc., or any of its members, does not make any warranty, expressed or implied, or assume any legal liability or responsibility for the civility, appropriateness, accuracy, completeness, or usefulness of any information, product, or process disclosed, or represents that its use would not infringe privately owned rights.\""],"altformavail_html_tesm":["\u003cp\u003e\u003ca href=\"http://digitalcollections.vmi.edu/cdm/search/collection/p15821coll17Yearbooks%20from%201885-2010%20are%20available%20online\"\u003eYearbooks from 1885 through 2010 are available online\u003c/a\u003e\u003c/p\u003e"],"altformavail_heading_ssm":["Online Access"],"altformavail_tesim":["Yearbooks from 1885 through 2010 are available online"],"prefercite_html_tesm":["\u003cp\u003eVirginia Military Institute Archives.  Cadet Publications.  The Bomb.\u003c/p\u003e"],"prefercite_tesim":["Virginia Military Institute Archives.  Cadet Publications.  The Bomb."],"scopecontent_html_tesm":["\u003cp\u003eKnown as The Bomb, the yearbook was first published in 1885.  After a nine year hiatus, it has been published continuously since 1895, with the exception of 1945 and 1946.\u003c/p\u003e","\u003cp\u003eBlack and white images, outtakes, disks, and miscellaneous other materials located in VMI Bomb office.  This material is not complete and exists only for some years.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents"],"scopecontent_tesim":["Known as The Bomb, the yearbook was first published in 1885.  After a nine year hiatus, it has been published continuously since 1895, with the exception of 1945 and 1946.","Black and white images, outtakes, disks, and miscellaneous other materials located in VMI Bomb office.  This material is not complete and exists only for some years."],"userestrict_html_tesm":["\u003cp\u003ePublication collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may \nnot be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Publication collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may \nnot be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_bae5464b7811fc8d8f293bd03931f794\"\u003eArchives stacks, Record Group 06, Publications\u003c/physloc\u003e"],"physloc_tesim":["Archives stacks, Record Group 06, Publications"],"names_ssim":["Virginia Military Institute Archives"],"corpname_ssim":["Virginia Military Institute Archives"],"language_ssim":["English"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:09:24.880Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vilxv_repositories_3_resources_730"}},{"id":"vihart_repositories_4_resources_638_c01_c02","type":"Subgroup","attributes":{"title":"Book catalogs","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_638_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vihart_repositories_4_resources_638_c01_c02","ref_ssm":["vihart_repositories_4_resources_638_c01_c02"],"id":"vihart_repositories_4_resources_638_c01_c02","ead_ssi":"vihart_repositories_4_resources_638","_root_":"vihart_repositories_4_resources_638","_nest_parent_":"vihart_repositories_4_resources_638_c01","parent_ssi":"vihart_repositories_4_resources_638_c01","parent_ssim":["vihart_repositories_4_resources_638","vihart_repositories_4_resources_638_c01"],"parent_ids_ssim":["vihart_repositories_4_resources_638","vihart_repositories_4_resources_638_c01"],"parent_unittitles_ssm":["Carol Barton papers","Printed materials"],"parent_unittitles_tesim":["Carol Barton papers","Printed materials"],"text":["Carol Barton papers","Printed materials","Book catalogs"],"title_filing_ssi":"Book catalogs","title_ssm":["Book catalogs"],"title_tesim":["Book catalogs"],"normalized_title_ssm":["Book catalogs"],"component_level_isim":[2],"repository_ssim":["James Madison University"],"collection_ssim":["Carol Barton papers"],"has_online_content_ssim":["false"],"child_component_count_isi":7,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":26,"parent_access_restrict_tesm":["Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"parent_access_terms_tesm":["The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"_nest_path_":"/components#0/components#1","timestamp":"2026-05-21T00:18:57.997Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_638","ead_ssi":"vihart_repositories_4_resources_638","_root_":"vihart_repositories_4_resources_638","_nest_parent_":"vihart_repositories_4_resources_638","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_638.xml","title_ssm":["Carol Barton papers"],"title_tesim":["Carol Barton papers"],"unitdate_ssm":["1973-2020"],"unitdate_inclusive_ssm":["1973-2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0274","/repositories/4/resources/638"],"text":["SC 0274","/repositories/4/resources/638","Carol Barton papers","Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books","Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","In addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage.","The collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition,  Miliseconds to Milennia: The Art of Time, Hand Workshop , has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.","Printed Materials, 1973-2015 Projects and Research, 1975-2012 Ephemera and Personal Papers, 1979-2013 2023-0404 Accession, 2009-2020","Grace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.","Barton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.","National Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton.","Carol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as  Books \u0026 Bookends: Science and the Artist's Book  (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks,  The Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark , which was awarded the Bogliasco Fellowship in 2000,  Vision Shifts ,  Instructions for Assembly , and  Tunnel Map  are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026 Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book,  Beyond the Page  (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book,  Everyday Road Signs .","In 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court.","The papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work","Material groupings and the bulk of the folder titles were supplied by the donor.","Duplicate copies of printed materials already held by Special Collections were not retained.","Carol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections.","The Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated.","Series 1: Printed Materials, 1973-2015, comprises various exhibition catalogs, book catalogs, gallery cards, articles, journals, interviews, artist statements and pamphlets for workshops that Barton taught.","Throughout her career, Carol Barton has been celebrated in numerous articles and journals:  The Bone Folder  (2000 \u0026 2009), \"Surface: New Form/New Function\" (review by Carol Barton),  The Smithsonian Associates  (August 2001), \"Ancient Sichuan's Artistic Treasures\",  Valley Art Association Newsletter  (May-June 1999), and  The Washington Print Club Quarterly  (Barton is featured on pages 6-9) are examples included within the Carol Barton Papers.","Barton has also been referenced in newspaper articles, online publications, and reviews such as  The Washington Times ,  New York Times ,  Smithsonian Associates , and  Boston Globe .","Series 2: Projects and Research, 1975-2012, contains Barton's professional projects, project planning, and items used for project research.  Instructions for Assembly  (1993) contains process plans, mock-ups, instructions, patents used for inspiration, and process materials.  Vision Shifts  (1998) contains process plans, mock-ups, large scale prints, and photographs.  Five Luminous Towers: A Book to Read in the Dark  (2001) includes sample pieces, planning materials, and templates for  The Lookout . As well, the book  La Torre e le Carceri di Palazzo Ducale  served as direct inspiration for  Five Luminous Towers: A Book to Read in the Dark . Barton's first book,  Beyond the Page  (1981), contains hand cut master sheets.  Everyday Road Signs  (1988) contains a prototype of the book's binding, planning for the first five pages of  Separations , sample material for page six, negatives, text copy for the opening page, and print prototypes for a page.  Loom  (1989) contains design prototypes, steel plates, and text copy and print.  Tunnel Map  (1988) contains planning for  Map #1 Europe/Africa/Asia  in a blue separation, page design plans, book cover design plans, and the first set of unused map film originals. Page design plans for  Tunnel Map  include: page 2 for North/South America, page 3 for Africa/Europe, page 4 for North/South America, page 5 for North/South America and Africa/Europe, and page 6 for Africa/Europe and North/South America.","Researchers should note that dates for Carol Barton's plans/prototypes are approximate and based on the year the specific project was published.","Prototypes of  Pocket Paper Engineer Volume 3  are housed with a related promotional poster. The poster is for \"a visiting artist lecture sponsored by the MFA Book Arts/Printmaking Program at the University of the Arts (Philadelphia).\"","Barton has also been referenced in promotional materials regarding her work in:  Visual Icons, Small Works: The Gallery at Studio B ,  Art on the Page: A Selection of Artists' Books ,  Orihon \u0026 More: Books By Artists ,  Under Cover: Book Arts ,  Beyond Reading ,  [Book] Art: Handmade Books ,  Book For[u]ms ,  The Pocket Paper Engineer , Washington University Libraries Special Collections, and  Mining the Lloyd .","Series 3: Ephemera and Personal Papers, 1979-2013, contains personal papers and ephemera Barton received and collected over the course of her career. Her personal papers include correspondence between friends, colleagues, students, and galleries. The ephemeral items include awards and items of personal interests such as flip-books, magnets, promotional pop-ups, etc.","The series primarily comprises proofs, prototypes, draft components, and pre-production materials for Barton's 2014 artists' book  Land Forms and Air Currents .","\"Land Forms and Air Currents' was produced over the course of the years 2012 through 2014. Original artworks were done in gouache and watercolor, then scanned and adjusted in Adobe Photoshop. Layout was done using Adobe InDesign, and an edition of 25 copies was produced on an Epson Photo R2880 printer. Pop-up forms were cut using a Silhouette Cameo cutter and were hand-assembled by the artist. Fonts in the book are Verlag Book and Bell MT. Papers are Strathmore acid-free 100 lb. bristol and Strathmore acid-free 80 lb. drawing\"--Colophon","Numbered 5/26.","Numerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings.  Ker-Bloom! , a series of art publications, were also separated and cataloged.","The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton.","James Madison University Libraries Special Collections","Barton, Carol June, 1954-","English"],"unitid_tesim":["SC 0274","/repositories/4/resources/638"],"normalized_title_ssm":["Carol Barton papers"],"collection_title_tesim":["Carol Barton papers"],"collection_ssim":["Carol Barton papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"creator_ssm":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creator_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creator_persname_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creators_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"access_terms_ssm":["The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["The collection was donated by Carol Barton on March 23, 2017. Manuscript material was also received as part of a 2015 acquisition of Carol Barton's personal and teaching collection of pop-up and artists' books. That material was incorporated into this collection. Barton made an additional donation of materials in October 2022 (accessioned in 2023)."],"access_subjects_ssim":["Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"access_subjects_ssm":["Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"has_online_content_ssim":["false"],"extent_ssm":["7.47 cubic feet 20 boxes, 1 flat file"],"extent_tesim":["7.47 cubic feet 20 boxes, 1 flat file"],"genreform_ssim":["Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"date_range_isim":[1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eCollection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"appraisal_html_tesm":["\u003cp\u003eIn addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage.\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal Note"],"appraisal_tesim":["In addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition, \u003cemph render=\"italic\"\u003eMiliseconds to Milennia: The Art of Time, Hand Workshop\u003c/emph\u003e, has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003ePrinted Materials, 1973-2015\u003c/item\u003e\n      \u003citem\u003eProjects and Research, 1975-2012\u003c/item\u003e\n      \u003citem\u003eEphemera and Personal Papers, 1979-2013\u003c/item\u003e\n      \u003citem\u003e2023-0404 Accession, 2009-2020\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition,  Miliseconds to Milennia: The Art of Time, Hand Workshop , has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.","Printed Materials, 1973-2015 Projects and Research, 1975-2012 Ephemera and Personal Papers, 1979-2013 2023-0404 Accession, 2009-2020"],"bibliography_html_tesm":["\u003cbibref\u003eGrace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.\u003c/bibref\u003e","\u003cbibref\u003eBarton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.\u003c/bibref\u003e","\u003cbibref\u003eNational Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Grace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.","Barton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.","National Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton."],"bioghist_html_tesm":["\u003cp\u003eCarol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as \u003cemph render=\"italic\"\u003eBooks \u0026amp; Bookends: Science and the Artist's Book\u003c/emph\u003e (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks, \u003cemph render=\"italic\"\u003eThe Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark\u003c/emph\u003e, which was awarded the Bogliasco Fellowship in 2000, \u003cemph render=\"italic\"\u003eVision Shifts\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eInstructions for Assembly\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eTunnel Map\u003c/emph\u003e are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026amp; Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book, \u003cemph render=\"italic\"\u003eBeyond the Page\u003c/emph\u003e (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book, \u003cemph render=\"italic\"\u003eEveryday Road Signs\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003eIn 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Carol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as  Books \u0026 Bookends: Science and the Artist's Book  (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks,  The Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark , which was awarded the Bogliasco Fellowship in 2000,  Vision Shifts ,  Instructions for Assembly , and  Tunnel Map  are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026 Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book,  Beyond the Page  (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book,  Everyday Road Signs .","In 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Carol Barton Papers, 1973-2020, SC 0274, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Carol Barton Papers, 1973-2020, SC 0274, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eThe papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work\u003c/p\u003e","\u003cp\u003eMaterial groupings and the bulk of the folder titles were supplied by the donor.\u003c/p\u003e","\u003cp\u003eDuplicate copies of printed materials already held by Special Collections were not retained.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information"],"processinfo_tesim":["The papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work","Material groupings and the bulk of the folder titles were supplied by the donor.","Duplicate copies of printed materials already held by Special Collections were not retained."],"relatedmaterial_html_tesm":["\u003cp\u003eCarol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Carol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated.\u003c/p\u003e","\u003cp\u003eSeries 1: Printed Materials, 1973-2015, comprises various exhibition catalogs, book catalogs, gallery cards, articles, journals, interviews, artist statements and pamphlets for workshops that Barton taught.\u003c/p\u003e\n","\u003cp\u003eThroughout her career, Carol Barton has been celebrated in numerous articles and journals: \u003cemph render=\"italic\"\u003eThe Bone Folder\u003c/emph\u003e (2000 \u0026amp; 2009), \"Surface: New Form/New Function\" (review by Carol Barton), \u003cemph render=\"italic\"\u003eThe Smithsonian Associates\u003c/emph\u003e (August 2001), \"Ancient Sichuan's Artistic Treasures\", \u003cemph render=\"italic\"\u003eValley Art Association Newsletter\u003c/emph\u003e (May-June 1999), and \u003cemph render=\"italic\"\u003eThe Washington Print Club Quarterly\u003c/emph\u003e (Barton is featured on pages 6-9) are examples included within the Carol Barton Papers.\u003c/p\u003e\n","\u003cp\u003eBarton has also been referenced in newspaper articles, online publications, and reviews such as \u003cemph render=\"italic\"\u003eThe Washington Times\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eNew York Times\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eSmithsonian Associates\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eBoston Globe\u003c/emph\u003e.\u003c/p\u003e","\u003cp\u003eSeries 2: Projects and Research, 1975-2012, contains Barton's professional projects, project planning, and items used for project research. \u003cemph render=\"italic\"\u003eInstructions for Assembly\u003c/emph\u003e (1993) contains process plans, mock-ups, instructions, patents used for inspiration, and process materials. \u003cemph render=\"italic\"\u003eVision Shifts\u003c/emph\u003e (1998) contains process plans, mock-ups, large scale prints, and photographs. \u003cemph render=\"italic\"\u003eFive Luminous Towers: A Book to Read in the Dark\u003c/emph\u003e (2001) includes sample pieces, planning materials, and templates for \u003cemph render=\"italic\"\u003eThe Lookout\u003c/emph\u003e. As well, the book \u003cemph render=\"italic\"\u003eLa Torre e le Carceri di Palazzo Ducale\u003c/emph\u003e served as direct inspiration for \u003cemph render=\"italic\"\u003eFive Luminous Towers: A Book to Read in the Dark\u003c/emph\u003e. Barton's first book, \u003cemph render=\"italic\"\u003eBeyond the Page\u003c/emph\u003e (1981), contains hand cut master sheets. \u003cemph render=\"italic\"\u003eEveryday Road Signs\u003c/emph\u003e (1988) contains a prototype of the book's binding, planning for the first five pages of \u003cemph render=\"italic\"\u003eSeparations\u003c/emph\u003e, sample material for page six, negatives, text copy for the opening page, and print prototypes for a page. \u003cemph render=\"italic\"\u003eLoom\u003c/emph\u003e (1989) contains design prototypes, steel plates, and text copy and print. \u003cemph render=\"italic\"\u003eTunnel Map\u003c/emph\u003e (1988) contains planning for \u003cemph render=\"italic\"\u003eMap #1 Europe/Africa/Asia\u003c/emph\u003e in a blue separation, page design plans, book cover design plans, and the first set of unused map film originals. Page design plans for \u003cemph render=\"italic\"\u003eTunnel Map\u003c/emph\u003e include: page 2 for North/South America, page 3 for Africa/Europe, page 4 for North/South America, page 5 for North/South America and Africa/Europe, and page 6 for Africa/Europe and North/South America.\u003c/p\u003e\n","\u003cp\u003eResearchers should note that dates for Carol Barton's plans/prototypes are approximate and based on the year the specific project was published.\u003c/p\u003e\n","\u003cp\u003ePrototypes of \u003cemph render=\"italic\"\u003ePocket Paper Engineer Volume 3\u003c/emph\u003e are housed with a related promotional poster. The poster is for \"a visiting artist lecture sponsored by the MFA Book Arts/Printmaking Program at the University of the Arts (Philadelphia).\"\u003c/p\u003e\n","\u003cp\u003eBarton has also been referenced in promotional materials regarding her work in: \u003cemph render=\"italic\"\u003eVisual Icons, Small Works: The Gallery at Studio B\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eArt on the Page: A Selection of Artists' Books\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eOrihon \u0026amp; More: Books By Artists\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eUnder Cover: Book Arts\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eBeyond Reading\u003c/emph\u003e, \u003cemph render=\"italic\"\u003e[Book] Art: Handmade Books\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eBook For[u]ms\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eThe Pocket Paper Engineer\u003c/emph\u003e, Washington University Libraries Special Collections, and \u003cemph render=\"italic\"\u003eMining the Lloyd\u003c/emph\u003e.\u003c/p\u003e","\u003cp\u003eSeries 3: Ephemera and Personal Papers, 1979-2013, contains personal papers and ephemera Barton received and collected over the course of her career. Her personal papers include correspondence between friends, colleagues, students, and galleries. The ephemeral items include awards and items of personal interests such as flip-books, magnets, promotional pop-ups, etc.\u003c/p\u003e","\u003cp\u003eThe series primarily comprises proofs, prototypes, draft components, and pre-production materials for Barton's 2014 artists' book \u003cemph render=\"italic\"\u003eLand Forms and Air Currents\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003e\"Land Forms and Air Currents' was produced over the course of the years 2012 through 2014. Original artworks were done in gouache and watercolor, then scanned and adjusted in Adobe Photoshop. Layout was done using Adobe InDesign, and an edition of 25 copies was produced on an Epson Photo R2880 printer. Pop-up forms were cut using a Silhouette Cameo cutter and were hand-assembled by the artist. Fonts in the book are Verlag Book and Bell MT. Papers are Strathmore acid-free 100 lb. bristol and Strathmore acid-free 80 lb. drawing\"--Colophon\u003c/p\u003e","\u003cp\u003eNumbered 5/26.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated.","Series 1: Printed Materials, 1973-2015, comprises various exhibition catalogs, book catalogs, gallery cards, articles, journals, interviews, artist statements and pamphlets for workshops that Barton taught.","Throughout her career, Carol Barton has been celebrated in numerous articles and journals:  The Bone Folder  (2000 \u0026 2009), \"Surface: New Form/New Function\" (review by Carol Barton),  The Smithsonian Associates  (August 2001), \"Ancient Sichuan's Artistic Treasures\",  Valley Art Association Newsletter  (May-June 1999), and  The Washington Print Club Quarterly  (Barton is featured on pages 6-9) are examples included within the Carol Barton Papers.","Barton has also been referenced in newspaper articles, online publications, and reviews such as  The Washington Times ,  New York Times ,  Smithsonian Associates , and  Boston Globe .","Series 2: Projects and Research, 1975-2012, contains Barton's professional projects, project planning, and items used for project research.  Instructions for Assembly  (1993) contains process plans, mock-ups, instructions, patents used for inspiration, and process materials.  Vision Shifts  (1998) contains process plans, mock-ups, large scale prints, and photographs.  Five Luminous Towers: A Book to Read in the Dark  (2001) includes sample pieces, planning materials, and templates for  The Lookout . As well, the book  La Torre e le Carceri di Palazzo Ducale  served as direct inspiration for  Five Luminous Towers: A Book to Read in the Dark . Barton's first book,  Beyond the Page  (1981), contains hand cut master sheets.  Everyday Road Signs  (1988) contains a prototype of the book's binding, planning for the first five pages of  Separations , sample material for page six, negatives, text copy for the opening page, and print prototypes for a page.  Loom  (1989) contains design prototypes, steel plates, and text copy and print.  Tunnel Map  (1988) contains planning for  Map #1 Europe/Africa/Asia  in a blue separation, page design plans, book cover design plans, and the first set of unused map film originals. Page design plans for  Tunnel Map  include: page 2 for North/South America, page 3 for Africa/Europe, page 4 for North/South America, page 5 for North/South America and Africa/Europe, and page 6 for Africa/Europe and North/South America.","Researchers should note that dates for Carol Barton's plans/prototypes are approximate and based on the year the specific project was published.","Prototypes of  Pocket Paper Engineer Volume 3  are housed with a related promotional poster. The poster is for \"a visiting artist lecture sponsored by the MFA Book Arts/Printmaking Program at the University of the Arts (Philadelphia).\"","Barton has also been referenced in promotional materials regarding her work in:  Visual Icons, Small Works: The Gallery at Studio B ,  Art on the Page: A Selection of Artists' Books ,  Orihon \u0026 More: Books By Artists ,  Under Cover: Book Arts ,  Beyond Reading ,  [Book] Art: Handmade Books ,  Book For[u]ms ,  The Pocket Paper Engineer , Washington University Libraries Special Collections, and  Mining the Lloyd .","Series 3: Ephemera and Personal Papers, 1979-2013, contains personal papers and ephemera Barton received and collected over the course of her career. Her personal papers include correspondence between friends, colleagues, students, and galleries. The ephemeral items include awards and items of personal interests such as flip-books, magnets, promotional pop-ups, etc.","The series primarily comprises proofs, prototypes, draft components, and pre-production materials for Barton's 2014 artists' book  Land Forms and Air Currents .","\"Land Forms and Air Currents' was produced over the course of the years 2012 through 2014. Original artworks were done in gouache and watercolor, then scanned and adjusted in Adobe Photoshop. Layout was done using Adobe InDesign, and an edition of 25 copies was produced on an Epson Photo R2880 printer. Pop-up forms were cut using a Silhouette Cameo cutter and were hand-assembled by the artist. Fonts in the book are Verlag Book and Bell MT. Papers are Strathmore acid-free 100 lb. bristol and Strathmore acid-free 80 lb. drawing\"--Colophon","Numbered 5/26."],"separatedmaterial_html_tesm":["\u003cp\u003eNumerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings. \u003cemph render=\"italic\"\u003eKer-Bloom!\u003c/emph\u003e, a series of art publications, were also separated and cataloged.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Material"],"separatedmaterial_tesim":["Numerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings.  Ker-Bloom! , a series of art publications, were also separated and cataloged."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2d8e790c8752baf58256cbedb902ee64\"\u003eThe Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton.\u003c/abstract\u003e"],"abstract_tesim":["The Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton."],"names_ssim":["James Madison University Libraries Special Collections","Barton, Carol June, 1954-"],"corpname_ssim":["James Madison University Libraries Special Collections"],"names_coll_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"persname_ssim":["Barton, Carol June, 1954-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":162,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:18:57.997Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_638_c01_c02"}},{"id":"wvmturhc_repositories_2_resources_3726_c15","type":"Subgroup","attributes":{"title":"Books Authored by Reese (with exception of Van Liere/Dodd)","breadcrumbs":{"id":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_3726_c15#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_3726_c15","ref_ssm":["wvmturhc_repositories_2_resources_3726_c15"],"id":"wvmturhc_repositories_2_resources_3726_c15","ead_ssi":"wvmturhc_repositories_2_resources_3726","_root_":"wvmturhc_repositories_2_resources_3726","_nest_parent_":"wvmturhc_repositories_2_resources_3726","parent_ssi":"wvmturhc_repositories_2_resources_3726","parent_ssim":["wvmturhc_repositories_2_resources_3726"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_3726"],"parent_unittitles_ssm":["Albert Moore Reese, Zoology Professor, Miscellaneous Items"],"parent_unittitles_tesim":["Albert Moore Reese, Zoology Professor, Miscellaneous Items"],"text":["Albert Moore Reese, Zoology Professor, Miscellaneous Items","Books Authored by Reese (with exception of Van Liere/Dodd)","Box 1"],"title_filing_ssi":"Books Authored by Reese (with exception of Van Liere/Dodd)","title_ssm":["Books Authored by Reese (with exception of Van Liere/Dodd)"],"title_tesim":["Books Authored by Reese (with exception of Van Liere/Dodd)"],"unitdate_inclusive_ssm":["1909-1924, 1965"],"normalized_date_ssm":["1909/1965"],"normalized_title_ssm":["Books Authored by Reese (with exception of Van Liere/Dodd)"],"component_level_isim":[1],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Albert Moore Reese, Zoology Professor, Miscellaneous Items"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":53,"parent_access_restrict_tesm":["No special access restriction applies."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[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],"containers_ssim":["Box 1"],"_nest_path_":"/components#14","timestamp":"2026-05-21T01:29:56.243Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_3726","ead_ssi":"wvmturhc_repositories_2_resources_3726","_root_":"wvmturhc_repositories_2_resources_3726","_nest_parent_":"wvmturhc_repositories_2_resources_3726","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_3726.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/197557","title_ssm":["Albert Moore Reese, Zoology Professor, Miscellaneous Items"],"title_tesim":["Albert Moore Reese, Zoology Professor, Miscellaneous Items"],"unitdate_ssm":["1900-1970"],"unitdate_inclusive_ssm":["1900-1970"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 5024","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/3726"],"text":["A\u0026M 5024","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/3726","Albert Moore Reese, Zoology Professor, Miscellaneous Items","No special access restriction applies.","Papers of Albert Moore Reese, Sr, longtime zoology professor at West Virginia University. This collection includes WVU memorabilia, books and reprints by Albert Moore Reese, and photos of Reese and Reese's spelunking trips, and clippings of articles by Reese and others.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Reese, A. M. (Albert Moore), 1872-1965","English"],"unitid_tesim":["A\u0026M 5024","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/3726"],"normalized_title_ssm":["Albert Moore Reese, Zoology Professor, Miscellaneous Items"],"collection_title_tesim":["Albert Moore Reese, Zoology Professor, Miscellaneous Items"],"collection_ssim":["Albert Moore Reese, Zoology Professor, Miscellaneous Items"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Reese, A. M. (Albert Moore), 1872-1965"],"creator_ssim":["Reese, A. M. (Albert Moore), 1872-1965"],"creator_persname_ssim":["Reese, A. M. (Albert Moore), 1872-1965"],"creators_ssim":["Reese, A. M. (Albert Moore), 1872-1965"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet Summary: 5 in. (1 document case)"],"extent_tesim":["0.4 Linear Feet Summary: 5 in. (1 document case)"],"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],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Albert Moore Reese, Zoology Professor, Miscellaneous Items, A\u0026amp;M 5024, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Albert Moore Reese, Zoology Professor, Miscellaneous Items, A\u0026M 5024, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003ePapers of Albert Moore Reese, Sr, longtime zoology professor at West Virginia University. 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For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_475c6beddf907c59124a80c45246b5e1\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Reese, A. M. (Albert Moore), 1872-1965"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Reese, A. M. (Albert Moore), 1872-1965"],"persname_ssim":["Reese, A. M. 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Books"],"parent_unittitles_tesim":["John Barber papers","Series 7. Books"],"text":["John Barber papers","Series 7. Books","Book set of two: Drawings from the Clark Art Institute"],"title_filing_ssi":"Book set of two: Drawings from the Clark Art Institute","title_ssm":["Book set of two: Drawings from the Clark Art Institute"],"title_tesim":["Book set of two: Drawings from the Clark Art Institute"],"normalized_title_ssm":["Book set of two: Drawings from the Clark Art Institute"],"component_level_isim":[2],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["John Barber papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":156,"parent_access_restrict_tesm":["This collection is minimally processed and open for research."],"_nest_path_":"/components#6/components#6","timestamp":"2026-05-20T23:25:46.285Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1050","ead_ssi":"viu_repositories_3_resources_1050","_root_":"viu_repositories_3_resources_1050","_nest_parent_":"viu_repositories_3_resources_1050","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1050.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/132885","title_filing_ssi":"Barber, John papers","title_ssm":["John Barber papers"],"title_tesim":["John Barber papers"],"unitdate_ssm":["Circa 1910-1999"],"unitdate_inclusive_ssm":["Circa 1910-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16530","Archival Resource Key","Previous Archival 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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Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1050","John Barber papers","Arts","fair","This collection is minimally processed and open for research.","John Barber (1893-1965) who became an American artist, was born in Galatz,Rumania to an English businessman Frederick Barber and Esther Jola \"Betty\" Barber who was Rumanian. John Barber's birthdate was changed to 1898 so that he could immigrate with his family to America. His affluent family moved to the United States in 1908 due to the heated political climate in Europe. As a child, Barber loved to draw, particularly maps. His parents encouraged his studies in art. In order to make his own living, Barber worked as an art reporter for newspapers and illustrated cartoons. He held a job with the political newspaper, The Masses  and  The Liberator . Through this employment, he became friends with the famous \"Eight\" in American art, (Robert Henri, John Sloan, George Luks, Everett Shinn, William Glackens, Arthur B. Davies, Ernest Lawson, and Maurice Prendergast.) ","Barber continued to study art from a historical and universal point of view identifying the drama that exists in individuals no matter what particular nationality of the individual. He returned to Paris at the beginning of World War I where he studied art from the Fourteenth and Fifteenth century in Paris with Andre L'Hote and Jules Pascin. He visited the Louvre where he modeled his work after the classic great artists such as Michelangelo and Rembrandt. He travelled to Europe and North Africa often. He spent months in Italy, Spain, Portugal, Greece, Holland, and Belgium. On his way back to America, he spent six months in Mexico where he was inpired by the colors and scenery and felt that he did some of his best work. His paintings often depict peasants or men and women working in industries such as fishing, marketing, baking, building, or playing music. He returned to New York in 1934 folowing the world depression.He had some successful shows in New York but was frustrated with the way in which art shows had selected juries and did not open itself to new artists. He became the President of Harcum Junior College in Byrn Mawr, Pennsylvania and talught art classes from 1943 to 1946 to support his mother and sister who had left Tunisia to be in his care.","\nThe French government purchased his painting \"Portuguese Women making Bread,\" for the Luxembourg Museum in Paris. He also did a series of pictures of Paris life for the  Vecko-Journalen of Stockholm . His paintings were exhibited at the Salon d'Automne and Salon des Tuileries. He also had an art show in Paris, called \"Hundred Drawings by Modern Masters\". He did a series of paintings in Mexico that were popular. He had exhibits in New York, Detroit, Boston, and Philadelphia. Barber spoke nine languages and completely immersed himself in the culture of the places that he visited and painted. His paintings were more successful in Europe than America. He married psychiatrist, Dr. Margaret de Ronde (1905-1998) in 1948 and they were life long partners. He died in 1965. They had both hoped that the world would one day recognize the classical and universal elements of his paintings. He was often commended for the lighter colors that he could make vibrant and the important effects of light in his paintings. Film star and art collector Vincent Price was an admirer and buyer of John Barber's paintings. Hollywood actor Edward G. Robinson also corresponded with John Barber because he was born in Rumania and was an admirer of his paintings. ","This collection contains the personal art library and papers of the artist and educator John Barber (1893-1965). The collection contains correspondence, clippings, photographs, slides, exhibition catalogues and brochures, biographical information, books, and engraving plates for Christmas cards. These materials document primarily the professional life of John Barber but also includes some of his personal life. There are letters from Hollywood actors Vincent Price who was an art collector and Edward G. Robinson who was born in Rumania like John Barber.","Letters from Stuart Davis, Max Eastman, Lieutenant J. K. Nicholson, Art Young, Jacques Chastenet, W. E. Bell, Charles J. Symmonds, Robert Minor, Thomas A. H. Hay, and correspondence about the Liberator and the Masses","Letters about his stay in Paris, selling paintings, exhibits. Correspondents include William Bullitt and a letter from actor Edward G. Robinson","Correspondents include the Glackens, Art Young, Jacques Chastenet,Barber's brother Dario,Golden Gate International Exposition invitation, Grace horne Galleris, Montclair Art Museum, Flora and Albert Sterner, post card from Betty Barber, brother-in-law Marcel Gozland, and Douglas MacArthur, 2nd, Private Secretary to the Ambassador of the Foreign Service,","Correspondents include Max Eastman,Barber's sister Rita, and Ambassador William C. Bullitt. There are teaching job cover letters and an essay about the Palestine controversy.","Letters about the death of his sister Rita and letters about his paintings.","Correspondents include Jacques Chastenet,William C. Bullitt,Helen Sloan, Max Eastman, Frederic Taubes, and Huntington Hartford (about selected juries for art paintings). Letters congratulating him on his marriage.","Correspondents include Max Eastman, Jacques Chastenet, Margaret du Ronde letter to Huntington Hartford, George and Helene Biddle, Esther and Philip Klein and a letter from Barber's brother Dario. Letters about Israel and Palestine including a letter from screenwriter and author Ben Hecht (\"A Child of the Century\").","Correspondents include Norman Kent, Jacques Chastenet,Edward G. Robinson, Barber's brother Dario,Max Eastman, Ira Glackens,  George Biddle,Huntington Hartford, Alfred Werner,and Warner Tabb. There is a John Barber letter to Clare Luce  and a John Barber correspondence with Lawrence H. Eldredge about the Philadelphia Art Alliance.","Correspondents include Barber's brother Dario, Barber's brother-in-law Marcel, Helen Sloan, Max Eastman,George Biddle,Jacques Chastenet,Will and Ariel Durant,and Frederic Taubes. Also included is a John Barber complaint about art critic Miss Grafly at the Evening and Sunday Bulletin (Philadelphia) and other letters asking for a showing of his work and frustration about how the art world handles exhibits. Barber complaint to Alfred Werner. Barber letter to U. Thant Secretary General of the United Nations about Israel.","Correspondents include Emidio Angelo, Max Eastman, Maricel Gozland, and Warner Tabb. Phillip W. Phillips responds to Barber (complaints about how his art was not displayed or respected). Research requests about Claude McKay. Generic response from United Nations to Barber's letter.","Barber letters complaining about juried art shows. Letters from the Galerie Fontainbleau in Miami Beach, Florida. Questions about The Masses and Liberator. Letters from actor and art collector Vincent Price. John Barber letters about his art work and wanting to have a painting at Yale.","Correspondents include Maricel Gozland,and letters from John Barber to unidentified recipient.","Betty Barber, mother of John Barber, sends postcards and letters about her trip to Italy","Letters about projects involving the Liberator and the Masses magazines(Garnett McCoy and Dennis Barrie,\"Archives of American Art\"); letters about R. H. Love's book on John Barber; paintings in Israel and memories about Jules Pascin.  Emidio Angelo is a correspondent.","Letter about The Liberator","Photocopies of letters from John Barber to Max Eastman. There are original letters from Max Eastman under John Barber correspondence by date.","Letter from H. L. Mencken to Claude McKay.1923. Claude McKay letter to John Barber about reviews for his book. 1940. Warning: Claude McKay letter contains racist language.","Edith Glackens letters to John Barber. Glackens letters can also be found in John Barber correspondence by date.","John Barber thanks John Sloan for buying and appreciating his painting. There are also cards from Helen Sloan to John Barber.","Fredric Taubes correspondence can also be found in John Barber correspondence by date.","Includes letter from Vincent Price","Reyn Gallery, Fischman-Weiner Gallery, Parke-Bernet Galleries, Inc., Galerie Philadelphie,Signature Galleries,Charles T. Henry Gallery, Print Council of America, The Pennsylvania Academy of the Fine Arts, Petit Palais, Hammer Galleries,National Portrait Gallery, and Gertrude Kasle Gallery.","Project on The Masses and the Liberator; Ben Goldstein. See also Margaret De Ronde correspondence.","Writing about Germany in 1939","drawings of money, meteorology,chemistry,military ships, and architecture.","drawings of anatomy, forts, biology, geology, farm machinery, flags, Greece, and Egypt.","Drawings of people from different cultures, astronomy, uniforms, and military arms.","Drawings of American landscapes","Copy of \"Carlotta\" illustrated by John Barber; Marie Sterner Galleries; Exposicao De pintura Escultura E Arquitectura; \"Mostly Portugal\" Grace Horne Galleries; Vanderbilt Gallery; Hein Semke; Ehrich Newhouse; Artistes Amrericains De Paris Galerie De La Renaissance.","The Second Biennial Exhibition of Contemporary American Paintings The Virginia Museum of Fine Arts; The Bulletin of the Town Hall Club; The Art of Camille Pissarro In Retrospect Duran-Ruel Galleries; Early Impressionism 1868-1883 Knoedler; Pioneers of Modern Art in America Whitney Museum of American Art.","Paintings by Arnold Conason, Charles Barzansky Galleries; 1952 Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art; Catalogue of the One Hundred and Forty-Eighth Annual Exhibition of Painting and Sculpture 1953, The Pennsylvania Academy of the Fine Arts; Second Annual Fine Arts Festival Harcum Junior College, 1956; Art Alliance Bulletin 1957; Reception in honor of John Barber, The Philadelphia Art Alliance; Galerie Philadelphie; John Barber, American Artist Special Summer Issue June, July, August 1959; and John Barber Mexican Paintings 1941-1965, Art and Culture Center of Hollywood.","John Barber, Reyn Gallery; John Barber \"Mexican Crucifixion\",Exhibition of Contemporary Liturgical Art 1963;\"Method of Work\" by John Barber, Signature Galleries; Paintings by John Barber, Gulf American Galleries; \"On the Ranch\", Third Philadelphia Arts Festival; Regional Exhibition, Gallery M, The Pennsylvania Academy of the Fine Arts; The Black Experience in Prints, The Pratt Graphics Center Gallery; American, French \u0026 Other Modern Paintings Drawings Sculptures, Parke-Bernet Galleries, Inc.; 50th Anniversary The Philadelphia Art Alliance.","Exposicoes Do Pintor Americano John Barber, Secretariado Da Propaganda Nacional; John Barber Retrospect, Bacardi Art Gallery; \"Unemployed Union Square\",John Barber, Signature Galleries; Peintres Americains, Galerie Briant-Robert; and \"Wanted: Works by John Barber for Purchase/Documentation for \"First American John Barber Retrospective Exhibition Planned for Febrary 1975\" by Signature Galleries.","\"Conversation on a Cold Morning\", Amish Country; John Barber's Formative Years \"Portugues Washerwomen\",R. H. Love Galleries, 1980-1981;John Barber 1898-1965, Childs Gallery; \"Tortilla Factory\" invitation to preview of John Barber The Mexican Period, Art and Culture Center of Hollywood, Florida, 1985;  John Barber: The Artist The Man, book by Richard H. Love; \"The Artists' Response to Political and Social Issues, Ben Goldstein; Bayly Art Museum exhibit, and \"John Barber, 1893-1965 Selections from the Archive\" 1992; \"Men of Florence\" R. H. Love Galleries.","Eigth Street Gallery announces its Opening Group Exhibition of Contemporary American Art; Galerie Fontainebleau; \"Mexican Boy In a Sombrero\" John Barber 1898-1965; \"John Barber to Give Interesting Talks On the Subject of DaVinci\";","Catalog of an Exhibition of Drawings by Jules Pascin, Berlin Photgraphic Company; Peintures-Aquarelles-Dessins Par Pascin, Galeries Pierre; Water Color Drawings by Jules Pascin, Daniel Gallery; Pascin, Niveau Gallery; De La Patelliere; Pascin, 100 Oil Paintings, Watercolours and Drawings, Bezalel national Museum, Jerusalem, 1958;Aus Ausstellungen der Galerie Flechtheim; \"Pascin by Andre Kormendi\", The Arts December 1930; articles and sketches are included.","Tholen Catalogus; Andre L'Hote, Galerie Moderne at Brentano's; Derain, Brummer Gallery; 19th Century Selections, Babcock Galleries; The Pennsylvania Hospital Key Ball; Martin Lewis, The Old Print Shop Portfolio; and Gallery of One Hundred Famous Portraits, Museum Galleries, London;","\"\"Lectures pour Tous\" 6 Annee 10 Liv.-Juileet 1904; \"Notes Sur L'Art De Seurat\", L'Esprit Nouveau p. 13-28;  Picasso: Forty Years of his Art\" illustration \"The Race\" 1922; \"Palette and Bench,\" New Series, Volume I, No. 1, Old Series, Volume III, No. 3, December, 1910; \"Liberator\" January 1923; \"City Life\" \"Charlie Chaplin Talks about Art by John Barber, February 1941, Volume 1, No. 1.;","\"The Purple Patches of 1945\" Harcum Junior College yearbook","\"Jules Pascin: An Informal Sketch\", \"Arts\", June 1956; Taubes, Frederic \"John Barber, painter\", \"American Artist\" Special Summer Issue June July August 1959; Barber, John, \"Creating Your Compositions\", \"The Artist\" October 1962, Volume 64 No. 1, Issue 379.","\"Portrait of John Barber\" by Jules Pascin, \"Modern Paintings, Drawings, Parke-Bernet Galleries, Inc.; \"Plage Tunisienne\" inscribed to John Barber, \"Nineteenth and Twentieth Century Engravings, Etchings, Lithographs, Woodcuts, Old Master Engravings \u0026 Etchings, Parke-Bernet Galleries,Inc., 1966; \n\"Dog Studies: Pair Drawings\" by John Barber, \"American, French, \u0026 Other Modern Paintings, Drawings, Sculptures, Parke-Bernet Galleries, Inc., 1966; \"20th Century Paintings and Drawings\", Parke-Bernet Galleries, Inc. 1966.","John Barber's paintings are mentioned in the Gulf Gallery listed in \"The Art Gallery\" magazine, 1 December 1968, p. 38; Advertisement for John Barber paintings in the Gulf Gallery listed in \"The Village Post\" December, 1968, Volume 14, No. 12; Blurb about John Barber in \"Signature Newsletter\" September, 1974, Volume 1, No. 1; Advertisement for John Barber paintings wanted by Signature Galleries in \"Art in America\" January-February, 1975; Advertisement for John Barber painting, \"Florence Slums\" by Signature Galleries in \"Art News\" January 1975;Advertisement for John Barber painting, \"The Italian Band\" by Signature Galleries in \"Art News\", February 1976.","\"American 18th, 19th,\u0026 20th Century Paintings, Drawings, Watercolors \u0026 Sculpture\" Painting \"Mealtime at the Market\" by John Barber listed on page 156, Sotheby Parke-Bernet Inc., 17 April, 1975; \"American Paintings\" R. H. Love Galleries, 1977, page 9 John Barber painting.","Advertisement for John Barber exhibit \"John Barber's Formative Years\" on the back inside cover of \"National Arts Guide\" November-December 1980, Volume II, Number 6; Child's Gallery Print Annual Volume 11 and Volume 15.","\"Selections Bayly Art Museum\" at the University of Virginia contains a listing and picture of John Barber's painting \"Cement Workers\" 1986; Advertisement for John Barber exhibit at the Childs Gallery in \"Art News\" Summer 1988; Bayly Art Museum Newsletter, Spring 1988, Volume 3, No. 2; and Bayly Art Museum Newsletter, Fall 1992; Volume 8, No. 1","see also Printed for Harcum Junior College yearbook where John Barber was an instructor.","-Maestrii Artei Romanesti by Stefan Dimitrescu \n-William Chadwick 1879-1962: An American Impressionist by Richard H. Love\n-Parole Collettive by Ezio Taddei\n-Indische Plastik by William Cohn\n-No Dessert Until You've Finished Your Mashed Potatoes by William O'Brian \n-The Life of Rembrandt Van Rijn by Hendrik Willem Van Loon\n-L'Art et Les Artistes by Maurice du Seigneur\n-Grant Allen's Historical Guides: Venice by Grant Allen\n-French Leavesby E.V. Lucas\n-The Civilization of the Renaissance in Italy by Jacob Burckhardt\n-Les Berceaux de la Jeune Peinture by Andre Warnod \n-Pascin...Pascin...C'est Moi! By Papazoff\n-Madame Recamier by Edouard Harriet\n-Feb. 1934 Story–Devoted Solely to the Short Story\n-Modern French Painters by Jan Gordon\n-La Miniature En Orient by E. Kuhnel \n-The Technique of Painting by Charles Moreau-Vauthier\n-The Technique of Oil Painting by Frederic Taubes\n-The Elder Peter Bruegel by Aldous Huxley","-Archives of American Art Journal by the Smithsonian Institution\n-Nineteenth and Twentieth Century Engravings and Etchings and Lithographs and Woodcuts Old Master Engravings and Etchings by Various (2 copies)\n-Modern Paintings and Drawings by Various\n-American XIX-XX Century Paintings Drawings Sculptures by Various (2 copies)\n-From Reliable Sources by the Archives of American Art-Bruegels Gemalde by Max Dvorak \n-Portraits in the Making by Phoebe Flory Walker\n-Rembrant by Emile Verhaeren-Ecrits sur la Peinture by Andre Lhote\n-Color by Herbert E. Martini-My Life by Isadora Duncan-Home to Harlem by Claude McKay\n-Rembrandt by Klassiker der Kunst VIII\n-La Peintre Independante En France II by Adolphe Basler and Charles Kunstler\n-Art Fakes and Forgeries by Fritz Mendax\n-Modern Art by Thomas Craven-The Masterpieces of Rubens by Gowans's Art Books\n-The Masterpieces of Botticelli by Gowans's Art Books\n-The Masterpieces of Fra Angelico by Gowans's Art Books\n-The Masterpieces of Goya by Gowans's Art Books\n-The Masterpieces of Durer by Gowans's Art Books\n-The Masterpieces of Carpaccio \u0026 Giorgione by Gowans's Art Books\n-The Masterpieces of Orcagna by Gowans's Art Books\n-The Masterpieces of Masaccio by Gowans's Art Books\n-The Masterpieces of Gozzoli by Gowans's Art Books\n-The Masterpieces of Veronese by Gowans's Art books\n-LesChefs-D'Oeuvre de Rembrandt by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Raeburn by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Lotto by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvre de Carpaccio et de Giorgione by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Hogarth by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Giotto by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Jordaens by Petite Collection D'Art Gowans\n-Papa Bouchard by Molly Elliot Seawell\n-De La Palette A L'Ecritoire by Andre Lhote","-Elements de la Construction Picturale by J. W. Power\n-The Purple Patches of 1946 by Harcum Junior College\n-Giorgione and his Circle by Johns Hopkins University\n-Die Malerei der FruhenItaliener by Das Bild\n-Les Vieilles Tapisseries Francaises by Collection \"Orbis Pictus\"\n-L'Art Vivant by Florent Fels\n-An Approach to Art by Mary Mullen-Abracadabra and Modern Art by Frederic Taubes\n-Le Greco by Paul Lafond \n-Gist of Art by John Sloan\n -Love and Revolution by Max Eastman\n-Rembrandt y Klassiker der Kunst II\n-Paul Cezanne by Julius Meier-Graefe\n-Masterpieces of Artby New York World's Fair 1940-Das Bruegel Buch\n-An Outline History of Art by Joseph Pijoan\n-The Arts by Hendrik Willem Van Loon-","-El Greco from the Oxford University Press\n-Xavier de Callatay presented by Joanna Dean Galleries\n-Modern Paintings Drawings Watercolors Sculptures from Parke-Bernet Galleries (3copies)\n-Catalogue of Fine Sporting Prints Naval \u0026 Decorative Subjects and Views from Sotheby \u0026 Co.\n-American XIX-XX Century Paintings Drawings Sculptures from Parke-Bernet Galleries\n-Highly Important Impressionist \u0026 Modern Paintings \u0026 Drawings from Parke-Bernet Galleries\n-Modern Paintings and Drawings from Parke-Bernet Galleries\n-Pascin a publication of Washington Irving Gallery (2 copies)\n-The League Jan. 1934 from the Art Students League of New York\n-American Artist Special Summer Issue from Watson-Guptill (6 copies)\n-The Village Post Dec. 1968 (2 copies)\n-The Artist Oct. 1962\n-Georges de la Tour and the Brothers Le Nain edited by Louis Carre\n-Cut out excerpts of L'Amour de L'Art Nov. 1928\n-Cezanne from the Pitman Gallery\n-Seurat from the Pitman Gallery\n-Chagall from the Museum of Modern Art\n-Tresors D'Art en France published by the French Government\n-Masters in Art: Duccio-Exhibition of American Art directed by Marie Sterner\n-Modern Paintings and Drawings from Parke-Bernet Gallleries\n-The Century Magazine Sept. 1891\n-The Century Magazine Jan. 1892\n-Max Band by Waldemar George\n-Seurat byAndre Lhote-Traite de la Figure by Andre Lhote\n-Raphael Soyer Retrospective exhibition 1926-1956 from Babcock Galleries\n-Excerpt of Barber Ranks with Impressionist Greats by Hannah Polansky\n-Bruyere presented by DeLigny Art International\n-Persian Painting by the Metropolitan Museum of Art Miniatures\n-Don Freeman's Newsstand by Don Freeman\n-Painting and Sculpture French-English-German-Dutch and Flemish-Italian-Spanish-American Fourteenth to the Twentieth Century from the Art Institute of Chicago\n-Studio Secrets by Frederic Tauber\n-Pictorial Composition and the Art of Drawing by Frederic Taubes\n-L'Art Vivant by Florent Fels\n-The Mastery of Oil Painting by Frederic Taubes\n-You Don't Know What you Like by Frederic Taubes\n-Pictures to Grow up With by Katherine Gibson\n-Die Gemaldegalerie in Wien by Gustav Gluck","-20 Centuries of Mexican Art from the Museum of Modern Art, New York\n-Slapstick and Dumbbell by Hiler Harzberg and Arthur Moss\n-Famous Artists of the Past by Alice Elizabeth Chase\n-Arts in the Rumanian People's Republic\n-Le Costume Civil en France du XIII au XIX Siecle by Camille Piton\n-Clave by Jean Cassou\n-The Lonely Ones by William Steig \n-Pascin by Alfred Werner \n-Skizzenbuch von Pascin by Erin Sommer\n-Boardman Robinson by Albert Christ-Janer\n-Pascin by Andre Warnod\n-Boeckl from Metten-Verlag Wien","-All the Brave: Drawings of the Spanish War by Luis Quintanilla\n-Les Peintres Siennois by Emilio Cecchi\n-On My Way by Horace Liveright \n-Picasso: Forty Years of his Art from the Museum of Modern Art\n-El Greco by J.F. Willumsen\n-El Greco II by J.F. Willumsen\n-Pop Hart by Holger Cahill\n-Durer I by Erwin Panofsky-Durer II by Erwin Panofsky","Albert and Shirley Small Special Collections Library","Barber , John, 1893-1965","English French Italian German"],"unitid_tesim":["MSS 16530","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","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/1050"],"normalized_title_ssm":["John Barber papers"],"collection_title_tesim":["John Barber papers"],"collection_ssim":["John Barber papers"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Barber , John, 1893-1965"],"creator_ssim":["Barber , John, 1893-1965"],"creator_persname_ssim":["Barber , John, 1893-1965"],"creators_ssim":["Barber , John, 1893-1965"],"acqinfo_ssim":["Transfered by Sandra Cintron, Chief Registrar and Collections of the Fralin Art Museum, 22 April 2021. ","These material were orginally acquired by the Fralin Art Museum. The materials were brought to the museum for study related to the 1988 retrospective exhibition of the artist. A number of paintings, drawings and other works were donated to the museum in 1985, 1988, 1999, and 2011. The archive was also given with the intent that it would become part of the UVA Library."],"access_subjects_ssim":["Arts"],"access_subjects_ssm":["Arts"],"has_online_content_ssim":["false"],"physdesc_tesim":["fair"],"extent_ssm":["12.5 Cubic Feet 7 legal size document boxes, 2  small oversize flat folders, one box set of 2 volumes, and 6 cubics of books"],"extent_tesim":["12.5 Cubic Feet 7 legal size document boxes, 2  small oversize flat folders, one box set of 2 volumes, and 6 cubics of books"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is minimally processed and open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is minimally processed and open for research."],"bioghist_html_tesm":["\u003cp\u003eJohn Barber (1893-1965) who became an American artist, was born in Galatz,Rumania to an English businessman Frederick Barber and Esther Jola \"Betty\" Barber who was Rumanian. John Barber's birthdate was changed to 1898 so that he could immigrate with his family to America. His affluent family moved to the United States in 1908 due to the heated political climate in Europe. As a child, Barber loved to draw, particularly maps. His parents encouraged his studies in art. In order to make his own living, Barber worked as an art reporter for newspapers and illustrated cartoons. He held a job with the political newspaper,\u003cemph render=\"italic\"\u003eThe Masses\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eThe Liberator\u003c/emph\u003e. Through this employment, he became friends with the famous \"Eight\" in American art, (Robert Henri, John Sloan, George Luks, Everett Shinn, William Glackens, Arthur B. Davies, Ernest Lawson, and Maurice Prendergast.) \u003c/p\u003e\n","\u003cp\u003eBarber continued to study art from a historical and universal point of view identifying the drama that exists in individuals no matter what particular nationality of the individual. He returned to Paris at the beginning of World War I where he studied art from the Fourteenth and Fifteenth century in Paris with Andre L'Hote and Jules Pascin. He visited the Louvre where he modeled his work after the classic great artists such as Michelangelo and Rembrandt. He travelled to Europe and North Africa often. He spent months in Italy, Spain, Portugal, Greece, Holland, and Belgium. On his way back to America, he spent six months in Mexico where he was inpired by the colors and scenery and felt that he did some of his best work. His paintings often depict peasants or men and women working in industries such as fishing, marketing, baking, building, or playing music. He returned to New York in 1934 folowing the world depression.He had some successful shows in New York but was frustrated with the way in which art shows had selected juries and did not open itself to new artists. He became the President of Harcum Junior College in Byrn Mawr, Pennsylvania and talught art classes from 1943 to 1946 to support his mother and sister who had left Tunisia to be in his care.\u003c/p\u003e\n","\u003cp\u003e\nThe French government purchased his painting \"Portuguese Women making Bread,\" for the Luxembourg Museum in Paris. He also did a series of pictures of Paris life for the \u003cemph render=\"italic\"\u003eVecko-Journalen of Stockholm\u003c/emph\u003e. His paintings were exhibited at the Salon d'Automne and Salon des Tuileries. He also had an art show in Paris, called \"Hundred Drawings by Modern Masters\". He did a series of paintings in Mexico that were popular. He had exhibits in New York, Detroit, Boston, and Philadelphia. Barber spoke nine languages and completely immersed himself in the culture of the places that he visited and painted. His paintings were more successful in Europe than America. He married psychiatrist, Dr. Margaret de Ronde (1905-1998) in 1948 and they were life long partners. He died in 1965. They had both hoped that the world would one day recognize the classical and universal elements of his paintings. He was often commended for the lighter colors that he could make vibrant and the important effects of light in his paintings. Film star and art collector Vincent Price was an admirer and buyer of John Barber's paintings. Hollywood actor Edward G. Robinson also corresponded with John Barber because he was born in Rumania and was an admirer of his paintings. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["John Barber (1893-1965) who became an American artist, was born in Galatz,Rumania to an English businessman Frederick Barber and Esther Jola \"Betty\" Barber who was Rumanian. John Barber's birthdate was changed to 1898 so that he could immigrate with his family to America. His affluent family moved to the United States in 1908 due to the heated political climate in Europe. As a child, Barber loved to draw, particularly maps. His parents encouraged his studies in art. In order to make his own living, Barber worked as an art reporter for newspapers and illustrated cartoons. He held a job with the political newspaper, The Masses  and  The Liberator . Through this employment, he became friends with the famous \"Eight\" in American art, (Robert Henri, John Sloan, George Luks, Everett Shinn, William Glackens, Arthur B. Davies, Ernest Lawson, and Maurice Prendergast.) ","Barber continued to study art from a historical and universal point of view identifying the drama that exists in individuals no matter what particular nationality of the individual. He returned to Paris at the beginning of World War I where he studied art from the Fourteenth and Fifteenth century in Paris with Andre L'Hote and Jules Pascin. He visited the Louvre where he modeled his work after the classic great artists such as Michelangelo and Rembrandt. He travelled to Europe and North Africa often. He spent months in Italy, Spain, Portugal, Greece, Holland, and Belgium. On his way back to America, he spent six months in Mexico where he was inpired by the colors and scenery and felt that he did some of his best work. His paintings often depict peasants or men and women working in industries such as fishing, marketing, baking, building, or playing music. He returned to New York in 1934 folowing the world depression.He had some successful shows in New York but was frustrated with the way in which art shows had selected juries and did not open itself to new artists. He became the President of Harcum Junior College in Byrn Mawr, Pennsylvania and talught art classes from 1943 to 1946 to support his mother and sister who had left Tunisia to be in his care.","\nThe French government purchased his painting \"Portuguese Women making Bread,\" for the Luxembourg Museum in Paris. He also did a series of pictures of Paris life for the  Vecko-Journalen of Stockholm . His paintings were exhibited at the Salon d'Automne and Salon des Tuileries. He also had an art show in Paris, called \"Hundred Drawings by Modern Masters\". He did a series of paintings in Mexico that were popular. He had exhibits in New York, Detroit, Boston, and Philadelphia. Barber spoke nine languages and completely immersed himself in the culture of the places that he visited and painted. His paintings were more successful in Europe than America. He married psychiatrist, Dr. Margaret de Ronde (1905-1998) in 1948 and they were life long partners. He died in 1965. They had both hoped that the world would one day recognize the classical and universal elements of his paintings. He was often commended for the lighter colors that he could make vibrant and the important effects of light in his paintings. Film star and art collector Vincent Price was an admirer and buyer of John Barber's paintings. Hollywood actor Edward G. Robinson also corresponded with John Barber because he was born in Rumania and was an admirer of his paintings. "],"prefercite_html_tesm":["\u003cp\u003eMSS 16530, John Barber papers, Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16530, John Barber papers, Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the personal art library and papers of the artist and educator John Barber (1893-1965). The collection contains correspondence, clippings, photographs, slides, exhibition catalogues and brochures, biographical information, books, and engraving plates for Christmas cards. These materials document primarily the professional life of John Barber but also includes some of his personal life. There are letters from Hollywood actors Vincent Price who was an art collector and Edward G. Robinson who was born in Rumania like John Barber.\u003c/p\u003e","\u003cp\u003eLetters from Stuart Davis, Max Eastman, Lieutenant J. K. Nicholson, Art Young, Jacques Chastenet, W. E. Bell, Charles J. Symmonds, Robert Minor, Thomas A. H. Hay, and correspondence about the Liberator and the Masses\u003c/p\u003e","\u003cp\u003eLetters about his stay in Paris, selling paintings, exhibits. Correspondents include William Bullitt and a letter from actor Edward G. Robinson\u003c/p\u003e","\u003cp\u003eCorrespondents include the Glackens, Art Young, Jacques Chastenet,Barber's brother Dario,Golden Gate International Exposition invitation, Grace horne Galleris, Montclair Art Museum, Flora and Albert Sterner, post card from Betty Barber, brother-in-law Marcel Gozland, and Douglas MacArthur, 2nd, Private Secretary to the Ambassador of the Foreign Service,\u003c/p\u003e","\u003cp\u003eCorrespondents include Max Eastman,Barber's sister Rita, and Ambassador William C. Bullitt. There are teaching job cover letters and an essay about the Palestine controversy.\u003c/p\u003e","\u003cp\u003eLetters about the death of his sister Rita and letters about his paintings.\u003c/p\u003e","\u003cp\u003eCorrespondents include Jacques Chastenet,William C. Bullitt,Helen Sloan, Max Eastman, Frederic Taubes, and Huntington Hartford (about selected juries for art paintings). Letters congratulating him on his marriage.\u003c/p\u003e","\u003cp\u003eCorrespondents include Max Eastman, Jacques Chastenet, Margaret du Ronde letter to Huntington Hartford, George and Helene Biddle, Esther and Philip Klein and a letter from Barber's brother Dario. Letters about Israel and Palestine including a letter from screenwriter and author Ben Hecht (\"A Child of the Century\").\u003c/p\u003e","\u003cp\u003eCorrespondents include Norman Kent, Jacques Chastenet,Edward G. Robinson, Barber's brother Dario,Max Eastman, Ira Glackens,  George Biddle,Huntington Hartford, Alfred Werner,and Warner Tabb. There is a John Barber letter to Clare Luce  and a John Barber correspondence with Lawrence H. Eldredge about the Philadelphia Art Alliance.\u003c/p\u003e","\u003cp\u003eCorrespondents include Barber's brother Dario, Barber's brother-in-law Marcel, Helen Sloan, Max Eastman,George Biddle,Jacques Chastenet,Will and Ariel Durant,and Frederic Taubes. Also included is a John Barber complaint about art critic Miss Grafly at the Evening and Sunday Bulletin (Philadelphia) and other letters asking for a showing of his work and frustration about how the art world handles exhibits. Barber complaint to Alfred Werner. Barber letter to U. Thant Secretary General of the United Nations about Israel.\u003c/p\u003e","\u003cp\u003eCorrespondents include Emidio Angelo, Max Eastman, Maricel Gozland, and Warner Tabb. Phillip W. Phillips responds to Barber (complaints about how his art was not displayed or respected). Research requests about Claude McKay. Generic response from United Nations to Barber's letter.\u003c/p\u003e","\u003cp\u003eBarber letters complaining about juried art shows. Letters from the Galerie Fontainbleau in Miami Beach, Florida. Questions about The Masses and Liberator. Letters from actor and art collector Vincent Price. John Barber letters about his art work and wanting to have a painting at Yale.\u003c/p\u003e","\u003cp\u003eCorrespondents include Maricel Gozland,and letters from John Barber to unidentified recipient.\u003c/p\u003e","\u003cp\u003eBetty Barber, mother of John Barber, sends postcards and letters about her trip to Italy\u003c/p\u003e","\u003cp\u003eLetters about projects involving the Liberator and the Masses magazines(Garnett McCoy and Dennis Barrie,\"Archives of American Art\"); letters about R. H. Love's book on John Barber; paintings in Israel and memories about Jules Pascin.  Emidio Angelo is a correspondent.\u003c/p\u003e","\u003cp\u003eLetter about The Liberator\u003c/p\u003e","\u003cp\u003ePhotocopies of letters from John Barber to Max Eastman. There are original letters from Max Eastman under John Barber correspondence by date.\u003c/p\u003e","\u003cp\u003eLetter from H. L. Mencken to Claude McKay.1923. Claude McKay letter to John Barber about reviews for his book. 1940. Warning: Claude McKay letter contains racist language.\u003c/p\u003e","\u003cp\u003eEdith Glackens letters to John Barber. Glackens letters can also be found in John Barber correspondence by date.\u003c/p\u003e","\u003cp\u003eJohn Barber thanks John Sloan for buying and appreciating his painting. There are also cards from Helen Sloan to John Barber.\u003c/p\u003e","\u003cp\u003eFredric Taubes correspondence can also be found in John Barber correspondence by date.\u003c/p\u003e","\u003cp\u003eIncludes letter from Vincent Price\u003c/p\u003e","\u003cp\u003eReyn Gallery, Fischman-Weiner Gallery, Parke-Bernet Galleries, Inc., Galerie Philadelphie,Signature Galleries,Charles T. Henry Gallery, Print Council of America, The Pennsylvania Academy of the Fine Arts, Petit Palais, Hammer Galleries,National Portrait Gallery, and Gertrude Kasle Gallery.\u003c/p\u003e","\u003cp\u003eProject on The Masses and the Liberator; Ben Goldstein. See also Margaret De Ronde correspondence.\u003c/p\u003e","\u003cp\u003eWriting about Germany in 1939\u003c/p\u003e","\u003cp\u003edrawings of money, meteorology,chemistry,military ships, and architecture.\u003c/p\u003e","\u003cp\u003edrawings of anatomy, forts, biology, geology, farm machinery, flags, Greece, and Egypt.\u003c/p\u003e","\u003cp\u003eDrawings of people from different cultures, astronomy, uniforms, and military arms.\u003c/p\u003e","\u003cp\u003eDrawings of American landscapes\u003c/p\u003e","\u003cp\u003eCopy of \"Carlotta\" illustrated by John Barber; Marie Sterner Galleries; Exposicao De pintura Escultura E Arquitectura; \"Mostly Portugal\" Grace Horne Galleries; Vanderbilt Gallery; Hein Semke; Ehrich Newhouse; Artistes Amrericains De Paris Galerie De La Renaissance.\u003c/p\u003e","\u003cp\u003eThe Second Biennial Exhibition of Contemporary American Paintings The Virginia Museum of Fine Arts; The Bulletin of the Town Hall Club; The Art of Camille Pissarro In Retrospect Duran-Ruel Galleries; Early Impressionism 1868-1883 Knoedler; Pioneers of Modern Art in America Whitney Museum of American Art.\u003c/p\u003e","\u003cp\u003ePaintings by Arnold Conason, Charles Barzansky Galleries; 1952 Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art; Catalogue of the One Hundred and Forty-Eighth Annual Exhibition of Painting and Sculpture 1953, The Pennsylvania Academy of the Fine Arts; Second Annual Fine Arts Festival Harcum Junior College, 1956; Art Alliance Bulletin 1957; Reception in honor of John Barber, The Philadelphia Art Alliance; Galerie Philadelphie; John Barber, American Artist Special Summer Issue June, July, August 1959; and John Barber Mexican Paintings 1941-1965, Art and Culture Center of Hollywood.\u003c/p\u003e","\u003cp\u003eJohn Barber, Reyn Gallery; John Barber \"Mexican Crucifixion\",Exhibition of Contemporary Liturgical Art 1963;\"Method of Work\" by John Barber, Signature Galleries; Paintings by John Barber, Gulf American Galleries; \"On the Ranch\", Third Philadelphia Arts Festival; Regional Exhibition, Gallery M, The Pennsylvania Academy of the Fine Arts; The Black Experience in Prints, The Pratt Graphics Center Gallery; American, French \u0026amp; Other Modern Paintings Drawings Sculptures, Parke-Bernet Galleries, Inc.; 50th Anniversary The Philadelphia Art Alliance.\u003c/p\u003e","\u003cp\u003eExposicoes Do Pintor Americano John Barber, Secretariado Da Propaganda Nacional; John Barber Retrospect, Bacardi Art Gallery; \"Unemployed Union Square\",John Barber, Signature Galleries; Peintres Americains, Galerie Briant-Robert; and \"Wanted: Works by John Barber for Purchase/Documentation for \"First American John Barber Retrospective Exhibition Planned for Febrary 1975\" by Signature Galleries.\u003c/p\u003e","\u003cp\u003e\"Conversation on a Cold Morning\", Amish Country; John Barber's Formative Years \"Portugues Washerwomen\",R. H. Love Galleries, 1980-1981;John Barber 1898-1965, Childs Gallery; \"Tortilla Factory\" invitation to preview of John Barber The Mexican Period, Art and Culture Center of Hollywood, Florida, 1985;  John Barber: The Artist The Man, book by Richard H. Love; \"The Artists' Response to Political and Social Issues, Ben Goldstein; Bayly Art Museum exhibit, and \"John Barber, 1893-1965 Selections from the Archive\" 1992; \"Men of Florence\" R. H. Love Galleries.\u003c/p\u003e","\u003cp\u003eEigth Street Gallery announces its Opening Group Exhibition of Contemporary American Art; Galerie Fontainebleau; \"Mexican Boy In a Sombrero\" John Barber 1898-1965; \"John Barber to Give Interesting Talks On the Subject of DaVinci\";\u003c/p\u003e","\u003cp\u003eCatalog of an Exhibition of Drawings by Jules Pascin, Berlin Photgraphic Company; Peintures-Aquarelles-Dessins Par Pascin, Galeries Pierre; Water Color Drawings by Jules Pascin, Daniel Gallery; Pascin, Niveau Gallery; De La Patelliere; Pascin, 100 Oil Paintings, Watercolours and Drawings, Bezalel national Museum, Jerusalem, 1958;Aus Ausstellungen der Galerie Flechtheim; \"Pascin by Andre Kormendi\", The Arts December 1930; articles and sketches are included.\u003c/p\u003e","\u003cp\u003eTholen Catalogus; Andre L'Hote, Galerie Moderne at Brentano's; Derain, Brummer Gallery; 19th Century Selections, Babcock Galleries; The Pennsylvania Hospital Key Ball; Martin Lewis, The Old Print Shop Portfolio; and Gallery of One Hundred Famous Portraits, Museum Galleries, London;\u003c/p\u003e","\u003cp\u003e\"\"Lectures pour Tous\" 6 Annee 10 Liv.-Juileet 1904; \"Notes Sur L'Art De Seurat\", L'Esprit Nouveau p. 13-28;  Picasso: Forty Years of his Art\" illustration \"The Race\" 1922; \"Palette and Bench,\" New Series, Volume I, No. 1, Old Series, Volume III, No. 3, December, 1910; \"Liberator\" January 1923; \"City Life\" \"Charlie Chaplin Talks about Art by John Barber, February 1941, Volume 1, No. 1.;\u003c/p\u003e","\u003cp\u003e\"The Purple Patches of 1945\" Harcum Junior College yearbook\u003c/p\u003e","\u003cp\u003e\"Jules Pascin: An Informal Sketch\", \"Arts\", June 1956; Taubes, Frederic \"John Barber, painter\", \"American Artist\" Special Summer Issue June July August 1959; Barber, John, \"Creating Your Compositions\", \"The Artist\" October 1962, Volume 64 No. 1, Issue 379.\u003c/p\u003e","\u003cp\u003e\"Portrait of John Barber\" by Jules Pascin, \"Modern Paintings, Drawings, Parke-Bernet Galleries, Inc.; \"Plage Tunisienne\" inscribed to John Barber, \"Nineteenth and Twentieth Century Engravings, Etchings, Lithographs, Woodcuts, Old Master Engravings \u0026amp; Etchings, Parke-Bernet Galleries,Inc., 1966; \n\"Dog Studies: Pair Drawings\" by John Barber, \"American, French, \u0026amp; Other Modern Paintings, Drawings, Sculptures, Parke-Bernet Galleries, Inc., 1966; \"20th Century Paintings and Drawings\", Parke-Bernet Galleries, Inc. 1966.\u003c/p\u003e","\u003cp\u003eJohn Barber's paintings are mentioned in the Gulf Gallery listed in \"The Art Gallery\" magazine, 1 December 1968, p. 38; Advertisement for John Barber paintings in the Gulf Gallery listed in \"The Village Post\" December, 1968, Volume 14, No. 12; Blurb about John Barber in \"Signature Newsletter\" September, 1974, Volume 1, No. 1; Advertisement for John Barber paintings wanted by Signature Galleries in \"Art in America\" January-February, 1975; Advertisement for John Barber painting, \"Florence Slums\" by Signature Galleries in \"Art News\" January 1975;Advertisement for John Barber painting, \"The Italian Band\" by Signature Galleries in \"Art News\", February 1976.\u003c/p\u003e","\u003cp\u003e\"American 18th, 19th,\u0026amp; 20th Century Paintings, Drawings, Watercolors \u0026amp; Sculpture\" Painting \"Mealtime at the Market\" by John Barber listed on page 156, Sotheby Parke-Bernet Inc., 17 April, 1975; \"American Paintings\" R. H. Love Galleries, 1977, page 9 John Barber painting.\u003c/p\u003e","\u003cp\u003eAdvertisement for John Barber exhibit \"John Barber's Formative Years\" on the back inside cover of \"National Arts Guide\" November-December 1980, Volume II, Number 6; Child's Gallery Print Annual Volume 11 and Volume 15.\u003c/p\u003e","\u003cp\u003e\"Selections Bayly Art Museum\" at the University of Virginia contains a listing and picture of John Barber's painting \"Cement Workers\" 1986; Advertisement for John Barber exhibit at the Childs Gallery in \"Art News\" Summer 1988; Bayly Art Museum Newsletter, Spring 1988, Volume 3, No. 2; and Bayly Art Museum Newsletter, Fall 1992; Volume 8, No. 1\u003c/p\u003e","\u003cp\u003esee also Printed for Harcum Junior College yearbook where John Barber was an instructor.\u003c/p\u003e","\u003cp\u003e-Maestrii Artei Romanesti by Stefan Dimitrescu \n-William Chadwick 1879-1962: An American Impressionist by Richard H. Love\n-Parole Collettive by Ezio Taddei\n-Indische Plastik by William Cohn\n-No Dessert Until You've Finished Your Mashed Potatoes by William O'Brian \n-The Life of Rembrandt Van Rijn by Hendrik Willem Van Loon\n-L'Art et Les Artistes by Maurice du Seigneur\n-Grant Allen's Historical Guides: Venice by Grant Allen\n-French Leavesby E.V. Lucas\n-The Civilization of the Renaissance in Italy by Jacob Burckhardt\n-Les Berceaux de la Jeune Peinture by Andre Warnod \n-Pascin...Pascin...C'est Moi! By Papazoff\n-Madame Recamier by Edouard Harriet\n-Feb. 1934 Story–Devoted Solely to the Short Story\n-Modern French Painters by Jan Gordon\n-La Miniature En Orient by E. Kuhnel \n-The Technique of Painting by Charles Moreau-Vauthier\n-The Technique of Oil Painting by Frederic Taubes\n-The Elder Peter Bruegel by Aldous Huxley\u003c/p\u003e","\u003cp\u003e-Archives of American Art Journal by the Smithsonian Institution\n-Nineteenth and Twentieth Century Engravings and Etchings and Lithographs and Woodcuts Old Master Engravings and Etchings by Various (2 copies)\n-Modern Paintings and Drawings by Various\n-American XIX-XX Century Paintings Drawings Sculptures by Various (2 copies)\n-From Reliable Sources by the Archives of American Art-Bruegels Gemalde by Max Dvorak \n-Portraits in the Making by Phoebe Flory Walker\n-Rembrant by Emile Verhaeren-Ecrits sur la Peinture by Andre Lhote\n-Color by Herbert E. Martini-My Life by Isadora Duncan-Home to Harlem by Claude McKay\n-Rembrandt by Klassiker der Kunst VIII\n-La Peintre Independante En France II by Adolphe Basler and Charles Kunstler\n-Art Fakes and Forgeries by Fritz Mendax\n-Modern Art by Thomas Craven-The Masterpieces of Rubens by Gowans's Art Books\n-The Masterpieces of Botticelli by Gowans's Art Books\n-The Masterpieces of Fra Angelico by Gowans's Art Books\n-The Masterpieces of Goya by Gowans's Art Books\n-The Masterpieces of Durer by Gowans's Art Books\n-The Masterpieces of Carpaccio \u0026amp; Giorgione by Gowans's Art Books\n-The Masterpieces of Orcagna by Gowans's Art Books\n-The Masterpieces of Masaccio by Gowans's Art Books\n-The Masterpieces of Gozzoli by Gowans's Art Books\n-The Masterpieces of Veronese by Gowans's Art books\n-LesChefs-D'Oeuvre de Rembrandt by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Raeburn by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Lotto by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvre de Carpaccio et de Giorgione by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Hogarth by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Giotto by Petite Collection D'Art Gowans\n-Les Chefs-D'Oeuvrede Jordaens by Petite Collection D'Art Gowans\n-Papa Bouchard by Molly Elliot Seawell\n-De La Palette A L'Ecritoire by Andre Lhote\u003c/p\u003e","\u003cp\u003e-Elements de la Construction Picturale by J. W. Power\n-The Purple Patches of 1946 by Harcum Junior College\n-Giorgione and his Circle by Johns Hopkins University\n-Die Malerei der FruhenItaliener by Das Bild\n-Les Vieilles Tapisseries Francaises by Collection \"Orbis Pictus\"\n-L'Art Vivant by Florent Fels\n-An Approach to Art by Mary Mullen-Abracadabra and Modern Art by Frederic Taubes\n-Le Greco by Paul Lafond \n-Gist of Art by John Sloan\n -Love and Revolution by Max Eastman\n-Rembrandt y Klassiker der Kunst II\n-Paul Cezanne by Julius Meier-Graefe\n-Masterpieces of Artby New York World's Fair 1940-Das Bruegel Buch\n-An Outline History of Art by Joseph Pijoan\n-The Arts by Hendrik Willem Van Loon-\u003c/p\u003e","\u003cp\u003e-El Greco from the Oxford University Press\n-Xavier de Callatay presented by Joanna Dean Galleries\n-Modern Paintings Drawings Watercolors Sculptures from Parke-Bernet Galleries (3copies)\n-Catalogue of Fine Sporting Prints Naval \u0026amp; Decorative Subjects and Views from Sotheby \u0026amp; Co.\n-American XIX-XX Century Paintings Drawings Sculptures from Parke-Bernet Galleries\n-Highly Important Impressionist \u0026amp; Modern Paintings \u0026amp; Drawings from Parke-Bernet Galleries\n-Modern Paintings and Drawings from Parke-Bernet Galleries\n-Pascin a publication of Washington Irving Gallery (2 copies)\n-The League Jan. 1934 from the Art Students League of New York\n-American Artist Special Summer Issue from Watson-Guptill (6 copies)\n-The Village Post Dec. 1968 (2 copies)\n-The Artist Oct. 1962\n-Georges de la Tour and the Brothers Le Nain edited by Louis Carre\n-Cut out excerpts of L'Amour de L'Art Nov. 1928\n-Cezanne from the Pitman Gallery\n-Seurat from the Pitman Gallery\n-Chagall from the Museum of Modern Art\n-Tresors D'Art en France published by the French Government\n-Masters in Art: Duccio-Exhibition of American Art directed by Marie Sterner\n-Modern Paintings and Drawings from Parke-Bernet Gallleries\n-The Century Magazine Sept. 1891\n-The Century Magazine Jan. 1892\n-Max Band by Waldemar George\n-Seurat byAndre Lhote-Traite de la Figure by Andre Lhote\n-Raphael Soyer Retrospective exhibition 1926-1956 from Babcock Galleries\n-Excerpt of Barber Ranks with Impressionist Greats by Hannah Polansky\n-Bruyere presented by DeLigny Art International\n-Persian Painting by the Metropolitan Museum of Art Miniatures\n-Don Freeman's Newsstand by Don Freeman\n-Painting and Sculpture French-English-German-Dutch and Flemish-Italian-Spanish-American Fourteenth to the Twentieth Century from the Art Institute of Chicago\n-Studio Secrets by Frederic Tauber\n-Pictorial Composition and the Art of Drawing by Frederic Taubes\n-L'Art Vivant by Florent Fels\n-The Mastery of Oil Painting by Frederic Taubes\n-You Don't Know What you Like by Frederic Taubes\n-Pictures to Grow up With by Katherine Gibson\n-Die Gemaldegalerie in Wien by Gustav Gluck\u003c/p\u003e","\u003cp\u003e-20 Centuries of Mexican Art from the Museum of Modern Art, New York\n-Slapstick and Dumbbell by Hiler Harzberg and Arthur Moss\n-Famous Artists of the Past by Alice Elizabeth Chase\n-Arts in the Rumanian People's Republic\n-Le Costume Civil en France du XIII au XIX Siecle by Camille Piton\n-Clave by Jean Cassou\n-The Lonely Ones by William Steig \n-Pascin by Alfred Werner \n-Skizzenbuch von Pascin by Erin Sommer\n-Boardman Robinson by Albert Christ-Janer\n-Pascin by Andre Warnod\n-Boeckl from Metten-Verlag Wien\u003c/p\u003e","\u003cp\u003e-All the Brave: Drawings of the Spanish War by Luis Quintanilla\n-Les Peintres Siennois by Emilio Cecchi\n-On My Way by Horace Liveright \n-Picasso: Forty Years of his Art from the Museum of Modern Art\n-El Greco by J.F. Willumsen\n-El Greco II by J.F. Willumsen\n-Pop Hart by Holger Cahill\n-Durer I by Erwin Panofsky-Durer II by Erwin Panofsky\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"],"scopecontent_tesim":["This collection contains the personal art library and papers of the artist and educator John Barber (1893-1965). The collection contains correspondence, clippings, photographs, slides, exhibition catalogues and brochures, biographical information, books, and engraving plates for Christmas cards. These materials document primarily the professional life of John Barber but also includes some of his personal life. There are letters from Hollywood actors Vincent Price who was an art collector and Edward G. Robinson who was born in Rumania like John Barber.","Letters from Stuart Davis, Max Eastman, Lieutenant J. K. Nicholson, Art Young, Jacques Chastenet, W. E. Bell, Charles J. Symmonds, Robert Minor, Thomas A. H. Hay, and correspondence about the Liberator and the Masses","Letters about his stay in Paris, selling paintings, exhibits. Correspondents include William Bullitt and a letter from actor Edward G. Robinson","Correspondents include the Glackens, Art Young, Jacques Chastenet,Barber's brother Dario,Golden Gate International Exposition invitation, Grace horne Galleris, Montclair Art Museum, Flora and Albert Sterner, post card from Betty Barber, brother-in-law Marcel Gozland, and Douglas MacArthur, 2nd, Private Secretary to the Ambassador of the Foreign Service,","Correspondents include Max Eastman,Barber's sister Rita, and Ambassador William C. Bullitt. There are teaching job cover letters and an essay about the Palestine controversy.","Letters about the death of his sister Rita and letters about his paintings.","Correspondents include Jacques Chastenet,William C. Bullitt,Helen Sloan, Max Eastman, Frederic Taubes, and Huntington Hartford (about selected juries for art paintings). Letters congratulating him on his marriage.","Correspondents include Max Eastman, Jacques Chastenet, Margaret du Ronde letter to Huntington Hartford, George and Helene Biddle, Esther and Philip Klein and a letter from Barber's brother Dario. Letters about Israel and Palestine including a letter from screenwriter and author Ben Hecht (\"A Child of the Century\").","Correspondents include Norman Kent, Jacques Chastenet,Edward G. Robinson, Barber's brother Dario,Max Eastman, Ira Glackens,  George Biddle,Huntington Hartford, Alfred Werner,and Warner Tabb. There is a John Barber letter to Clare Luce  and a John Barber correspondence with Lawrence H. Eldredge about the Philadelphia Art Alliance.","Correspondents include Barber's brother Dario, Barber's brother-in-law Marcel, Helen Sloan, Max Eastman,George Biddle,Jacques Chastenet,Will and Ariel Durant,and Frederic Taubes. Also included is a John Barber complaint about art critic Miss Grafly at the Evening and Sunday Bulletin (Philadelphia) and other letters asking for a showing of his work and frustration about how the art world handles exhibits. Barber complaint to Alfred Werner. Barber letter to U. Thant Secretary General of the United Nations about Israel.","Correspondents include Emidio Angelo, Max Eastman, Maricel Gozland, and Warner Tabb. Phillip W. Phillips responds to Barber (complaints about how his art was not displayed or respected). Research requests about Claude McKay. Generic response from United Nations to Barber's letter.","Barber letters complaining about juried art shows. Letters from the Galerie Fontainbleau in Miami Beach, Florida. Questions about The Masses and Liberator. Letters from actor and art collector Vincent Price. John Barber letters about his art work and wanting to have a painting at Yale.","Correspondents include Maricel Gozland,and letters from John Barber to unidentified recipient.","Betty Barber, mother of John Barber, sends postcards and letters about her trip to Italy","Letters about projects involving the Liberator and the Masses magazines(Garnett McCoy and Dennis Barrie,\"Archives of American Art\"); letters about R. H. Love's book on John Barber; paintings in Israel and memories about Jules Pascin.  Emidio Angelo is a correspondent.","Letter about The Liberator","Photocopies of letters from John Barber to Max Eastman. There are original letters from Max Eastman under John Barber correspondence by date.","Letter from H. L. Mencken to Claude McKay.1923. Claude McKay letter to John Barber about reviews for his book. 1940. Warning: Claude McKay letter contains racist language.","Edith Glackens letters to John Barber. Glackens letters can also be found in John Barber correspondence by date.","John Barber thanks John Sloan for buying and appreciating his painting. There are also cards from Helen Sloan to John Barber.","Fredric Taubes correspondence can also be found in John Barber correspondence by date.","Includes letter from Vincent Price","Reyn Gallery, Fischman-Weiner Gallery, Parke-Bernet Galleries, Inc., Galerie Philadelphie,Signature Galleries,Charles T. Henry Gallery, Print Council of America, The Pennsylvania Academy of the Fine Arts, Petit Palais, Hammer Galleries,National Portrait Gallery, and Gertrude Kasle Gallery.","Project on The Masses and the Liberator; Ben Goldstein. See also Margaret De Ronde correspondence.","Writing about Germany in 1939","drawings of money, meteorology,chemistry,military ships, and architecture.","drawings of anatomy, forts, biology, geology, farm machinery, flags, Greece, and Egypt.","Drawings of people from different cultures, astronomy, uniforms, and military arms.","Drawings of American landscapes","Copy of \"Carlotta\" illustrated by John Barber; Marie Sterner Galleries; Exposicao De pintura Escultura E Arquitectura; \"Mostly Portugal\" Grace Horne Galleries; Vanderbilt Gallery; Hein Semke; Ehrich Newhouse; Artistes Amrericains De Paris Galerie De La Renaissance.","The Second Biennial Exhibition of Contemporary American Paintings The Virginia Museum of Fine Arts; The Bulletin of the Town Hall Club; The Art of Camille Pissarro In Retrospect Duran-Ruel Galleries; Early Impressionism 1868-1883 Knoedler; Pioneers of Modern Art in America Whitney Museum of American Art.","Paintings by Arnold Conason, Charles Barzansky Galleries; 1952 Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art; Catalogue of the One Hundred and Forty-Eighth Annual Exhibition of Painting and Sculpture 1953, The Pennsylvania Academy of the Fine Arts; Second Annual Fine Arts Festival Harcum Junior College, 1956; Art Alliance Bulletin 1957; Reception in honor of John Barber, The Philadelphia Art Alliance; Galerie Philadelphie; John Barber, American Artist Special Summer Issue June, July, August 1959; and John Barber Mexican Paintings 1941-1965, Art and Culture Center of Hollywood.","John Barber, Reyn Gallery; John Barber \"Mexican Crucifixion\",Exhibition of Contemporary Liturgical Art 1963;\"Method of Work\" by John Barber, Signature Galleries; Paintings by John Barber, Gulf American Galleries; \"On the Ranch\", Third Philadelphia Arts Festival; Regional Exhibition, Gallery M, The Pennsylvania Academy of the Fine Arts; The Black Experience in Prints, The Pratt Graphics Center Gallery; American, French \u0026 Other Modern Paintings Drawings Sculptures, Parke-Bernet Galleries, Inc.; 50th Anniversary The Philadelphia Art Alliance.","Exposicoes Do Pintor Americano John Barber, Secretariado Da Propaganda Nacional; John Barber Retrospect, Bacardi Art Gallery; \"Unemployed Union Square\",John Barber, Signature Galleries; Peintres Americains, Galerie Briant-Robert; and \"Wanted: Works by John Barber for Purchase/Documentation for \"First American John Barber Retrospective Exhibition Planned for Febrary 1975\" by Signature Galleries.","\"Conversation on a Cold Morning\", Amish Country; John Barber's Formative Years \"Portugues Washerwomen\",R. H. Love Galleries, 1980-1981;John Barber 1898-1965, Childs Gallery; \"Tortilla Factory\" invitation to preview of John Barber The Mexican Period, Art and Culture Center of Hollywood, Florida, 1985;  John Barber: The Artist The Man, book by Richard H. Love; \"The Artists' Response to Political and Social Issues, Ben Goldstein; Bayly Art Museum exhibit, and \"John Barber, 1893-1965 Selections from the Archive\" 1992; \"Men of Florence\" R. H. Love Galleries.","Eigth Street Gallery announces its Opening Group Exhibition of Contemporary American Art; Galerie Fontainebleau; \"Mexican Boy In a Sombrero\" John Barber 1898-1965; \"John Barber to Give Interesting Talks On the Subject of DaVinci\";","Catalog of an Exhibition of Drawings by Jules Pascin, Berlin Photgraphic Company; Peintures-Aquarelles-Dessins Par Pascin, Galeries Pierre; Water Color Drawings by Jules Pascin, Daniel Gallery; Pascin, Niveau Gallery; De La Patelliere; Pascin, 100 Oil Paintings, Watercolours and Drawings, Bezalel national Museum, Jerusalem, 1958;Aus Ausstellungen der Galerie Flechtheim; \"Pascin by Andre Kormendi\", The Arts December 1930; articles and sketches are included.","Tholen Catalogus; Andre L'Hote, Galerie Moderne at Brentano's; Derain, Brummer Gallery; 19th Century Selections, Babcock Galleries; The Pennsylvania Hospital Key Ball; Martin Lewis, The Old Print Shop Portfolio; and Gallery of One Hundred Famous Portraits, Museum Galleries, London;","\"\"Lectures pour Tous\" 6 Annee 10 Liv.-Juileet 1904; \"Notes Sur L'Art De Seurat\", L'Esprit Nouveau p. 13-28;  Picasso: Forty Years of his Art\" illustration \"The Race\" 1922; \"Palette and Bench,\" New Series, Volume I, No. 1, Old Series, Volume III, No. 3, December, 1910; \"Liberator\" January 1923; \"City Life\" \"Charlie Chaplin Talks about Art by John Barber, February 1941, Volume 1, No. 1.;","\"The Purple Patches of 1945\" Harcum Junior College yearbook","\"Jules Pascin: An Informal Sketch\", \"Arts\", June 1956; Taubes, Frederic \"John Barber, painter\", \"American Artist\" Special Summer Issue June July August 1959; Barber, John, \"Creating Your Compositions\", \"The Artist\" October 1962, Volume 64 No. 1, Issue 379.","\"Portrait of John Barber\" by Jules Pascin, \"Modern Paintings, Drawings, Parke-Bernet Galleries, Inc.; \"Plage Tunisienne\" inscribed to John Barber, \"Nineteenth and Twentieth Century Engravings, Etchings, Lithographs, Woodcuts, Old Master Engravings \u0026 Etchings, Parke-Bernet Galleries,Inc., 1966; \n\"Dog Studies: Pair Drawings\" by John Barber, \"American, French, \u0026 Other Modern Paintings, Drawings, Sculptures, Parke-Bernet Galleries, Inc., 1966; \"20th Century Paintings and Drawings\", Parke-Bernet Galleries, Inc. 1966.","John Barber's paintings are mentioned in the Gulf Gallery listed in \"The Art Gallery\" magazine, 1 December 1968, p. 38; Advertisement for John Barber paintings in the Gulf Gallery listed in \"The Village Post\" December, 1968, Volume 14, No. 12; Blurb about John Barber in \"Signature Newsletter\" September, 1974, Volume 1, No. 1; Advertisement for John Barber paintings wanted by Signature Galleries in \"Art in America\" January-February, 1975; Advertisement for John Barber painting, \"Florence Slums\" by Signature Galleries in \"Art News\" January 1975;Advertisement for John Barber painting, \"The Italian Band\" by Signature Galleries in \"Art News\", February 1976.","\"American 18th, 19th,\u0026 20th Century Paintings, Drawings, Watercolors \u0026 Sculpture\" Painting \"Mealtime at the Market\" by John Barber listed on page 156, Sotheby Parke-Bernet Inc., 17 April, 1975; \"American Paintings\" R. H. Love Galleries, 1977, page 9 John Barber painting.","Advertisement for John Barber exhibit \"John Barber's Formative Years\" on the back inside cover of \"National Arts Guide\" November-December 1980, Volume II, Number 6; Child's Gallery Print Annual Volume 11 and Volume 15.","\"Selections Bayly Art Museum\" at the University of Virginia contains a listing and picture of John Barber's painting \"Cement Workers\" 1986; Advertisement for John Barber exhibit at the Childs Gallery in \"Art News\" Summer 1988; Bayly Art Museum Newsletter, Spring 1988, Volume 3, No. 2; and Bayly Art Museum Newsletter, Fall 1992; Volume 8, No. 1","see also Printed for Harcum Junior College yearbook where John Barber was an instructor.","-Maestrii Artei Romanesti by Stefan Dimitrescu \n-William Chadwick 1879-1962: An American Impressionist by Richard H. Love\n-Parole Collettive by Ezio Taddei\n-Indische Plastik by William Cohn\n-No Dessert Until You've Finished Your Mashed Potatoes by William O'Brian \n-The Life of Rembrandt Van Rijn by Hendrik Willem Van Loon\n-L'Art et Les Artistes by Maurice du Seigneur\n-Grant Allen's Historical Guides: Venice by Grant Allen\n-French Leavesby E.V. Lucas\n-The Civilization of the Renaissance in Italy by Jacob Burckhardt\n-Les Berceaux de la Jeune Peinture by Andre Warnod \n-Pascin...Pascin...C'est Moi! By Papazoff\n-Madame Recamier by Edouard Harriet\n-Feb. 1934 Story–Devoted Solely to the Short Story\n-Modern French Painters by Jan Gordon\n-La Miniature En Orient by E. 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